CAC Teachers' Manual Drama

2

CONTENTS

Introduction 2

General Curriculum Objectives 4

Specific Curriculum Objectives 4

Programme of Work 5

TERM 1 6

Introduction to Mime 7

Introduction to Side-Coaching 7

Term 1 - Schedule of Activities 10 - 26

MIME - Session details 11

Assessment 27

Analytic Rubric - Mime scenario 28

Assessment Scoresheet – Mime scenario 29

TERM 2 30

Introduction to Storytelling 31

Elements of a Story 32

Term 11 & 111 - Schedule of Activities 33

Term 11 – Storytelling - Session details 34 - 41

TERM 3 42

Term 111 - Storytelling - Session details 43 - 49

Glossary of Terms 50

References 51

3

INTRODUCTION

Drama as core curriculum provides an exciting opportunity to enhance student learning and

make teaching more meaningful at the primary level. Students of Standard Four will be able to

develop a range of skills including concentration, collaboration, creative thinking, critical

thinking and problem solving. As a discrete subject area, Drama affords students an outlet to

express their thoughts, ideas and feelings in unique ways, and to build self-esteem. Research

shows that as early as 429 – 347 BCE, Plato recognised that Dramatic Play was important to

learning. More recently, Dewey (1859 - 1952) laid the foundation for learning through activity,

experiential learning etc. More contemporary research shows that Drama in Education caters to

the development of children in all of the learning domains – cognitive, psychomotor and

affective. Both its content and conventions are aligned to the more universal learning theories.

Drama also provides opportunities for students to have fun while learning!

As teachers of Drama, you will be able to interact on several levels with your students. Drama

teaching and interactions will allow both teachers and students to approach the work in a less

formal way. This helps to create an atmosphere in which greater participation and more honest

responses from the students can be elicited. In Drama, teaching is student-centred, allowing for

equity in treatment of the individual student even as it caters to their Multiple Intelligences

(Gardner, 1983). This mode of interaction, improvisation-based drama rather than literature-

based drama, also allows you the teacher greater scope for utilising improvisational skills to

teach ‘in the moment’ and to ‘think on your feet’.

This manual will seek to dispel the notion that the teacher of Drama does not have to be

prepared. Dorothy Heathcote (1926 – 2011), foremost proponent of Drama in Education, insists

that teachers must always be prepared, since they are responsible for setting the structure that

ensures that true learning takes place. They must prepare the physical environment, plan the

activities to be taught and ensure that each activity is prefaced by rules of engagement.

Heathcote claims that only through this approach of commitment for the work would Drama

receive the respect it deserves. In addition, only within this structure of discipline would students

be able to extend their imagination, exercise their innate creative abilities, experience fulfilment

and simply have fun, in ways that traditional teaching modes do not allow.

4

Dramatic play can be used to teach national curricula, including social and moral values while at

the same time generating high levels of excitement and fun. When teachers use dramatic

activities, they allow children to use their bodies and voices to create meaningful learning.

Dramatic play allows students to experience the message of stories in ways that are different

from simply hearing the story or seeing it acted out by others. They are able to immerse

themselves in cultures and situations different from their own. Such an approach can teach facts

but also stimulate empathy, and yet bring immense joy to learners while simultaneously

presenting alternate opportunities for learning.

Dramatic play helps children to work together in teams, whether in pairs, small groups or large

group activities. Lev Vygotsky’s (1896 – 1934) Social Behaviour Theory demonstrates how in

group activities such as is common in Drama sessions, the leader (teacher) can help each child

understand his part in relation to the whole, while coaching him to become actively involved.

Working in groups also demands that students become aware of personal space while respecting

the general space, as they are taught that respect and safety are paramount.

Dramatic play builds confidence in young children by allowing them to experiment with their

bodies and voices in a non-competitive, non-threatening environment. Because dramatic play

focuses on the process of each activity, rather than the product or performance of that activity,

each child can be coached to experience and appreciate the value of the process.

Dramatic play engages all sensory faculties of children. Rather than superficial ‘let’s pretend’,

students are guided to experience and respond to the sensations - really ‘hear’ concert music, or

to really ‘walk’ in space etc. By assuring children that their responses about their own

experiences cannot be wrong, the teacher allows them to name their feelings and acknowledge

them safely. This positive experience builds children’s confidence.

