Performing and Displaying

Rounds – Aurally identifying a round performance

By the end of the lesson, the learner should be able to:

- Define a round as a song sung by two or more groups starting the same melody at different times
- Identify key features of a round from a recorded performance
- Relate rounds to how call-and-response singing in Kenyan communities works on the same principle of staggered melody

- Watch and listen to recorded performances of two and three-part rounds using digital devices
- Discuss what a round is and how it differs from ordinary unison singing
- Identify that all groups sing the same melody but start at different times

What is a round song and how is it different from other songs?

- Mentor Creative Activities Grade 3 pg. 52
- Digital devices
- Video clips of round performances
- Audio recordings

Observation - Oral questions - Aural tests

Performing and Displaying

Rounds – Understanding performance techniques for singing rounds

By the end of the lesson, the learner should be able to:

- Identify performance techniques required for rounds: correct posture, accurate tune, clear words, correct entries, and keeping to own part
- Explain why each performance technique matters in a round
- Relate maintaining correct performance techniques to how professional choir members in the Kenya Music Festival are adjudicated on posture, diction, and accuracy

- Discuss performance techniques needed for rounds using a chart
- Practise sitting or standing upright as correct posture for singing
- Discuss what happens when a singer shifts to another group's part

Why is it important to maintain correct performance techniques when singing a round?

- Mentor Creative Activities Grade 3 pg. 52
- Charts showing performance techniques
- Digital devices
- Audio recordings

Oral questions - Practical demonstration - Peer assessment

Performing and Displaying

Rounds – Singing the tune of a round with pitch accuracy
Rounds – Singing rounds with clarity of words

By the end of the lesson, the learner should be able to:

- Sing a familiar round following the melody with correct pitch
- Distinguish between singing in tune and singing off-key
- Relate singing with correct pitch to how professional singers in studio recordings use pitch monitors to ensure every note is accurate before the track is released

- Sing a simple familiar round together in unison first
- Listen carefully to the melody and practise matching the correct pitch
- Record the group's singing using a digital device and review for pitch accuracy

How can we tell if we are singing a tune accurately?

- Mentor Creative Activities Grade 3 pg. 52
- Song charts
- Audio recording of round
- Digital recording devices
- Mentor Creative Activities Grade 3 pg. 53
- Round lyrics flashcards
- Mirrors for articulation practice

Aural tests - Practical tests - Observation

Performing and Displaying

Rounds – Understanding correct entries and keeping to own part in a round

By the end of the lesson, the learner should be able to:

- Identify the correct entry point for each group in a round
- Explain why each group must keep to its own part throughout
- Relate correct entries to how relay race runners must wait for the baton before starting their leg, and how an orchestra section waits for the conductor's cue before playing

- Use visual entry cue cards to show when each group enters
- Discuss what happens when a group enters too early or too late
- Practise listening carefully to maintain own part while others are singing

How do we know when to enter in a round and why must we keep to our own part?

- Mentor Creative Activities Grade 3 pg. 53
- Visual entry cue cards
- Digital metronome or timing device
- Round song sheets

Group performance - Observation - Peer feedback

Performing and Displaying

Rounds – Singing "Are You Sleeping" as a two-part round

By the end of the lesson, the learner should be able to:

- Sing the round "Are You Sleeping" in unison first before splitting into two groups
- Perform "Are You Sleeping" as a two-part round with Group A starting first
- Relate the overlapping structure of the round to how a conversation echo works, where the second speaker repeats the first speaker's words while the first continues talking

- Organise into two groups
- Sing the song together in unison first
- Sing again as a two-part round: Group A starts; Group B joins after the first line; both groups keep to their own parts to the end

How do two groups sing the same song starting at different times without losing their parts?

- Mentor Creative Activities Grade 3 pg. 53
- Song lyrics charts
- Audio recording of the round
- Visual entry guides

Practical performance - Group observation - Self-assessment

Performing and Displaying

Rounds – Describing and discussing the message in a round

By the end of the lesson, the learner should be able to:

- Identify the message communicated in the round "Are You Sleeping"
- Describe themes such as punctuality and responsibility
- Relate discussing a song's message to how literature students analyse the themes of poems and how music critics review songs for the messages they communicate to society

- Sing the round "Are You Sleeping" as a two-part round
- Discuss what the song is about and what message it communicates
- Share personal interpretations with peers and discuss how the message applies to daily life

What message does the round "Are You Sleeping" communicate?

- Mentor Creative Activities Grade 3 pg. 53
- Song lyrics charts
- Chart paper for message analysis
- Discussion guides

Oral presentations - Written descriptions - Group discussions

Performing and Displaying

Rounds – Singing "Row, Row, Row Your Boat" as a three-part round

By the end of the lesson, the learner should be able to:

- Sing "Row, Row, Row Your Boat" accurately in unison
- Perform "Row, Row, Row Your Boat" as a three-part round with each group entering at a different point
- Relate the three-part round structure to how a three-lane highway carries traffic moving at different speeds but all going in the same direction simultaneously

- Form three groups and practise the melody together in unison
- Assign each group a different entry point
- Perform the round maintaining accuracy of tune and keeping to own part; discuss the activity

How do three groups sing the same song starting at three different points?

- Mentor Creative Activities Grade 3 pg. 54
- Song lyrics charts
- Audio of the round
- Visual aids showing group entries

Performance assessment - Group observation - Self-assessment

Performing and Displaying

Rounds – Describing the message conveyed in "Row, Row, Row Your Boat"

By the end of the lesson, the learner should be able to:

- Identify the message communicated in "Row, Row, Row Your Boat"
- Relate the themes of the song to life lessons about facing challenges calmly
- Relate interpreting songs to how cultural commentators and music journalists analyse lyrics to uncover deeper messages about society and human experience

- Perform the round as a three-part round
- Discuss the meaning of "Life is but a dream" and other lyrics
- Share personal interpretations of the song's message with peers

What life message does "Row, Row, Row Your Boat" communicate?

- Mentor Creative Activities Grade 3 pg. 54
- Song lyrics sheets
- Chart paper for message mapping
- Discussion guides

Oral presentations - Written descriptions - Group discussions

Performing and Displaying

Rounds – Singing "Ukienda Kutembea" as a two-part round

By the end of the lesson, the learner should be able to:

- Sing "Ukienda Kutembea" with correct words and tune
- Perform "Ukienda Kutembea" as a two-part round maintaining individual group parts
- Relate singing rounds in Kiswahili to how Kenyan cultural events use indigenous songs to foster patriotism and national unity

- Organise into two groups
- Practise the song in unison first
- Perform as a two-part round: Group 1 starts; Group 2 joins at the designated entry point

How does singing a round in Kiswahili help us appreciate our cultural heritage?

- Mentor Creative Activities Grade 3 pg. 55
- Song lyrics charts
- Audio recording
- Visual entry guides

Practical performance - Group observation - Aural tests

Performing and Displaying

Rounds – Describing the message in the round "Ukienda Kutembea"

By the end of the lesson, the learner should be able to:

- Identify the message communicated in "Ukienda Kutembea"
- Relate the themes of friendship, sharing, and generosity in the song to core Kenyan values
- Relate discussing the message of a Kiswahili round to how the Kiswahili proverb tradition uses short sayings to communicate important social values within communities

- Perform "Ukienda Kutembea" as a two-part round
- Discuss what the song is asking a friend to bring back from a journey
- Talk about the values of kindness, friendship, and sharing communicated in the song

What values does the round "Ukienda Kutembea" communicate?

- Mentor Creative Activities Grade 3 pg. 55
- Song lyrics sheets
- Values discussion chart
- Cultural context resources

Oral presentations - Written descriptions - Group discussions

Performing and Displaying

Rounds – Describing the message in the round "Ukienda Kutembea"

By the end of the lesson, the learner should be able to:

- Identify the message communicated in "Ukienda Kutembea"
- Relate the themes of friendship, sharing, and generosity in the song to core Kenyan values
- Relate discussing the message of a Kiswahili round to how the Kiswahili proverb tradition uses short sayings to communicate important social values within communities

- Perform "Ukienda Kutembea" as a two-part round
- Discuss what the song is asking a friend to bring back from a journey
- Talk about the values of kindness, friendship, and sharing communicated in the song

What values does the round "Ukienda Kutembea" communicate?

- Mentor Creative Activities Grade 3 pg. 55
- Song lyrics sheets
- Values discussion chart
- Cultural context resources

Oral presentations - Written descriptions - Group discussions

Performing and Displaying

Rounds – Applying gestures and facial expressions while performing rounds

By the end of the lesson, the learner should be able to:

- Use appropriate gestures to enhance a round performance
- Apply facial expressions that match the message of the round
- Relate using gestures and expressions in performance to how stage actors and television presenters use body language and facial expressions to make their communication more powerful and engaging

- Discuss which gestures suit different lines of the round songs learned
- Practise using gestures while singing a round
- Perform a round incorporating both gestures and facial expressions; review using a recording

How do gestures and facial expressions make a round performance more expressive?

- Mentor Creative Activities Grade 3 pg. 52
- Mirrors for practice
- Video examples of expressive performances
- Digital recording devices

Performance observation - Video analysis - Peer feedback

Performing and Displaying

Rounds – Applying gestures and facial expressions while performing rounds

By the end of the lesson, the learner should be able to:

- Use appropriate gestures to enhance a round performance
- Apply facial expressions that match the message of the round
- Relate using gestures and expressions in performance to how stage actors and television presenters use body language and facial expressions to make their communication more powerful and engaging

- Discuss which gestures suit different lines of the round songs learned
- Practise using gestures while singing a round
- Perform a round incorporating both gestures and facial expressions; review using a recording

How do gestures and facial expressions make a round performance more expressive?

- Mentor Creative Activities Grade 3 pg. 52
- Mirrors for practice
- Video examples of expressive performances
- Digital recording devices

Performance observation - Video analysis - Peer feedback

Performing and Displaying

Rounds – Coordinating group entries and recording round performances

By the end of the lesson, the learner should be able to:

- Coordinate entries and exits effectively with group members
- Record a group round performance using a digital device
- Relate using technology to record performances to how music producers use recording studios to capture, review, and improve performances before official release

- Form performance groups and rehearse entry cues
- Record the group round performance using a digital device
- Watch and listen to the recording and use an assessment table to give feedback

How does recording our performance help us improve?

- Mentor Creative Activities Grade 3 pg. 55
- Digital cameras or phones
- Playback devices
- Group assessment sheet

Recording quality - Self-assessment - Peer critique

Performing and Displaying

Rounds – Preparing and performing rounds at school events

By the end of the lesson, the learner should be able to:

- Select an appropriate round song to perform at a school event
- Rehearse the round applying all performance techniques learned
- Relate performing for an audience to how Kenya Music Festival participants prepare months in advance and are adjudicated on all aspects of performance

- Select one round from those learned for a school event performance
- Rehearse with attention to posture, diction, correct entries, and keeping to own part
- Present the round during a school assembly, class performance, or event

How do we prepare a round performance for a public audience?

- Mentor Creative Activities Grade 3 pg. 55
- Performance space
- Program materials
- Sound amplification if available

Performance assessment - Audience feedback - Self-reflection

Performing and Displaying

Rounds – Preparing and performing rounds at school events

By the end of the lesson, the learner should be able to:

- Select an appropriate round song to perform at a school event
- Rehearse the round applying all performance techniques learned
- Relate performing for an audience to how Kenya Music Festival participants prepare months in advance and are adjudicated on all aspects of performance

- Select one round from those learned for a school event performance
- Rehearse with attention to posture, diction, correct entries, and keeping to own part
- Present the round during a school assembly, class performance, or event

How do we prepare a round performance for a public audience?

- Mentor Creative Activities Grade 3 pg. 55
- Performance space
- Program materials
- Sound amplification if available

Performance assessment - Audience feedback - Self-reflection

Performing and Displaying

Rounds – Teaching a round to peers

By the end of the lesson, the learner should be able to:

- Teach a simple round to classmates using clear instructions
- Demonstrate effective ways of helping others learn a melody and their entry points
- Relate peer teaching of rounds to how music teachers in primary schools teach songs step-by-step, and how experienced choir members train new members during rehearsals

- Prepare to teach a simple round from memory to classmates
- Lead peers through learning the melody first, then demonstrate entry points
- Give peers time to practise and offer supportive feedback

How can we teach a round effectively to help others learn it?

- Mentor Creative Activities Grade 3 pg. 55
- Teaching aids
- Song sheets
- Digital devices for demonstration

Teaching observation - Peer evaluation - Learning outcomes assessment

Performing and Displaying

Rounds – Teaching a round to peers

By the end of the lesson, the learner should be able to:

- Teach a simple round to classmates using clear instructions
- Demonstrate effective ways of helping others learn a melody and their entry points
- Relate peer teaching of rounds to how music teachers in primary schools teach songs step-by-step, and how experienced choir members train new members during rehearsals

- Prepare to teach a simple round from memory to classmates
- Lead peers through learning the melody first, then demonstrate entry points
- Give peers time to practise and offer supportive feedback

How can we teach a round effectively to help others learn it?

- Mentor Creative Activities Grade 3 pg. 55
- Teaching aids
- Song sheets
- Digital devices for demonstration

Teaching observation - Peer evaluation - Learning outcomes assessment

Performing and Displaying

Rounds – Collecting rounds from different cultures and communities

By the end of the lesson, the learner should be able to:

- Research round songs from different Kenyan communities and world cultures
- Collect and document rounds in written or recorded form
- Relate building a collection of rounds to how ethnomusicologists travel across communities to record indigenous music before it is lost, preserving it in archives for future generations

- Search for rounds from different Kenyan communities and other countries
- Document collected rounds in written or recorded form
- Create a class collection of rounds from diverse sources

Why is it important to collect and preserve round songs from different cultures?

- Mentor Creative Activities Grade 3 pg. 55
- Internet access
- Music books with rounds
- Digital recording devices
- Cultural music resources

Portfolio assessment - Documentation review - Practical demonstration

Performing and Displaying

Rounds – Collecting rounds from different cultures and communities

By the end of the lesson, the learner should be able to:

- Research round songs from different Kenyan communities and world cultures
- Collect and document rounds in written or recorded form
- Relate building a collection of rounds to how ethnomusicologists travel across communities to record indigenous music before it is lost, preserving it in archives for future generations

- Search for rounds from different Kenyan communities and other countries
- Document collected rounds in written or recorded form
- Create a class collection of rounds from diverse sources

Why is it important to collect and preserve round songs from different cultures?

- Mentor Creative Activities Grade 3 pg. 55
- Internet access
- Music books with rounds
- Digital recording devices
- Cultural music resources

Portfolio assessment - Documentation review - Practical demonstration

Performing and Displaying

Rounds – Project performance and celebration of round singing

By the end of the lesson, the learner should be able to:

- Showcase learned rounds in a class performance event applying all techniques
- Perform confidently before peers and any invited guests
- Relate celebrating a completed learning project to how choirs celebrate after successful festival performances, reinforcing the value of effort, teamwork, and continuous practice

- Organise a class round performance event
- Perform multiple rounds for classmates and guests applying all performance techniques
- Reflect on learning experiences, achievements, and areas for future growth

What rounds did we enjoy most and how can we continue practising?

- Mentor Creative Activities Grade 3 pg. 55
- Performance venue
- Digital recording equipment
- Reflection journals

Final performance - Self-reflection - Portfolio review

Performing and Displaying

Rounds – Assessment and review of round performance skills

By the end of the lesson, the learner should be able to:

- Demonstrate all performance techniques for rounds: posture, accurate tune, clear diction, correct entries, and keeping to own part
- Perform a selected round accurately and expressively
- Relate structured music assessment to how Kenya Music Festival adjudicators use detailed rubrics to score choirs on every element of performance

- Perform a selected round for final assessment
- Apply all performance techniques learned across the unit
- Complete self and peer assessment using the group assessment sheet

How well have we mastered performing rounds?

- Mentor Creative Activities Grade 3 pg. 52–55
- Assessment rubrics
- Recording devices
- Peer evaluation forms

Performance assessment - Self-assessment - Peer assessment - Teacher observation

Performing and Displaying

Rounds – Assessment and review of round performance skills

By the end of the lesson, the learner should be able to:

- Demonstrate all performance techniques for rounds: posture, accurate tune, clear diction, correct entries, and keeping to own part
- Perform a selected round accurately and expressively
- Relate structured music assessment to how Kenya Music Festival adjudicators use detailed rubrics to score choirs on every element of performance

- Perform a selected round for final assessment
- Apply all performance techniques learned across the unit
- Complete self and peer assessment using the group assessment sheet

How well have we mastered performing rounds?

- Mentor Creative Activities Grade 3 pg. 52–55
- Assessment rubrics
- Recording devices
- Peer evaluation forms

Performance assessment - Self-assessment - Peer assessment - Teacher observation

Performing and Displaying

Galloping – Identifying galloping as a movement skill

By the end of the lesson, the learner should be able to:

- Define galloping as running fast so that all feet come off the ground simultaneously during forward movement
- Identify animals that use galloping movement such as horses, zebras, camels, and giraffes
- Relate galloping to how the gallop stride of a racehorse is studied by sports scientists to design faster robotic legs and improve the biomechanics of running athletes

- Look at pictures of horses, zebras, and other galloping animals
- Discuss how galloping animals move all feet off the ground at once
- Watch a video of galloping movement and answer guided questions about foot sequence and body position

What is galloping and which animals use galloping movement?

- Mentor Creative Activities Grade 3 pg. 56
- Pictures of galloping animals
- Open safe space
- Digital devices for video

Observation - Oral questions - Practical identification

Performing and Displaying

Galloping – Identifying directions and body position during galloping

By the end of the lesson, the learner should be able to:

- Identify the directions in which we can gallop: forward, right, and left
- Describe the correct hand and leg positions when galloping
- Relate body positioning during galloping to how sprinters use arm swing and body lean to improve speed, and how gymnasts maintain body alignment during floor exercises

- Watch a video about galloping and observe foot sequence and arm movement
- Discuss which foot moves first and how the body is held during galloping
- Look at pictures showing correct hand and leg placement during galloping

In which directions can we gallop and how should our body be positioned?

- Mentor Creative Activities Grade 3 pg. 56
- Directional markers
- Open play area
- Demonstration videos

Practical demonstration - Observation - Peer discussion

Performing and Displaying

Galloping – Demonstrating basic galloping steps

By the end of the lesson, the learner should be able to:

- Perform the basic galloping action: step forward with one foot and quickly bring the other foot to meet it
- Maintain a steady galloping rhythm while moving forward
- Relate learning movement patterns step by step to how physical therapists teach stroke patients to relearn walking by breaking movement into small, manageable steps

- Stand with feet together
- Take a big step forward with one foot and quickly bring the other foot to meet it
- Repeat the galloping action twice and discuss with peers how it felt

What is the correct sequence of steps for galloping?