Working through dramatic play will allow you the teacher to interact on several levels with your

students. This will certainly encourage a higher level of engagement, enjoyment and

accomplishment in teaching and learning.

So, dive in and together with your students, embrace the new modes of teaching and learning and

create greater opportunities for their success!

5

OBJECTIVES

General Curriculum Objectives

The subject Drama will:

provide opportunities for pupils’ creative and aesthetic development

foster leadership skills through decision-making and problem-solving activities.

Specific Curriculum Objectives

The student will:

explore dramatic play.

engage in creative thinking, self-expression and dramatization.

develop discipline and control in the use of voice, body, mind and space to create

scenarios.

develop an awareness of, and recognition and creation of sounds.

develop social skills and the ability to work cooperatively.

develop poise and confidence through challenging activities.

use creative movement to interpret and communicate meaning.

respond with sensitivity and respect for the ideas of others.

operate in personal space while respecting general space

discuss the elements of the activity

create and work in a mime scenario with a beginning, middle and end.

reflect on activities and experiences

develop concentration, focus and time-management skills.

participate in activity with purpose

understand the importance of fitness

6

PROGRAMME OF WORK

The programme of work for Drama in Standard Four is organised around two general units:

(1) Mime (2) Storytelling.

The initial implementation for the Continuous Assessment Component will be done as follows:

Term One (1) Unit on Mime will be taught and assessed in a formal manner. Scores will be

stored and moderated as part of the initial implementation.

During Terms Two (2) and Three (3) an extended unit on Storytelling would be taught. At the

end of the Storytelling unit presentations of stories may be scheduled for enrichment and

enjoyment.

Certain elements of the programme are presented as collective packages from which the teacher can select the appropriate activities for each Session.

1. Specific objectives ( See pg. 5)

2. Sample questions for reflection. (Structured reflection by students allows the teacher to assess whether the objectives were effectively achieved, and whether students enjoyed the session. It is also an opportunity for the teacher to deepen the learning.)

Did you make sense of this activity?

What parts of it did you enjoy or not enjoy?

Did you feel comfortable going to the centre of the circle?

How is it similar to being on a stage with other people looking at you performing?

Were you confused at any time?

Were you able to follow all of the directions on time?

What do you think the activity was about?

Did everybody complete the task of the activity?

3. Closure of Sessions (Session closure is critical for tying up the lesson, for guiding students to points of focus, and to help students to move on to another lesson in a disciplined manner.)

At the end of each session, pupils stand in a circle; eyes closed and are asked to replay the events of the lesson in their minds. They are reminded of the highlights of the lesson - the mood, the rhythm, the singing and the actions. Students are asked to take deep breaths, breathing in all that was positive and breathe out all the negatives. They open their eyes and leave in silence.

8

INTRODUCTION TO MIME

Students are first introduced to simple Drama activities that should prepare them for more

engaging work later in the term. Emphasis is placed on developing skills in MIME. This

manual, in particular for Term 1, offers numerous activities, although the teacher may not be able

to use all activities listed, due to constraints of time, space and number of students etc.

INTRODUCTION TO SIDE-COACHING

Mime, sometimes referred to as pantomime, is an aspect of drama where a performer relies totally on gesture, facial expression, and movement, rather than speech, for enactment of his material. Mime introduces students to the

concept of physically creating objects and suggesting environments and scenes through pantomimic technique. The area of mime covers a range of

learning activities that in one term could offer a reasonable degree of exposure to students on the benefits of Drama in Education. Students will

learn that in pantomime the actor is trained to act out the story/character with movement instead of words. If perchance your school is limited by space, numerous Mime activities are included in the manual for working within

limited space.