- Mentor Creative Activities Grade 3 pg. 57
- Flat open ground
- Field markers
- Safe play area

Practical performance - Observation - Self-assessment

Performing and Displaying

Galloping – Galloping forward along a straight marked path

By the end of the lesson, the learner should be able to:

- Gallop forward along a straight pathway using correct form
- Maintain balance and rhythm while galloping in a straight line
- Relate galloping in a straight line to how sprinters on a track maintain a straight trajectory to cover distance in the shortest time possible

- Arrange field markers to form a straight line
- Start at one end of the course and gallop along the path
- Try to gallop as quickly as possible while maintaining correct form; observe safety

How do we maintain balance and speed when galloping in a straight line?

- Mentor Creative Activities Grade 3 pg. 57
- Cones or field markers
- Open flat ground
- Measuring tape

Practical performance - Observation - Skill assessment

Performing and Displaying

Galloping – Galloping to the right and left along a marked line
Galloping – Galloping along a zigzag pathway

By the end of the lesson, the learner should be able to:

- Gallop to the right side of a marked line
- Gallop to the left side of a marked line
- Relate lateral galloping to how basketball and tennis players use lateral shuffle movements to defend against opponents, relying on the same weight-transfer mechanics as galloping

- Mark a straight line at the centre of the play area
- Stand along the marked line and gallop to the right side
- Return by galloping to the left side; take turns and observe safety

How is galloping sideways different from galloping forward?

- Mentor Creative Activities Grade 3 pg. 58
- Chalk or rope for lines
- Flat open ground
- Field markers
- Mentor Creative Activities Grade 3 pg. 59
- Field markers or cones
- Open flat ground
- Zigzag layout guide

Practical demonstration - Peer observation - Skill assessment

Performing and Displaying

Galloping – Galloping along a circular pathway

By the end of the lesson, the learner should be able to:

- Gallop following a circular pathway marked on the ground
- Maintain balance and direction while galloping in a circle
- Relate circular galloping to how horses in a show ring gallop in circles for judges, and how athletic sprinters on a curved track must adjust their lean and stride to maintain speed through the bend

- Draw a circle on the ground using chalk or rope
- Gallop around the circle maintaining correct form
- Change direction and gallop around the circle the other way; observe safety

How do we maintain balance and direction when galloping in a circle?

- Mentor Creative Activities Grade 3 pg. 59
- Chalk or rope for circle
- Flat safe ground
- Pattern diagrams

Practical demonstration - Balance assessment - Pattern execution

Performing and Displaying

Galloping – Playing the whistle-directed galloping game

By the end of the lesson, the learner should be able to:

- Gallop in the direction directed by the leader's whistle signal
- Stop immediately on signal and resume galloping in a new direction
- Relate following audio signals to change movement direction to how air traffic controllers use radio signals to direct pilots to turn, climb, or descend during flight

- Choose a class leader
- Gallop to the right when the whistle blows once; stop when it blows twice
- Change to the left side on the next signal; repeat with each learner taking a turn as leader

How do we respond quickly and correctly to direction signals while galloping?

- Mentor Creative Activities Grade 3 pg. 60
- Whistle
- Open safe field
- Directional markers

Game participation - Team observation - Rule-following assessment

Performing and Displaying

Galloping – Playing the red light, green light galloping game

By the end of the lesson, the learner should be able to:

- Gallop quickly in any direction when the leader says "green light"
- Stop immediately and freeze when the leader says "red light"
- Relate the red light, green light game to how traffic signals control the flow of vehicles on roads, and how computer processors use binary on/off signals to control all digital functions

- Choose a leader
- Gallop quickly in any direction on "green light"
- Freeze completely on "red light"; continue on the next "green light" signal; take turns as leader and cheer each other

Why is it important to stop and start quickly in a galloping game?

- Mentor Creative Activities Grade 3 pg. 60
- Open safe field
- Markers

Game participation - Observation - Peer assessment

Performing and Displaying

Galloping – Playing a galloping relay race game

By the end of the lesson, the learner should be able to:

- Participate in a galloping relay race applying correct galloping technique
- Work cooperatively within a team to complete the relay
- Relate galloping relay races to how Kenya's 4x100m relay teams coordinate individual speed with perfect baton handovers to achieve national and international success

- Form two teams of equal members
- Place markers at opposite ends of the field
- Gallop in relay from one end to the other; the team that finishes first wins; observe safety

How do teamwork and correct galloping technique help win a relay race?

- Mentor Creative Activities Grade 3 pg. 60
- Field markers or hula hoops
- Flat open field
- Starting line markers

Game participation - Team observation - Skill assessment

Performing and Displaying

Galloping – Playing a galloping relay race game

By the end of the lesson, the learner should be able to:

- Participate in a galloping relay race applying correct galloping technique
- Work cooperatively within a team to complete the relay
- Relate galloping relay races to how Kenya's 4x100m relay teams coordinate individual speed with perfect baton handovers to achieve national and international success

- Form two teams of equal members
- Place markers at opposite ends of the field
- Gallop in relay from one end to the other; the team that finishes first wins; observe safety

How do teamwork and correct galloping technique help win a relay race?

- Mentor Creative Activities Grade 3 pg. 60
- Field markers or hula hoops
- Flat open field
- Starting line markers

Game participation - Team observation - Skill assessment

Performing and Displaying

Galloping – Creating and performing a galloping routine combining pathways

By the end of the lesson, the learner should be able to:

- Create a simple galloping routine combining at least two pathway types
- Perform the routine with peers in a group
- Relate designing a movement routine to how choreographers plan dance sequences by combining different moves, directions, and formations into a structured, flowing performance

- Use markers to create a square on the ground
- Gallop from the centre to each corner in sequence
- Create a group routine combining straight, zigzag, and circular pathways; present to the class

What makes a good galloping routine that combines different pathways?

- Mentor Creative Activities Grade 3 pg. 62
- Markers or cones
- Open play area
- Routine planning guide

Practical performance - Creativity evaluation - Peer assessment

Performing and Displaying

Galloping – Singing action songs while galloping

By the end of the lesson, the learner should be able to:

- Gallop while singing appropriate action songs
- Coordinate movement with the rhythm of a song
- Relate combining music with movement to how aerobics and Zumba instructors synchronise physical exercises with music rhythm so participants move in unison and maintain energy throughout the session

- Learn an action song suitable for galloping
- Practise galloping to the rhythm of the song
- Perform galloping with singing in groups and cheer each other

How does the rhythm of a song help us gallop more smoothly?

- Mentor Creative Activities Grade 3 pg. 58
- Song lyrics
- Digital music player
- Open safe space

Performance assessment - Coordination observation - Musical integration

Performing and Displaying

Galloping – Observing and assessing peers' galloping performance

By the end of the lesson, the learner should be able to:

- Observe peers' galloping performances using an observation checklist
- Provide specific and constructive feedback to peers
- Relate structured peer assessment to how sports coaches use video analysis and performance checklists to evaluate athletes and give targeted feedback during training sessions

- Watch peers perform galloping activities in all learned directions
- Use the peer assessment table from the course book to tick appropriate columns
- Give helpful and encouraging feedback to each peer assessed

What should we look for when observing a peer's galloping performance?

- Mentor Creative Activities Grade 3 pg. 61
- Peer assessment forms
- Observation checklists
- Open performance area

Peer assessment - Feedback quality review - Observation skills

Performing and Displaying

Galloping – Observing and assessing peers' galloping performance

By the end of the lesson, the learner should be able to:

- Observe peers' galloping performances using an observation checklist
- Provide specific and constructive feedback to peers
- Relate structured peer assessment to how sports coaches use video analysis and performance checklists to evaluate athletes and give targeted feedback during training sessions

- Watch peers perform galloping activities in all learned directions
- Use the peer assessment table from the course book to tick appropriate columns
- Give helpful and encouraging feedback to each peer assessed

What should we look for when observing a peer's galloping performance?

- Mentor Creative Activities Grade 3 pg. 61
- Peer assessment forms
- Observation checklists
- Open performance area

Peer assessment - Feedback quality review - Observation skills

Performing and Displaying

Galloping – Observing and assessing peers' galloping performance

By the end of the lesson, the learner should be able to:

- Observe peers' galloping performances using an observation checklist
- Provide specific and constructive feedback to peers
- Relate structured peer assessment to how sports coaches use video analysis and performance checklists to evaluate athletes and give targeted feedback during training sessions

- Watch peers perform galloping activities in all learned directions
- Use the peer assessment table from the course book to tick appropriate columns
- Give helpful and encouraging feedback to each peer assessed

What should we look for when observing a peer's galloping performance?

- Mentor Creative Activities Grade 3 pg. 61
- Peer assessment forms
- Observation checklists
- Open performance area

Peer assessment - Feedback quality review - Observation skills

Performing and Displaying

Galloping – Assessment and review of galloping skills

By the end of the lesson, the learner should be able to:

- Demonstrate galloping competently in all learned directions: forward, right, left, zigzag, circular
- Complete self and peer assessment using rubrics
- Relate self-assessment in physical education to how professional athletes track their own performance statistics and compare them against their personal bests to set new training goals

- Perform galloping in all learned directions and pathways for final assessment
- Complete self and peer assessment using rubrics
- Discuss progress made and identify one skill to continue improving

How well have I mastered galloping in all directions and pathways?