Side-coaching is the foundation technique used in conducting the

lessons. Side-coaching is a technique used during dramatic activities,

in which the teacher offers suggestions or comments from the side,

while the students are in action, in order to heighten and advance the

action and the experience. Usually, compliments are given or

questions are asked when side coaching. The technique also serves to

motivate students (keeping them on task), and for reminding students

of activity goals. Helping students to visualize is a key function of side

Areas

Mime

Use of bod

Gestures

Facial expression

Freeze

Manipulatimaginary objects

MovementTension

Pace

s of Drama t

Tab

dy Stil

Ten

n Com

Dep

tion of

t and

that would b

bleau

llness

nsion

mposition

piction

9

be taught in

Sound e

Use of svoice

Use of sbody

Harmonsound to

n Term 1, S

effects S

sound- Dbt

sound - S

nising of o mime

C

tandard Fo

Story-mime

Depiction ofbrief scenarithrough mim

Sequencing

Clarity

our

e

f o

me

10

SCHEDULE OF ACTIVITIES

Activities have been designed to be included in the school’s timetable for the academic Term

One (1) - September to December, commencing in Week 4 of the term. The schedule covers 10

teaching weeks, with one teaching session per week. The 11th week is scheduled for summative

evaluation.

SESSION WARM UP INTRODUCTORY

ACTIVITY

MIME ACTIVITY COOL DOWN

1 Hello Hands on Deck Mirroring Treasure Box

2 Weaving - Freeze Snake Tag Magic Box Pass the Clap

3 Weaving - Directions/Greetings

Transformations Facial Expressions & Gestures

Body Parts

4 Weaving – Levels/Patterns

The Atom Game Tableau/Magic Camera

Pass the energy

5 Weaving – Fast & Slow Sharks Activities -Using the Senses

Magic Chairs

6 Sounds in the Environment

Sound-scape Machines Tropical Rainstorm

7 Fruit Salad Tug of War Sculpting Texan Yell

8 Follow the Leader Song/Movement What’s my Job Bubble the Pot

9 Weaving – Character walk

What’s the stick! Chinese Mime Rainstorm Massage

10 Weaving - Tension Numbers Game:1,2,3

Grow a tree Body Parts

11 EVALUATION

11

The following pages describe the activities for each session in Term 1.

SESSION ONE

WARM UP: Hello – Getting to Know You (Song – Game) Song Lyrics – (Teachers would learn the melody in the training workshop)

H-E-L-L-O We are here to say hello

……is my name and (drama) is my game With (drama) on my mind, Woopsie - woopsie all the time!

Students and teacher stand in a circle. Teacher begins the activity through his/her own

performance and encourages pupils to continue, keeping the flow of the action. Students

in turn go to the circle-centre and perform the song. Pupils insert their interest – “…… is

my game”. They can also change the phrase ‘woopise – woopsie’ to their preference and

also interpret the phrase through movement, trying not to repeat what went before. At the

end, pupils sit in a circle to discuss the activity.

INTRODUCTORY ACTIVITY: Hands On Deck

Teacher creates the illusion that the space being used for the activity is the deck of a ship. Students are all

deck hands who must carry out the Captain’s orders. Through the technique of side-coaching, the teacher

issues instructions. All or some of the following instructions may be used.

Hands on deck! Students must all diligently mime various tasks on the deck

Captain’s approaching! Students must all briskly come to attention and salute

Man overboard! Students must all run to the left of the space and mime diving overboard

Man the lifeboats! Students must all run to the right and mime getting into lifeboats

Bombers overhead! Students must stoop on the floor with hands over their heads

Hoist the sails! Students must mime hoisting the heavy ropes for the sail

Row the boats! Students must find a partner, sit opposite each other and row

Land ahoy! Students mime looking through the telescope to look for the land faraway.

Walk the plank! Students mime walking the plank.

Scrub the deck! Students mime different ways to scrub the deck.

Teacher starts slowly and then begins to increase the speed at which the orders are given to the point

of confusion and tiredness. Teacher gives pupils time to catch their breath before bringing them into a

circle to discuss the activity.

12

CLOSURE OF SESSION.

COOL DOWN: Treasure Box

Students are brought together in a circle. They are made aware that the inside of the

circle becomes imaginatively a treasure box/ treasure trove in which all their

experiences are stored. Each student is then asked to share his/her experience and

then place it into the box and give it a shake so it mixes with all of the other

experiences. The experiences of each student become the experiences of all the

students.

MIME ACTIVITY: Mirroring

Students are asked to walk around in the space. Teacher calls ‘Stop’ and instructs students to group

into pairs. They decide who is ‘A’ and who is ‘B’. Teacher instructs that A is the mirror and B is the

person facing the mirror. The character in front of the mirror will initiate movements for the character

in the mirror to imitate. Students are told:

make slow movements so the image can follow

the image’s movement should be as closely timed with the person’s movement as possible

make movements that flow into one another

try to maintain focused

explore levels and maintain distance

work in silence

Students are given two minutes to complete the exercise. Then they are instructed to change roles and

perform the exercise again. Students are brought into a circle and are asked to comment on the activity.

Each opinion given by a student is valued. The teacher probes until the word or idea of mime is

mentioned. The idea mime is explored. Students are asked if mime and freeze are similar. More

discussion is encouraged.

13

SESSION TWO

WARM UP: Weaving - Freeze

Students take note of the marked space and are advised to perform the activity

within it. They are also instructed to exercise care in moving and try to avoid

‘crashing’ into anyone. They are asked to focus on the teacher’s voice.

Through side-coaching, teacher calls out instructions for students to follow:

move in the space avoiding touching anyone

freeze

Teacher side coaches students encouraging them to follow the directions as

they are called. Teacher uses the freeze to deepen the meaning of the activity.

The activity is repeated until a level of competency is achieved. Students are

asked to focus on their bodies and exhibit the level of control as it relates to

movement and stillness.

INTRODUCTORY ACTIVITY: Snake-tag

Students are warmed up using some simple stretching exercises. They are then told that they

are going to form a giant snake. However in order to form the snake they have to catch the

various parts and put them together. Someone is asked to volunteer to be the head of the snake.

This person also has to catch the first body part, while students are moving around in the

space. This body-part attaches itself to the head and then must continue to catch another body

part. This continues until all students are caught to form the whole snake. The teacher side-

coaches offering advice that encourages the students to cooperate to accomplish the task. If the

task remains difficult, the teacher can suggest the formation of a second snake to make the task

easier to accomplish.

14

CLOSURE OF SESSION

MIME ACTIVITY: Magic Box

Arrange the classroom space so that students have space to move around. Tell the students that they are

going to play an “improv” (improvisation) game called “the magic box”. Teacher walks around the

“box” and behind it to define its space, then shows the height of the lid by touching it with her hands.

She leans on it by bending her elbows, demonstrating the illusionary mime technique of leaning.

To teacher: Open the lid as you would open a large suitcase, and let the lid rest in an open position

toward the students. Look through several objects before bringing one out of the box to demonstrate. A

telescope, like a sea captain of old would have had, is a great example. Go around the box and

demonstrate the movement of the ship's deck, and then the size and shape of the telescope. Set it up to

show its moving parts, and then look through it, still indicating the movement of the ship on the waves.

When you finish, put the telescope back in the box, and close the lid. Invite the students to raise their

hands and tell you what illusion you were creating.

Explain to students that this type of silent acting is called mime. Tell them that mime is a way to

communicate without using words. Instead, you use your face and your body to help show actions,

thoughts, or feelings. Tell the students that they will now each pantomime an object. They will get up

one at a time and select an object from the “magic box.” Before they begin, discuss the need to learn

the technique of demonstrating the size of the object they are pantomiming, the weight of the object,

and the shape of the object. They will need to show whether it has movable parts, whether it is alive or

inanimate, etc. This helps the students when they are thinking of an object they might choose, makes

the game easier for all students to understand, and makes the mime technique clearer. Reflection.

COOL DOWN: Pass the Clap

Students and teacher stand in circle. Teacher introduces her clap. She says she wants to share the clap by

passing it around the circle. The student to her left receives it with his right hand and passes it on with

the left to the next person. The clap should pass around the circle in a seamless rhythm. Students are told

that if the rhythm is broken they would have to start from the beginning again.

15

SESSION THREE

WARM-UP: Weaving - Directions / Greetings

Students are shown the marked space and are advised to perform the activity within it.