- Mentor Creative Activities Grade 3 pg. 62
- Assessment rubrics
- Open safe area
- Peer evaluation forms

Practical assessment - Self-assessment - Peer assessment

Performing and Displaying

Sculpture – Identifying sculpture and assemblage as an art technique

By the end of the lesson, the learner should be able to:

- Define sculpture as the art of making free-standing three-dimensional forms
- Define assemblage as making sculptures by joining different materials found in the environment
- Relate assemblage to how industrial designers assemble components from different materials such as metal, plastic, and rubber to build products like vehicles and electronic devices

- Search online for toys and dolls created by assemblage using the provided video link
- Look at pictures of assembled toys in the course book
- Discuss how the toys are made and what materials are used

What is assemblage and how is it different from other sculpture techniques?

- Mentor Creative Activities Grade 3 pg. 63
- Pictures of assembled toys
- Digital devices
- Video links on assemblage

Observation - Oral questions - Video analysis

Performing and Displaying

Sculpture – Identifying materials and tools used for toy assemblage

By the end of the lesson, the learner should be able to:

- Identify materials that can be used for toy assemblage: waste paper, cartons, cloth, wood, plastic, matchsticks, bottle tops, nails, used bottles
- Identify tools used in assemblage: scissors, glue, stapler, wire, hammer
- Relate using locally available materials for assemblage to how upcycling artists and eco-designers in Kenya create furniture and fashion accessories from reclaimed waste materials

- Look at pictures of materials used for assemblage in the course book
- Identify materials available at home and at school
- Discuss which tools would be needed to join each type of material

Which materials and tools can we use to make toys through assemblage?

- Mentor Creative Activities Grade 3 pg. 64
- Sample materials
- Sample tools
- Material sorting containers

Material identification - Oral discussion - Collection assessment

Performing and Displaying

Sculpture – Collecting and sorting materials for toy assemblage

By the end of the lesson, the learner should be able to:

- Collect recyclable and reusable materials from the environment for toy making
- Sort collected materials according to intended use
- Relate responsible collection of recyclable materials to how waste management programmes in Kenyan cities sort collected waste into categories for recycling, reuse, and safe disposal

- Collect recyclable materials from the school compound or home
- Sort materials into categories: cartons and boxes, cloth, sticks, bottle tops, wires
- Store sorted materials in the Creative Corner for use in subsequent lessons

Where can we find suitable materials for making toys through assemblage?

- Mentor Creative Activities Grade 3 pg. 64
- Collection bags
- Sorting containers
- Storage boxes
- Safety gloves

Collection effort - Sorting accuracy - Material organisation

Performing and Displaying

Sculpture – Planning and sketching a toy design before assembly

By the end of the lesson, the learner should be able to:

- Choose a toy or doll to make through assemblage
- Draw a simple sketch of the planned toy showing its parts
- Relate planning with a sketch before building to how architects draw blueprints before constructing buildings, and how engineers draw technical diagrams before manufacturing products

- Decide as a group on the toy or doll to make
- Draw a simple sketch showing the toy's parts and how they will be joined
- List the materials needed for each part of the toy

Why is it important to plan and sketch a toy before assembling it?

- Mentor Creative Activities Grade 3 pg. 64
- Sketch paper
- Pencils
- Design planning guides

Design quality - Planning skill - Peer discussion

Performing and Displaying

Sculpture – Making a doll house: preparing the carton structure

By the end of the lesson, the learner should be able to:

- Cut and shape a carton box to form the walls and floor of a doll house
- Cut windows on the walls of the doll house
- Relate cutting and shaping materials to how carpenters and construction workers cut and shape timber and metal into the precise forms required for a building

- Collect materials of different types as planned
- Cut and remove two faces of the carton to leave two walls and a floor
- Smooth the edges of the corners; cut two windows on each wall observing safety

How do we prepare and shape a carton box to form a doll house structure?

- Mentor Creative Activities Grade 3 pg. 65
- Carton boxes
- Scissors and cutting tools
- Safety guidelines

Practical demonstration - Assembly skill assessment - Safety compliance

Performing and Displaying

Sculpture – Making a doll house: decorating walls and floor with coloured paper

By the end of the lesson, the learner should be able to:

- Lay and stick coloured paper on the floor and walls of the doll house
- Use different colours for each wall to create an attractive interior
- Relate using contrasting colours in interior decoration to how interior designers choose complementary colour schemes for walls, floors, and furniture to create aesthetically pleasing living spaces

- Cut coloured paper to fit the floor and each wall of the doll house
- Apply glue and stick the coloured paper onto each surface
- Use a different colour for each wall to create visual variety

How does using different colours on each wall make the doll house more attractive?

- Mentor Creative Activities Grade 3 pg. 65
- Coloured paper
- Glue
- Scissors
- Doll house structure

Decoration creativity - Practical assessment - Peer assessment

Performing and Displaying

Sculpture – Making a doll house: adding curtains, wardrobe, and furniture
Sculpture – Completing and improving the doll house with final details

By the end of the lesson, the learner should be able to:

- Cut cloth to make curtains and attach them to windows using staples
- Make a miniature wardrobe from a small box with cut-out doors
- Relate making miniature furniture to how architects and interior designers create scale models of rooms to show clients how the finished space will look before construction begins

- Cut cloth pieces to create curtains and staple or glue them to window edges
- Use a small box to draw, cut, and assemble a miniature wardrobe
- Add other furniture details to the doll house as planned

How do small details like curtains and furniture make a doll house look more realistic?

- Mentor Creative Activities Grade 3 pg. 66
- Cloth pieces
- Stapler
- Small boxes
- Cutting tools
- Hard paper
- Paint and brushes
- Adhesives
- Small item attachments

Practical demonstration - Detail assessment - Creativity evaluation

Performing and Displaying

Sculpture – Making a toy car: cutting and shaping the body

By the end of the lesson, the learner should be able to:

- Cut and fold a carton box to form the body of a toy car
- Shape the car body by smoothing edges and cutting windows and doors
- Relate shaping materials into a vehicle form to how automotive engineers design and test car body panels by cutting, pressing, and shaping metal sheets into aerodynamic forms

- Cut and fold carton into the shape of a car body
- Cut windows and doors on the sides
- Smooth edges to create a clean car body shape observing safety with cutting tools

How do we cut and shape materials to form a toy car body?

- Mentor Creative Activities Grade 3 pg. 67
- Carton boxes
- Scissors and cutting tools
- Safety guidelines

Practical demonstration - Assembly skill - Safety compliance

Performing and Displaying

Sculpture – Making a toy car: fixing wheels and a pulling string

By the end of the lesson, the learner should be able to:

- Make holes and fix bottle top wheels using wire through the axle holes
- Attach a pulling string to make the toy car functional
- Relate making a functional toy car to how mechanical engineers assemble moving parts such as wheels, axles, and connectors so that a machine performs its intended function

- Make holes at the front and back of the car body for axles
- Thread wire through the holes and fix bottle tops as wheels
- Attach a string at the front for pulling; test the toy car on a flat surface

How do wheels and an axle make a toy car functional?

- Mentor Creative Activities Grade 3 pg. 67
- Wire
- Bottle tops
- String
- Assembled car body

Functionality testing - Assembly completion - Problem-solving observation

Performing and Displaying

Sculpture – Making a toy car: fixing wheels and a pulling string

By the end of the lesson, the learner should be able to:

- Make holes and fix bottle top wheels using wire through the axle holes
- Attach a pulling string to make the toy car functional
- Relate making a functional toy car to how mechanical engineers assemble moving parts such as wheels, axles, and connectors so that a machine performs its intended function

- Make holes at the front and back of the car body for axles
- Thread wire through the holes and fix bottle tops as wheels
- Attach a string at the front for pulling; test the toy car on a flat surface

How do wheels and an axle make a toy car functional?

- Mentor Creative Activities Grade 3 pg. 67
- Wire
- Bottle tops
- String
- Assembled car body

Functionality testing - Assembly completion - Problem-solving observation

Performing and Displaying

Sculpture – Decorating assembled toys to improve their appearance

By the end of the lesson, the learner should be able to:

- Add decorative features to assembled toys such as headlights, windows, and doors
- Paint toys using bright and appropriate colours
- Relate decorating functional objects to how product manufacturers add colour and design features to consumer goods to make them more attractive and marketable to buyers

- Add headlights, windows, and doors to toy cars using small materials
- Paint toys using bright colours
- Add finishing touches to dolls and doll houses using available materials

How do decorations and paint improve the appearance and appeal of assembled toys?

- Mentor Creative Activities Grade 3 pg. 68
- Paint and brushes
- Decorative materials
- Small item attachments
- Adhesives

Aesthetic assessment - Painting skills - Decoration creativity

Performing and Displaying

Sculpture – Decorating assembled toys to improve their appearance

By the end of the lesson, the learner should be able to:

- Add decorative features to assembled toys such as headlights, windows, and doors
- Paint toys using bright and appropriate colours
- Relate decorating functional objects to how product manufacturers add colour and design features to consumer goods to make them more attractive and marketable to buyers

- Add headlights, windows, and doors to toy cars using small materials
- Paint toys using bright colours
- Add finishing touches to dolls and doll houses using available materials

How do decorations and paint improve the appearance and appeal of assembled toys?

- Mentor Creative Activities Grade 3 pg. 68
- Paint and brushes
- Decorative materials
- Small item attachments
- Adhesives

Aesthetic assessment - Painting skills - Decoration creativity

Performing and Displaying

Sculpture – Using completed toys for play and singing

By the end of the lesson, the learner should be able to:

- Use completed toys and dolls for creative play with peers
- Sing appropriate songs while playing with toys
- Relate playing with self-made toys to how children in many Kenyan communities have historically made their own toys from clay, sticks, and recycled materials, fostering creativity and self-reliance from an early age

- Play with completed toys and dolls in groups
- Sing action songs related to the play activity
- Share toys with peers and observe respectful sharing during play

How can we use our assembled toys for creative play?

- Mentor Creative Activities Grade 3 pg. 68
- Completed toys and dolls
- Play space
- Song lyrics
- Safe play area

Play observation - Social interaction - Enjoyment assessment

Performing and Displaying

Sculpture – Displaying and presenting assembled toys to peers

By the end of the lesson, the learner should be able to:

- Prepare and organise completed toys for a class exhibition
- Present toys to peers explaining the making process
- Relate presenting handmade products at a class exhibition to how artisans display their craft at the Kenya Cultural Centre and community craft fairs to share their skills and sell their work

- Organise completed toys and dolls on display tables
- Present each toy explaining materials used and steps followed
- Walk around and appreciate peers' assembled toys; give polite and constructive feedback

How should we present our assembled toys to share what we learned?

- Mentor Creative Activities Grade 3 pg. 69
- Display tables
- Presentation cards
- Gallery space
- Evaluation forms

Presentation skills - Display organisation - Peer appreciation

Performing and Displaying

Sculpture – Displaying and presenting assembled toys to peers

By the end of the lesson, the learner should be able to:

- Prepare and organise completed toys for a class exhibition
- Present toys to peers explaining the making process
- Relate presenting handmade products at a class exhibition to how artisans display their craft at the Kenya Cultural Centre and community craft fairs to share their skills and sell their work

- Organise completed toys and dolls on display tables
- Present each toy explaining materials used and steps followed
- Walk around and appreciate peers' assembled toys; give polite and constructive feedback

How should we present our assembled toys to share what we learned?

- Mentor Creative Activities Grade 3 pg. 69
- Display tables
- Presentation cards
- Gallery space
- Evaluation forms

Presentation skills - Display organisation - Peer appreciation

Performing and Displaying

Sculpture – Assessment and review of toy assemblage skills

By the end of the lesson, the learner should be able to:

- Demonstrate competence in all stages of toy assemblage from planning to finishing
- Complete self and peer assessment using rubrics
- Relate structured assessment of assembled products to how quality control teams in manufacturing companies inspect finished products against design specifications before approving them for sale

- Use assessment rubrics to evaluate own and peers' assembled toys
- Complete self and peer assessment forms
- Reflect on what was learned about assemblage and identify one area for improvement

What makes a well-assembled toy and how can we improve our assemblage skills?

- Mentor Creative Activities Grade 3 pg. 69
- Assessment rubrics
- Self-evaluation forms
- Peer feedback forms
- Reflection journals

Self-assessment - Peer assessment - Reflection quality

Performing and Displaying

Sculpture – Assessment and review of toy assemblage skills

By the end of the lesson, the learner should be able to:

- Demonstrate competence in all stages of toy assemblage from planning to finishing
- Complete self and peer assessment using rubrics
- Relate structured assessment of assembled products to how quality control teams in manufacturing companies inspect finished products against design specifications before approving them for sale

- Use assessment rubrics to evaluate own and peers' assembled toys
- Complete self and peer assessment forms
- Reflect on what was learned about assemblage and identify one area for improvement

What makes a well-assembled toy and how can we improve our assemblage skills?

- Mentor Creative Activities Grade 3 pg. 69
- Assessment rubrics
- Self-evaluation forms
- Peer feedback forms
- Reflection journals

Self-assessment - Peer assessment - Reflection quality

Performing and Displaying

Forward Roll and V-Balance – Identifying the forward roll and V-balance in gymnastics

By the end of the lesson, the learner should be able to:

- Define the forward roll as a gymnastics movement where the body rolls forward in a tucked position
- Define the V-balance as a gymnastics position where the body forms a V-shape with legs extended and torso off the ground
- Relate gymnastics skills to how Olympic gymnasts and acrobats train these foundational movements as building blocks for more complex routines

- Watch a video or demonstration of a forward roll and a V-balance
- Discuss the body positions used in each skill
- Identify differences between the forward roll and the V-balance

What is a forward roll and what is a V-balance?

- Mentor Creative Activities Grade 3 pg. 70
- Pictures of gymnastics skills
- Digital devices
- Video clips

Observation - Oral questions - Skill identification

Performing and Displaying

Forward Roll and V-Balance – Identifying body parts used in forward roll and V-balance
Forward Roll and V-Balance – Making improvised field markers for gymnastics

By the end of the lesson, the learner should be able to:

- Identify body parts used in the forward roll: hands, head, back, and feet
- Identify body parts used in the V-balance: hands, legs, bottom, and head
- Relate understanding which body parts are engaged in gymnastics to how sports scientists and physiotherapists identify the muscles and joints involved in physical activities to design targeted training and rehabilitation programmes

- Watch video clips showing forward roll and V-balance
- Discuss and list body parts used in each skill
- Identify how each body part contributes to the success of the skill

Which body parts are most important for performing the forward roll and V-balance?

- Mentor Creative Activities Grade 3 pg. 70
- Digital devices
- Video clips
- Body part charts
- Pictures
- Mentor Creative Activities Grade 3 pg. 71
- Recyclable materials
- Cutting tools
- Adhesives
- Labelling materials

Discussion participation - Body part identification - Video analysis

Performing and Displaying

Forward Roll and V-Balance – Labelling markers and setting up the practice field

By the end of the lesson, the learner should be able to:

- Write appropriate group labels on completed field markers
- Use field markers to organise the practice area into designated zones
- Relate organising a practice field to how sports venue managers and event coordinators lay out playing areas, lanes, and zones before competitions so all participants know exactly where they should be

- Write labels on field markers such as Group A, B, C, D
- Make four field markers for use during gymnastics practice
- Mark the field using the improvised markers and assign groups to zones

How do field markers help us organise and improve our gymnastics practice?

- Mentor Creative Activities Grade 3 pg. 72
- Completed marker bases
- Writing materials
- Field space
- Organisation plan

Labelling accuracy - Organisation skills - Marker placement

Performing and Displaying

Forward Roll and V-Balance – Learning the correct starting position and safety rules for forward roll

By the end of the lesson, the learner should be able to:

- Assume the correct starting position for the forward roll: squat with feet together and hands shoulder-width apart
- State safety rules for performing forward rolls: remove obstacles, warm up, use a flat surface
- Relate injury prevention in gymnastics to how Formula 1 racing teams conduct rigorous pre-race safety checks because a small error at high speed could be fatal

- State and practise safety rules for forward roll
- Warm up by stretching arms, back, and legs
- Practise assuming the correct starting position: squat, feet together, hands on the ground shoulder-width apart

Why is correct starting position and safety preparation important before performing a forward roll?

- Mentor Creative Activities Grade 3 pg. 73
- Flat safe surface
- Gymnastics mats
- Safety guidelines

Position assessment - Practical demonstration - Safety observation

Performing and Displaying

Forward Roll and V-Balance – Performing the forward roll step by step

By the end of the lesson, the learner should be able to:

- Perform the forward roll following the correct sequence: squat, place hands, tuck chin, push off with feet, roll along curved back, land
- Stand up without using hands for support after rolling
- Relate the mechanics of a forward roll to how crash mats and airbags in vehicles are designed using the same principle of distributing force across a curved surface to reduce injury on impact

- Follow the step-by-step forward roll guide in the course book
- Drop head between arms, tuck chin to chest, push off with feet and roll
- Keep legs straight during roll; bend only at the end and stand without hand support

How do we perform a forward roll safely and correctly?

- Mentor Creative Activities Grade 3 pg. 74
- Gymnastics mats
- Flat safe surface
- Spotting assistance

Technique assessment - Safety compliance - Rolling execution

Performing and Displaying

Forward Roll and V-Balance – Practising forward roll in different directions

By the end of the lesson, the learner should be able to:

- Perform a forward roll rolling forward
- Perform a forward roll rolling to the right side
- Perform a forward roll rolling to the left side
- Relate rolling in multiple directions to how a skilled gymnast can control their body's rotational direction, similar to how a skilled driver can navigate a vehicle in any direction with precision

- Practise rolling forward in groups facing the same direction
- Roll to the right side and then to the left side
- Stand and stretch after each roll; observe safety throughout

How does practising forward rolls in different directions improve body control?

- Mentor Creative Activities Grade 3 pg. 75
- Gymnastics mats
- Group practice space
- Direction markers

Group coordination - Safety compliance - Skill execution

Performing and Displaying

Forward Roll and V-Balance – Learning the correct starting position for V-balance

By the end of the lesson, the learner should be able to:

- Assume the correct starting position for V-balance: sit upright on the ground with legs extended
- Lift legs off the ground gradually while using hands for initial support
- Relate learning new balance skills incrementally to how pilots learn to fly using flight simulators before graduating to real aircraft, building confidence and skill in safe, controlled stages

- Warm up by stretching arms, back, and legs
- Sit on the ground with the upper body upright and legs extended
- Lift legs off the ground slightly while using hands on the floor for support

Why do we use hands for support when first learning the V-balance?

- Mentor Creative Activities Grade 3 pg. 75
- Gymnastics mats
- Flat surface
- Support aids

Position assessment - Lifting technique - Balance attempt

Performing and Displaying

Forward Roll and V-Balance – Completing and holding the V-balance position

By the end of the lesson, the learner should be able to:

- Lift hands off the ground and raise them above the head while in V-position
- Straighten legs fully to form the V-shape and hold the position
- Relate holding a sustained balance to how yoga practitioners and martial artists train to hold difficult balance positions for extended periods, developing core strength, focus, and body control

- Sit with legs lifted and lean back slightly
- Lift hands off the ground and stretch them above the head
- Straighten legs to form a full V-shape; hold as long as possible; lower slowly and cheer each other

How do we form and hold a correct V-balance position?