They are also instructed to exercise care in moving and try to avoid ‘crashing’ into

anyone. They are asked to focus on the teacher’s voice. Through side-coaching, teacher

calls out instructions for students to follow:


change direction

use non-verbal communication to greet others – first eyes, then mouth, then

hands etc.

freeze

Teacher side coaches students encouraging them to follow the directions as they are

called. Teacher uses the freeze to deepen the meaning of the activity. The activity is

repeated until a level of competency is achieved. Students are asked to focus on their

bodies and exhibit the level of control and swiftness asked for by the teacher.

INTRODUCTORY ACTIVITY: Transformations

Students are side-coached: with your hands, create a beach ball. With great effort, gradually

squeeze it to the size of a tennis ball. Feel the change of size and shape with your whole

hand. Your entire body feels the exertion. Your face expresses it too. Stretch the tennis ball

into a long cylinder. Tense and hold to maintain the two ends of the cylinder. Roll the

cylinder between your hands, narrowing it into a long piece of rope. Swing the rope, wiggle

it, gather it into a mass, smooth it into a flat disk, roll it, sail it like a Frisbee, fold the disk in

half again and again until it is a speck in your hand. Blow it away!

This exercise can be done with various sizes of round objects only, with attention paid to the

textures – beach ball – basketball – cricket ball – table-tennis ball – marble – bird’s egg -

speck of dust.

16

CLOSURE OF SESSION

MIME ACTIVITY: Facial Expressions and Gestures

Students are asked to move around in the working space. As a whole-class activity teacher

side-coaches students in some or all of the following emotions encouraging them to use

their faces and arms to demonstrate the range of emotions: lazy, happy, bored, tired,

nervous, angry, calm, old, young. As an extension, students may be guided to silently

interact with another student for each of the emotions. Students are encouraged to use as

many facial parts and hand and arm gestures as possible, emphasising tension. Reflections.

COOL DOWN: Body Parts

Students are told to find comfortable working room in the space. The teacher side-coaches

students into isolation of body parts, starting with the right side of the body for each part. Move

only the right toes – wiggle, stretch, flex, stretch toes, then stop. Then move to the left toes.

Continue with ankles, heels, knees, legs, hips, fingers, wrists, elbows, arms, shoulders, neck,

facial features. This ends. Then the process starts all over again, this time movement of the body

parts does not stop after each part. Students move about while being side-coached. Teacher

guides students to move all parts - imagine they hear music, create a dance, meet a friend and

communicate through dance. Teacher calls instructions: ‘faster’, ‘slower’, ‘change direction’

then ‘freeze’. They hold ‘freeze’ for a moment then are told to ‘unfreeze’ and relax. Reflection

through discussion.

17

SESSION FOUR

WARM UP: Weaving - Levels / Patterns

Students take note of the marked space and are advised to perform the activity within it.

They are also instructed to exercise care in moving and try to avoid ‘crashing’ into

anyone. They are asked to focus on the teacher’s voice. Through side-coaching, teacher

calls out instructions for students to follow:


change directions

form different patterns as you walk

find different levels at which to move eg, stooping, hopping, creeping, rolling,

stretching upwards, bending sideways.

move faster leading up to fast-forward

move slower – leading to slow-motion

freeze

Teacher uses the “freeze” to deepen the meaning of the activity. The activity is repeated

until a level of focus and competency is achieved.

INTRODUCTORY ACTIVITY: The Atom Game

Students are asked to walk around in the space. They are reminded of the previous lesson where they

moved in different ways. They are given directions on how to move. After their warm up, the teacher

brings them together and asks: What is an Atom? What is an Atom made up of?

The teacher then explains that atoms form molecules. He/she explains that students are to become

‘molecules’ by attracting each other. The teacher explains that while they are walking around the room he

will call out some numbers and they will have to form groups of that number. He/she also instructs that

anyone not forming a part of the group will be ‘out’. Students then walk around while the teacher calls

out several numbers in turn, to which they respond.

Continued …

18

CLOSURE OF SESSION

MIME ACTIVITY: Tableau/ Magic Camera

Teacher divides students into large groups of eight or more. Each member takes on a number,

eg. one (1) to eight (8). When teacher calls out a number randomly that student becomes the

leader. The groups move into their workspace. At any time the teacher may call out a word eg

‘school’. The members of each group move about in the ‘word’. When teacher calls “freeze”

and all must freeze, forming a tableau that illustrates the word. After 5 seconds, the teacher

dissolves all but one group. Students observe the remaining tableau for about 10 seconds.