- Mentor Creative Activities Grade 3 pg. 76
- Gymnastics mats
- Balance aids
- Mirror for self-checking
- Timing device

Balance achievement - Form assessment - Hold duration

Performing and Displaying

Forward Roll and V-Balance – Playing the "Simon Says" game combining forward roll and V-balance

By the end of the lesson, the learner should be able to:

- Follow the leader's instructions to perform forward roll or V-balance on command
- Combine both skills within a game context
- Relate following precise instructions under pressure to how emergency response teams must perform specific actions immediately on command during drills, where hesitation or incorrect action can have serious consequences

- Warm up by stretching
- Choose a leader to call "Simon Says" instructions
- Perform forward roll or V-balance only when preceded by "Simon Says"; take turns as leader and cool down by stretching

How does playing "Simon Says" help us practise forward roll and V-balance?

- Mentor Creative Activities Grade 3 pg. 77
- Gymnastics mats
- Flat safe surface
- Performance space

Game participation - Skill integration - Observation

Performing and Displaying

Forward Roll and V-Balance – Singing action songs while performing forward roll and V-balance

By the end of the lesson, the learner should be able to:

- Sing an appropriate action song while performing the forward roll
- Sing an appropriate action song while performing the V-balance
- Relate combining music with gymnastics to how Olympic floor gymnasts choose musical scores that match the rhythm and energy of their routines to create powerful performances

- Learn an action song suitable for gymnastics performance
- Perform forward rolls while singing the action song
- Perform V-balances while singing the action song; cool down by stretching slowly

How does singing during gymnastics make practice more enjoyable and coordinated?

- Mentor Creative Activities Grade 3 pg. 78
- Song lyrics
- Music player
- Practice mats
- Performance space

Song integration - Coordination assessment - Enjoyment observation

Performing and Displaying

Forward Roll and V-Balance – Singing action songs while performing forward roll and V-balance

By the end of the lesson, the learner should be able to:

- Sing an appropriate action song while performing the forward roll
- Sing an appropriate action song while performing the V-balance
- Relate combining music with gymnastics to how Olympic floor gymnasts choose musical scores that match the rhythm and energy of their routines to create powerful performances

- Learn an action song suitable for gymnastics performance
- Perform forward rolls while singing the action song
- Perform V-balances while singing the action song; cool down by stretching slowly

How does singing during gymnastics make practice more enjoyable and coordinated?

- Mentor Creative Activities Grade 3 pg. 78
- Song lyrics
- Music player
- Practice mats
- Performance space

Song integration - Coordination assessment - Enjoyment observation

Performing and Displaying

Forward Roll and V-Balance – Group rotation practice at forward roll and V-balance stations

By the end of the lesson, the learner should be able to:

- Rotate between forward roll and V-balance practice stations following a schedule
- Practise each skill at its designated station
- Relate station rotation in physical education to how factory assembly lines rotate workers through different stations so each worker develops expertise in multiple tasks and the production line continues efficiently

- Form groups and assign each to a starting station
- Practise the skill at the assigned station for a set time
- Rotate to the next station on signal; repeat until all groups have visited both stations

How does rotating between stations help us improve in both skills?

- Mentor Creative Activities Grade 3 pg. 78
- Multiple practice stations
- Rotation schedule
- Field markers
- Timing device

Rotation compliance - Station performance - Time management

Performing and Displaying

Forward Roll and V-Balance – Group rotation practice at forward roll and V-balance stations

By the end of the lesson, the learner should be able to:

- Rotate between forward roll and V-balance practice stations following a schedule
- Practise each skill at its designated station
- Relate station rotation in physical education to how factory assembly lines rotate workers through different stations so each worker develops expertise in multiple tasks and the production line continues efficiently

- Form groups and assign each to a starting station
- Practise the skill at the assigned station for a set time
- Rotate to the next station on signal; repeat until all groups have visited both stations

How does rotating between stations help us improve in both skills?

- Mentor Creative Activities Grade 3 pg. 78
- Multiple practice stations
- Rotation schedule
- Field markers
- Timing device

Rotation compliance - Station performance - Time management

Performing and Displaying

Forward Roll and V-Balance – Peer assessment of forward roll and V-balance performance

By the end of the lesson, the learner should be able to:

- Observe a peer's forward roll and V-balance performance using an assessment checklist
- Provide specific and constructive feedback to support improvement
- Relate peer assessment to how sports coaches use video playback with athletes to pinpoint specific technical errors and give targeted corrections rather than general comments

- Observe each peer performing a forward roll and a V-balance
- Use the course book assessment table to tick observations and note comments
- Share feedback kindly and specifically; discuss areas of strength and improvement

What specific things should we look for when assessing a peer's forward roll and V-balance?

- Mentor Creative Activities Grade 3 pg. 79
- Assessment checklists
- Peer evaluation forms
- Practice mats

Checklist completion - Performance assessment - Feedback quality

Performing and Displaying

Forward Roll and V-Balance – Final assessment and review of forward roll and V-balance

By the end of the lesson, the learner should be able to:

- Demonstrate both forward roll and V-balance with correct technique
- Complete self and peer assessment using rubrics
- Relate structured final assessment to how gymnastics judges at competitions score athletes on each element of a routine using standardised rubrics that award marks for correct technique, control, and performance quality

- Perform both the forward roll and the V-balance for final assessment
- Apply all safety rules and warm-up procedures
- Complete self and peer assessment rubrics and discuss progress made

How well have I mastered the forward roll and V-balance?

- Mentor Creative Activities Grade 3 pg. 79
- Assessment rubrics
- Gymnastics mats
- Peer evaluation forms

Practical assessment - Self-assessment - Peer assessment

Performing and Displaying

Forward Roll and V-Balance – Final assessment and review of forward roll and V-balance

By the end of the lesson, the learner should be able to:

- Demonstrate both forward roll and V-balance with correct technique
- Complete self and peer assessment using rubrics
- Relate structured final assessment to how gymnastics judges at competitions score athletes on each element of a routine using standardised rubrics that award marks for correct technique, control, and performance quality

- Perform both the forward roll and the V-balance for final assessment
- Apply all safety rules and warm-up procedures
- Complete self and peer assessment rubrics and discuss progress made

How well have I mastered the forward roll and V-balance?

- Mentor Creative Activities Grade 3 pg. 79
- Assessment rubrics
- Gymnastics mats
- Peer evaluation forms

Practical assessment - Self-assessment - Peer assessment

Performing and Displaying

String Musical Instruments – Identifying string musical instruments from Kenyan communities

By the end of the lesson, the learner should be able to:

- Identify string instruments as instruments made of strings whose vibration produces sound
- Recognise that different Kenyan communities have string instruments with similar features but different names, sizes, and materials
- Relate string instruments to how the vibration of strings in guitars, violins, and pianos follows the same physics principle as Kenyan fiddles and bows, making string instruments universal across all cultures

- Watch a video of people playing string instruments using the provided link
- Observe pictures of Kenyan string instruments in the course book
- Discuss what is common across all the instruments shown

What are string instruments and what do different Kenyan string instruments have in common?

- Mentor Creative Activities Grade 3 pg. 80
- Digital devices
- Pictures of string instruments
- Video link
- Reference materials

Instrument identification - Oral discussion - Cultural awareness

Performing and Displaying

String Musical Instruments – Identifying fiddles from Kenyan communities

By the end of the lesson, the learner should be able to:

- Identify fiddles as string instruments with one or two strings
- Name fiddles from specific Kenyan communities: Wandindi (Agikuyu, Ameru, Aembu), Ishiriri (Luhya), Mbeve (Kamba), Kimeng'eng (Kalenjin), Orutu (Luo), Mwazigizi (Taita)
- Relate learning about Kenya's diverse string instruments to how studying a country's musical instruments reveals its cultural history, the materials available in each region, and the values of each community

- Study pictures of fiddles in the course book
- Read and discuss the table of Kenyan fiddles, their communities, and categories
- Identify two fiddles from communities represented in the class

Which communities in Kenya use fiddles and what are they called?

- Mentor Creative Activities Grade 3 pg. 80
- Pictures of fiddles
- Community string instrument table
- Cultural references

Instrument recognition - Playing method understanding - Cultural appreciation

Performing and Displaying

String Musical Instruments – Identifying the main parts of a fiddle

By the end of the lesson, the learner should be able to:

- Identify the main parts of a fiddle: string, arm, resonator, bridge, tuning peg, and bow
- Explain the function of each part
- Relate the parts of a fiddle to how a modern electric guitar has the same functional components: strings, body, bridge, tuning pegs, and pick-up, showing that acoustic instrument design has directly influenced modern music technology

- Look at the labelled diagram of a fiddle in the course book
- Identify which part is plucked or bowed to produce sound
- Discuss the function of the arm, resonator, bridge, tuning peg, membrane, and bow

What are the main parts of a fiddle and what does each part do?

- Mentor Creative Activities Grade 3 pg. 81
- Labelled fiddle diagram
- Sample fiddle or replica
- Reference materials

Part identification - Function explanation - Diagram analysis

Performing and Displaying

String Musical Instruments – Identifying musical bows and ground bows from Kenyan communities

By the end of the lesson, the learner should be able to:

- Identify musical bows as string instruments made by bending wood into a bow shape with a string stretched between the ends
- Name musical bows from Kenyan communities: Uta (Kamba), Entono (Kuria), Limoyi and Indeveve (Luhya)
- Identify the Nderemo (Kikuyu) as a ground bow where a hole is dug in the ground to act as a resonator
- Relate the ground bow's use of the earth as a resonator to how outdoor amphitheatres use curved earth and rock formations to amplify sound naturally without electronic equipment

- Study pictures of musical bows and the ground bow (Nderemo)
- Read the instrument table and identify which instruments are musical bows and which is the ground bow
- Discuss how the ground hole in the Nderemo amplifies sound

How do musical bows and the ground bow produce and amplify sound?

- Mentor Creative Activities Grade 3 pg. 81
- Pictures of musical bows and ground bow
- Instrument table
- Cultural references
- Video resources

Instrument identification - Sound principle understanding - Cultural knowledge

Performing and Displaying

String Musical Instruments – Learning how fiddles, musical bows, and mouth bows are played
String Musical Instruments – Collecting materials to improvise a Kenyan string instrument

By the end of the lesson, the learner should be able to:

- Explain that fiddles are played by bowing: one hand moves the bow across the string while the other holds the fiddle
- Explain that mouth bows are played by hitting the string with a metal rod while held close to the mouth
- Explain that ground bows are played by striking
- Relate the different playing methods to how modern instruments also use these same techniques: a cello is bowed, a piano uses hammers to strike strings, and a dulcimer is struck

- Watch a video on how string instruments are played
- Study pictures showing bowing, hitting, and striking techniques
- Imitate body posture, hand position, and fingering position for each instrument without instruments

How do we play fiddles, musical bows, and ground bows differently?

- Mentor Creative Activities Grade 3 pg. 82
- Digital devices
- Playing technique pictures
- Video demonstrations
- Mentor Creative Activities Grade 3 pg. 83
- Collection guidelines
- Safety equipment
- Storage containers
- Material lists

Technique demonstration - Method differentiation - Practice observation

Performing and Displaying

String Musical Instruments – Bending a stick to form the bow of an improvised string instrument

By the end of the lesson, the learner should be able to:

- Select a stick that is flexible enough to bend without breaking
- Carefully bend the stick into the correct bow shape
- Relate selecting the right material for a specific purpose to how engineers choose materials based on their physical properties: a car suspension spring must be both strong and flexible, just as the bow stick must be firm yet able to bend

- Select a stick that bends without snapping
- Slowly and carefully bend the stick into a bow curve
- Ensure the bow maintains its curved shape and is stable

How do we bend a stick into a bow shape without breaking it?

- Mentor Creative Activities Grade 3 pg. 84
- Bendable sticks
- Bending demonstrations
- Safety guidelines
- Examples of bows

Stick selection - Bending technique - Shape formation

Performing and Displaying

String Musical Instruments – Tying the string onto the improvised bow

By the end of the lesson, the learner should be able to:

- Tie thread or wire securely to both ends of the bent bow
- Create appropriate string tension so the string produces a clear sound when struck
- Relate achieving correct string tension to how guitar technicians tune strings to precise tensions so each string vibrates at the correct frequency to produce an in-tune note

- Tie sisal or nylon thread or thin wire to one end of the bent bow
- Stretch the string to the other end and tie securely
- Test the tension by gently plucking the string and adjust if needed

How do we tie the string securely and achieve the correct tension?

- Mentor Creative Activities Grade 3 pg. 84
- Sisal or nylon thread
- Thin wire
- Completed bows
- Tying demonstrations

Tying skill - Tension assessment - Security testing

Performing and Displaying

String Musical Instruments – Testing and playing the improvised string instrument

By the end of the lesson, the learner should be able to:

- Strike the string of the improvised instrument with a straight stick to produce sound
- Assess the quality of sound produced and make adjustments
- Relate testing and adjusting a self-made instrument to how audio engineers in a recording studio test microphone placements and make precise adjustments to achieve the best possible sound quality before a recording session

- Use a straight stick to strike the improvised string
- Listen carefully to the sound produced
- Make adjustments to string tension or bow shape to improve the sound

What makes our improvised string instrument produce a good clear sound?

- Mentor Creative Activities Grade 3 pg. 84
- Completed improvised instruments
- Striking sticks
- Sound testing area
- Adjustment materials

Sound production - Quality assessment - Adjustment skills

Performing and Displaying

String Musical Instruments – Practising playing the improvised string instrument

By the end of the lesson, the learner should be able to:

- Strike the string at different points to produce varied sounds
- Explore different striking techniques to improve sound quality
- Relate exploring different ways to play a handmade instrument to how self-taught musicians worldwide experiment with their instruments to discover unique sounds, just as Jimi Hendrix revolutionised guitar playing by experimenting with unconventional techniques

- Practise striking the string at different positions
- Explore different striking techniques and compare results
- Attempt to create a simple melodic pattern using the improvised instrument

How can we create different sounds by striking the string at different points?

- Mentor Creative Activities Grade 3 pg. 85
- Improvised instruments
- Practice space
- Playing guides
- Striking implements

Playing technique - Sound variation - Musical exploration

Performing and Displaying

String Musical Instruments – Practising playing the improvised string instrument

By the end of the lesson, the learner should be able to:

- Strike the string at different points to produce varied sounds
- Explore different striking techniques to improve sound quality
- Relate exploring different ways to play a handmade instrument to how self-taught musicians worldwide experiment with their instruments to discover unique sounds, just as Jimi Hendrix revolutionised guitar playing by experimenting with unconventional techniques

- Practise striking the string at different positions
- Explore different striking techniques and compare results
- Attempt to create a simple melodic pattern using the improvised instrument

How can we create different sounds by striking the string at different points?

- Mentor Creative Activities Grade 3 pg. 85
- Improvised instruments
- Practice space
- Playing guides
- Striking implements

Playing technique - Sound variation - Musical exploration

Performing and Displaying

String Musical Instruments – Making an improvised fiddle step by step

By the end of the lesson, the learner should be able to:

- Construct an improvised fiddle following the step-by-step guide in the course book
- Identify and assemble the components: arm, resonator, bridge, tuning peg, string, and bow
- Relate constructing an instrument step by step to how assembly workers in a guitar factory follow a precise sequence of steps to build each instrument, with each stage dependent on the one before it

- Follow steps in the course book to make an improvised fiddle
- Assemble arm, resonator, bridge, tuning peg, string, and bow
- Use hammer and nails carefully; wash hands after the activity

How do we build an improvised fiddle following a step-by-step process?

- Mentor Creative Activities Grade 3 pg. 83
- Resonator (tin or container)
- Arm (stick)
- Nails
- Wire or string
- Bow materials

Construction skill - Sequence following - Safety compliance

Performing and Displaying

String Musical Instruments – Recording and reviewing string instrument performances

By the end of the lesson, the learner should be able to:

- Record a performance on the improvised string instrument using a digital device
- Review the recording and identify specific areas for improvement
- Relate recording and reviewing performances to how athletes use slow-motion video analysis to identify technical flaws in their technique that are invisible at normal speed, making targeted improvements much more efficient

- Use a digital device to record playing the improvised instrument
- Watch and listen to the recording carefully
- Discuss with peers what sounds well and what can be improved

How does recording our playing help us improve faster?

- Mentor Creative Activities Grade 3 pg. 85
- Digital recording devices
- Playback equipment
- Evaluation forms
- Performance space

Recording quality - Self-review - Performance analysis

Performing and Displaying

String Musical Instruments – Decorating and displaying improvised string instruments

By the end of the lesson, the learner should be able to:

- Add decorative elements to improvised instruments
- Display completed instruments and demonstrate playing techniques
- Relate decorating functional instruments to how traditional Kenyan instrument makers carved decorative patterns on fiddle resonators as a sign of cultural identity and craftsmanship pride

- Add decorations to improvised instruments using paints, patterns, or cultural designs
- Organise an instrument display in class
- Present instruments to peers and demonstrate playing techniques

How do decorations reflect our cultural identity on a handmade instrument?

- Mentor Creative Activities Grade 3 pg. 83
- Decorating materials
- Paints and brushes
- Exhibition space
- Presentation cards

Decoration creativity - Aesthetic appeal - Demonstration ability

Performing and Displaying

String Musical Instruments – Decorating and displaying improvised string instruments

By the end of the lesson, the learner should be able to:

- Add decorative elements to improvised instruments
- Display completed instruments and demonstrate playing techniques
- Relate decorating functional instruments to how traditional Kenyan instrument makers carved decorative patterns on fiddle resonators as a sign of cultural identity and craftsmanship pride

- Add decorations to improvised instruments using paints, patterns, or cultural designs
- Organise an instrument display in class
- Present instruments to peers and demonstrate playing techniques

How do decorations reflect our cultural identity on a handmade instrument?

- Mentor Creative Activities Grade 3 pg. 83
- Decorating materials
- Paints and brushes
- Exhibition space
- Presentation cards

Decoration creativity - Aesthetic appeal - Demonstration ability

Performing and Displaying

String Musical Instruments – Decorating and displaying improvised string instruments

By the end of the lesson, the learner should be able to:

- Add decorative elements to improvised instruments
- Display completed instruments and demonstrate playing techniques
- Relate decorating functional instruments to how traditional Kenyan instrument makers carved decorative patterns on fiddle resonators as a sign of cultural identity and craftsmanship pride

- Add decorations to improvised instruments using paints, patterns, or cultural designs
- Organise an instrument display in class
- Present instruments to peers and demonstrate playing techniques

How do decorations reflect our cultural identity on a handmade instrument?