Teachers dissolves the tableau and a short discussion is encouraged about the ‘picture’ or ‘freeze

frame’. The teacher introduces these terms to the students. The process is repeated with new

words as stimuli, and until each group gets a turn to be critiqued.

COOL DOWN: Pass the Energy

Standing or sitting in a circle, the students hold hands and close their eyes.

Teacher tells the students that when their right hand is squeezed, they must

squeeze their left hand. Teacher starts the activity by squeezing her left hand

which passes a pulse around the circle. Try to make the pulse pass round as fast

as possible. Also, a second pulse could be passed in the opposite direction.

The Atom Game continued

After the exercise the teacher brings them together to listen to their responses and ‘in the moment’

deepens the meaning of their reactions. Students next walk around the space while focusing on the

teacher’s voice. The teacher tells them a story to which they are to respond in a similar manner as before:

“There was once a family of FIVE…two parents… and three children…two girls…one boy. They lived

on seventh street on lot number nine… (Teacher can continue the story.)

19

SESSION FIVE

WARM-UP: Weaving - Speed (Fast /Slow)


They are also instructed to exercise care in moving and try to avoid ‘crashing’ into anyone.

They are asked to focus on the teacher’s voice. Through side-coaching, teacher calls out

instructions for students to follow:


change direction

change levels

walk in patterns

move faster/slower. Walk in fast-forward and slow-motion.

freeze

Teacher side-coaches students to use the “freeze” to deepen the meaning of the activity.

The activity is repeated until a level of focus and competency is achieved.

INTRODUCTORY ACTIVITY: Sharks

The teacher places several pieces of newspaper on the floor of the working space. At first, enough of it is

placed to accommodate all the students. Teacher informs class that the newspaper represents ‘islands’

and that the open area is the sea. He invites them to swim or wade in the water by creating an image of

the beach in their minds. He endows himself as the ‘lifeguard’ who will oversee their safety in the water.

He informs them that there are sometimes sharks close to the shore but that they are not to worry since he

would alert them of any shark that poses a threat to them. The teacher advises that when he shouts out

‘Shark!’ they are to immediately move to ‘dry land’. The ‘lifeguard’ tells them that every time a ‘shark’

appears, he would have to remove one of the ‘islands’ to create more space for them to swim. Students

are invited to swim around ‘in the water’ and prompted to use different swimming strokes and show that

they are having fun. When they have been lulled into the activity, the teacher shouts ‘Shark!’ and they all

move to the ‘island’.

Continued

20

CLOSURE OF SESSION

MIME ACTIVITY - Using the Senses

The Teacher engages students in particular activities that require that they emphasise focus

on the five senses - sight, hearing, touch, taste and smell. Gestures and expressions

demonstrate this focus. The following is an example: you are walking the dog when you

suddenly smell something wonderful, something terrible, can hear a harsh, loud noise, can

see something hideous on the sidewalk. Sensory development can enhance the students'

interpretation of mood, and can accentuate the type of movement they do. Teacher can

create a story including sensory expressions.

Sharks continued

The teacher removes one of the ‘islands’ and restarts the activity. The activity is repeated, increasing

the difficulty by removing the newspaper on each occasion. The teacher observes the children’s

reactions. As the game develops some students become eaten by ‘sharks’ and are out of the activity

as the others continue to reach ‘land’ in time not to be eaten. The activity ends only when enough

students fit comfortably on the last ‘island’ .The reflection includes the following questions: Some

students pushed their way to safety. How do you feel about that? Do you think more students could

have survived the sharks? How?

COOL DOWN: Magic Chairs

Each student places a chair in a space and moves away to the side of the

room. The teacher explains what sort of chair it is and the pupils move to it

and sit in it appropriately, staying silent and concentrating on their mime.

The chairs might be: In a restaurant, highchairs, dentists chairs, in a church,

in a plane etc.