- Mentor Creative Activities Grade 3 pg. 83
- Decorating materials
- Paints and brushes
- Exhibition space
- Presentation cards

Decoration creativity - Aesthetic appeal - Demonstration ability

Performing and Displaying

String Musical Instruments – Assessment and review of string musical instrument skills

By the end of the lesson, the learner should be able to:

- Demonstrate knowledge of Kenyan string instruments by naming instruments and their communities
- Play an improvised string instrument producing clear sound
- Relate structured assessment to how students entering the Kenya Music Festival are assessed on both theoretical knowledge about instruments and practical performance ability using clear, standardised rubrics

- Name string instruments and match them to their communities
- Play the improvised instrument for final assessment
- Complete self and peer assessment using rubrics

How well have I understood and mastered Kenyan string instruments?

- Mentor Creative Activities Grade 3 pg. 87
- Assessment rubrics
- Improvised instruments
- Peer evaluation forms

Practical tests - Self-assessment - Peer assessment

Performing and Displaying

Modelling and Ornament Making – Identifying modelled beads and their materials

By the end of the lesson, the learner should be able to:

- Identify beads made through modelling using clay or papier mâché
- Describe the materials used to model beads and the different shapes they can take
- Relate handmade clay beads to how the Maasai, Samburu, and Turkana communities in Kenya have for centuries made and traded beaded ornaments as symbols of cultural identity, social status, and rites of passage

- Look at pictures of modelled beads in the course book
- Discuss the materials used to make each set of beads
- Identify different shapes and sizes of beads in the pictures

What materials are used to model beads and what makes beads attractive?

- Mentor Creative Activities Grade 3 pg. 87
- Pictures of modelled beads
- Sample beads
- Material examples
- Bead collections

Bead identification - Material recognition - Interest assessment

Performing and Displaying

Modelling and Ornament Making – Learning the pellet technique through video observation

By the end of the lesson, the learner should be able to:

- Define the pellet technique as the process of rolling small balls of clay or papier mâché to make beads
- Identify the steps for making beads from observed videos
- Relate the pellet technique to how pharmaceutical tablet manufacturers roll and press small pellets of medicine into precisely shaped tablets using moulds and rolling machines on industrial production lines

- Watch videos on modelling clay beads using the provided link
- Watch videos on making ornaments with beads
- Discuss the steps observed and list them in order

What is the pellet technique and what steps are involved in making clay beads?

- Mentor Creative Activities Grade 3 pg. 88
- Digital devices
- Video links
- Internet access
- Viewing area

Video comprehension - Technique identification - Learning engagement

Performing and Displaying

Modelling and Ornament Making – Rolling clay or papier mâché pellets using palm and surface methods

By the end of the lesson, the learner should be able to:

- Roll clay or papier mâché on the palm to create round smooth pellets
- Roll clay or papier mâché on a flat surface to make pellets
- Relate the rolling technique for making pellets to how potters use both palm-rolling and surface-rolling techniques to shape clay into smooth, consistent forms, and how bread bakers roll dough into equal-sized balls before baking

- Roll material on the palm to create smooth round pellets
- Roll material on a flat surface and compare results with palm-rolling
- Practise making pellets of different sizes using both methods

How do we roll clay into smooth, round pellets?

- Mentor Creative Activities Grade 3 pg. 88
- Clay or papier mâché
- Flat rolling surfaces
- Hand washing facilities
- Work surfaces

Rolling technique - Size control - Smoothness quality

Performing and Displaying

Modelling and Ornament Making – Shaping pellets and piercing holes for stringing

By the end of the lesson, the learner should be able to:

- Create pellets in different shapes such as round, oval, and cylindrical
- Pierce holes through pellets before they dry using a wire, sharp stick, thorn, or nail
- Relate piercing beads at the right time to how jewellery manufacturers drill holes in semi-precious stones before they are fully hardened, because drilling after full hardening would crack the stone

- Shape pellets in round, oval, and cylindrical forms
- Pierce holes through pellets using a thin wire, sharp stick, or thorn while still soft
- Ensure holes are large enough for a thread to pass through

Why must we pierce the pellets before they fully dry?

- Mentor Creative Activities Grade 3 pg. 88
- Modelling materials
- Piercing tools (wires, sticks)
- Safety guidelines
- Work surfaces

Piercing technique - Safety compliance - Timing accuracy

Performing and Displaying

Modelling and Ornament Making – Drying modelled beads correctly under shade

By the end of the lesson, the learner should be able to:

- Dry beads in a shaded area to prevent cracking
- Explain why direct sunlight causes clay beads to crack during drying
- Relate controlled drying of clay to how ceramics factories use kilns with precisely controlled temperatures to fire clay products, because too rapid or uneven heating causes the clay to crack or distort

- Place pierced beads in a shaded area to dry
- Discuss why beads should not be dried in direct sunlight
- Leave beads to dry completely before decorating; check on them during break time

Why must clay beads be dried in the shade and not in direct sunlight?

- Mentor Creative Activities Grade 3 pg. 88
- Shaded drying area
- Drying racks or surfaces
- Beads for drying
- Shade materials

Drying location choice - Understanding of cracking - Patience demonstration

Performing and Displaying

Modelling and Ornament Making – Decorating dried modelled beads by painting

By the end of the lesson, the learner should be able to:

- Paint dried beads using different colours to create attractive designs
- Create patterns and colour combinations on beads
- Relate painting beads with colourful patterns to how Maasai beadwork uses specific colour combinations that carry cultural meaning, for example red symbolising courage, blue for the sky and water, and white for purity and health

- Prepare the working area and lay out paints, sponges, and brushes
- Paint beads one at a time using different colours
- Leave painted beads to dry completely before stringing

Which colour combinations make the most attractive beads and what do the colours symbolise?

- Mentor Creative Activities Grade 3 pg. 89
- Paints in various colours
- Paintbrushes
- Dried beads
- Palettes
- Water containers

Painting skill - Colour selection - Design creativity

Performing and Displaying

Modelling and Ornament Making – Planning a necklace design and stringing beads
Modelling and Ornament Making – Completing and securing the beaded necklace

By the end of the lesson, the learner should be able to:

- Plan a necklace design by deciding the order and colour pattern of beads before stringing
- Thread painted beads onto a string following the planned design
- Relate planning a beading pattern before threading to how fashion designers create detailed sketches of their collections before cutting fabric, ensuring every design decision is intentional and the final product matches the vision

- Decide the colour and size sequence for the necklace design
- Thread beads onto a string following the planned pattern
- Continue adding beads until the necklace reaches the desired length

Why is it helpful to plan a bead pattern before starting to string?

- Mentor Creative Activities Grade 3 pg. 89
- Strings or threads
- Decorated beads
- Threading needles if needed
- Design plans
- Partially completed necklaces
- Fastening materials
- Tying demonstrations
- Clasps if available

Threading skill - Pattern following - Necklace formation

Performing and Displaying

Modelling and Ornament Making – Displaying and appreciating own and peers' ornaments

By the end of the lesson, the learner should be able to:

- Display completed beaded necklaces and ornaments for peer appreciation
- Discuss materials and techniques used in own and others' ornaments
- Relate sharing and appreciating handmade ornaments to how jewellers at craft fairs and cultural exhibitions display their work for customers who appreciate the skill, cultural significance, and artistry of handmade jewellery

- Organise ornaments for a class display
- Present each ornament explaining the making process
- Walk around to view and appreciate peers' ornaments; give respectful feedback

How should we present and talk about our beaded ornaments?

- Mentor Creative Activities Grade 3 pg. 91
- Display area
- Presentation materials
- Ornament stands
- Evaluation forms

Display organisation - Presentation skill - Appreciation expression

Performing and Displaying

Modelling and Ornament Making – Assessment and review of modelling and ornament making

By the end of the lesson, the learner should be able to:

- Demonstrate competence in all stages of bead making: rolling, piercing, drying, painting, and stringing
- Complete self and peer assessment using rubrics
- Relate structured self-assessment in craft to how master craftspeople in traditional Kenyan communities were assessed by community elders on the quality of their work before they were recognised as skilled artisans allowed to sell their products at community markets

- Use assessment rubrics to evaluate own and peers' ornament work
- Complete self and peer assessment forms
- Discuss what was most challenging and most enjoyable in the ornament-making process

How well have I mastered the process of modelling and making a beaded ornament?

- Mentor Creative Activities Grade 3 pg. 91
- Assessment rubrics
- Self-evaluation forms
- Peer feedback forms
- Reflection guidelines

Self-assessment - Peer assessment - Reflection depth

Performing and Displaying

Modelling and Ornament Making – Assessment and review of modelling and ornament making

By the end of the lesson, the learner should be able to:

- Demonstrate competence in all stages of bead making: rolling, piercing, drying, painting, and stringing
- Complete self and peer assessment using rubrics
- Relate structured self-assessment in craft to how master craftspeople in traditional Kenyan communities were assessed by community elders on the quality of their work before they were recognised as skilled artisans allowed to sell their products at community markets

- Use assessment rubrics to evaluate own and peers' ornament work
- Complete self and peer assessment forms
- Discuss what was most challenging and most enjoyable in the ornament-making process

How well have I mastered the process of modelling and making a beaded ornament?

- Mentor Creative Activities Grade 3 pg. 91
- Assessment rubrics
- Self-evaluation forms
- Peer feedback forms
- Reflection guidelines

Self-assessment - Peer assessment - Reflection depth