21

SESSION SIX

WARM UP: Sounds in the Environment

Teacher guides students in walk, side-coaching them to fill the space. Teacher calls ‘Stop’, and guides

students to stand in a comfortable working space, close their eyes and become quiet. They are asked to

remember sounds from their surroundings. Each student is asked to identify one sound (may be their

favourite) – think about loudness or softness, how it makes you feel etc. The teacher side-coaches that when

she touches a student’s shoulder, that they try to reproduce the sound. In discussion afterwards, students

discuss feelings about the sounds, and others try to understand the sound.

INTRODUCTORY ACTIVITY: Sound-scape

Teacher guides students in a brief walk. She asks them to stop and move closer to each other. She introduces

a theme eg. animals. Students close their eyes and imagine a sound related to the theme. As teacher touches

the shoulder of each student, they reproduce their sound. The teacher side-coaches student to create a

rhythmic harmonious blend of sound. The teacher then touches shoulder of student so they can add

movement. Teacher then calls ‘Freeze’ at which all movement and sound stop. Reflections.

MIME ACTIVITY: Machines

Have students stand in a circle and the teacher or a chosen leader begins by going into the centre of the

circle and making a movement and a sound (for example, a swinging arm and a "whoosh!" sound). One by

one, volunteers go to the "machine" and add to it by creating a different movement and sound. Eventually,

all of the students will form a "machine" composed of a large number of movements and sounds. Recreate

without sounds. Reflections.

COOL DOWN: Tropical Rainstorm

Everyone stands in a circle. Teacher goes through with students the following different actions which make sounds:

rubbing hands together; clicking fingers; slapping thighs; stamping feet. Ask the group to close their eyes and to

repeat the sound they hear once the person directly on their left starts making it and continue the sound until it

changes to a new sound. The teacher begins by making the first sound – rubbing hands together. When it builds and

everyone is doing it, change to clicking the fingers, then slapping the ties, then stamping the feet. Now reverse the

sounds from stamping feet to rubbing hands and finally silence. When this works, it creates a calming effect.

22

SESSION SEVEN

WARM UP: Fruit Salad

Teacher and students sit in circle. Teacher asks students for 4 or 5 of their favourite fruits and go round the

circle giving each person the name of a fruit in order, e.g. orange, apple, banana, pomerac … . Teacher

chooses someone to stand in the middle and then takes away their chair. This person then calls out the name

of a fruit. Students who are named that fruit must change their seat while the person in the middle tries to

find a seat too. Whoever is left over becomes the person in the middle. Carry on using different

combinations of fruit and even saying ‘fruit salad’ which means everybody must swap places at once.

INTRODUCTORY ACTIVITY: Tug of War

Students to walk in the space. Teacher calls ‘Stop’. She then divides them into two groups with the

exception of one student, naming them Group A and B, and placing each group at two ends or corners of

the space. She places the one student in the middle. She instructs all students to look at her actions. She

goes to a table, bends down and mimes lifting a heavy rope from under the table and takes it to ‘referee’

in the centre. She then lifts one end of the rope and takes it to Group A, and the other end to Group B.

Teacher asks if they know what is happening. The teacher then side-coaches the game of Tug of War.

MIME ACTIVITY: Sculpting

Students are warmed up by using the basic elements of the ‘weaving’ activity. They are then asked to

find a partner and decide who is ‘A’ and who is ‘B’. The teacher then calls all students who are ‘A’

together and performs a simple ritual that endows them as sculptors. He calls all the ‘B’ together and

performs another ritual that transforms all of them to pieces of clay. He assures them that the roles will

be reversed. All the ‘A’ use the bodies of ‘B’ to create a piece of sculpture. They are given a theme and a

time limit eg. 2 minutes. Minimal touching is allowed. They are constantly being side-coached by the

teacher. The teacher counts down the time and all pieces of sculpture are asked to ‘freeze’. All the ‘A’

conduct a critique of the ‘art work’ on display as if in an exhibition. All the ‘B’ unfreeze and the roles

are reversed. The theme may change but the method remains the same. Reflections.

COOL DOWN: Texan Yell

The group crouches down in a circle holding hands. Starting with a low hum, they gradually rise up, getting

louder, until they jump in the air and yell loudly.

23

SESSION EIGHT

WARM UP: Follow the Leader

All sit or stand in a circle. To teacher: Begin the game when everybody is sitting in the

same position as you. Lead the circle through a series of moves for the first practice

run. The class must follow each move you make as smoothly and as accurately as

possible. Example: Stand up. Cross your legs. Put your hands on your lap etc. Once

they have got the hang of it choose a volunteer to be the detective. They should leave

the room while you choose another leader. When the detective returns he or she stands

in the centre of the circle and is allowed three guesses at who is leading the moves.

INTRODUCTORY ACTIVITY: Song/ Movement

(The melody for this song Tony Chestnut is taught in the Teacher Training Workshop.

Tony Chestnut Knows I Love You. Tony knows, yes he knows

Tony Chestnut Knows I Love You. That’s what Tony knows.

Through demonstration, the teacher teaches the song and movement.

MIME ACTIVITY: What's my Job?

Students are asked to perform simple mimes clearly depicting the following jobs. Mimes should last

about one (1) minute: artist, baker, carpenter, cashier, cook, dancer, TV host, fireman, garbage

collector, guitarist, lifeguard, lion tamer, mailman, mechanic, model, musician, nurse, police

officer, secretary, singer, soldier, teacher, truck driver, waiter/waitress, plumber, photographer,

computer repairman. Reflections.

COOL DOWN: Bubble the Pot

Students and teacher stand in circle. Teacher tells students to imagine a huge

pot in the middle of the circle in which they must add their thoughts about the

session. They must walk to the pot, throw in their word, stir it in the pot and

walk back into position. No word must be repeated.

24

SESSION NINE

WARM-UP: Weaving/ Character Walk

Students take note of the marked space and are advised to perform the

activity within it. They are also instructed to exercise care in moving and

try to avoid ‘crashing’ into anyone. They are asked to focus on the teacher’s

voice. Through side-coaching, teacher calls out instructions for students to

follow:


change direction

change level

move faster/slower

freeze

Teacher side-coaches students encouraging them to follow the directions as

they are called. Teacher uses the “freeze” to deepen the meaning of the

activity. After about one minute of walking, teacher calls ‘Stop’. She

instructs students to close their eyes and think about someone they know or

can imagine who is totally different to them – their age, gender, height etc.

INTRODUCTORY ACTIVITY: What’s the stick!

This activity will use a stick, possibly about three feet long. Teacher and students sit on the

floor in a circle. Teacher will begin the activity, using the stick in an activity or as an object

like playing the guitar, walking on stilts, or looking in binoculars, without using words.

Students will then guess what teacher is doing and what the stick has become. Go around

the circle, continuing in this manner until everyone has a turn. The teacher may choose to

go around again suggesting that this time two or more people may work together to create a

depiction.

25

CLOSURE OF SESSION

COOL DOWN: Rainstorm Massage

Gather group in a circle, each person facing the back of the other person with

hands at arms length on his shoulder. Boys should be in one line and girls in

another. Guide the group through a shoulder massage, which everyone gives to

the person in front of them at the same time. Ensure that people are not too

rough. Instruct that the students turn and now the massages flow the other way.

MIME ACTIVITY: Chinese Mime

All sit in a circle. Choose a pupil to begin the mime. They should choose a short mime of a

simple action, such as tying their shoe-laces or brushing their teeth. Everybody sits with

their eyes closed (it helps if they are facing outwards to avoid the temptation of peeking!).

The first person taps the person on their right and shows them the mime, once. The second

person taps the person to their right and shows them the mime. Once they have shown

their mime they should close their eyes again! Continue around the circle until the mime

has reached the last person, seated to the left of the first person. They show the final mime

to the whole class, followed by the first person who shows the original mime. There

should be a discussion of the process.

26

SESSION TEN

WARM-UP: Weaving – Tension


They are also instructed to exercise care in moving and try to avoid ‘crashing’ into anyone.

They are asked to focus on the teacher’s voice. Through side-coaching, teacher calls out

instructions for students to follow:

move in the space avoiding touching anyone change direction

change level move faster/slower freeze

Next, students move around in the following ways:

walking on rocks without shoes

walking carefully and painfully on a sprained ankle

dribble a soccer ball around a field and around obstacles

cross a river on stepping stones

try on several pairs of sneakers to find the right pair

wade through water

walk on hot coals

INTRODUCTORY ACTIVITY: Numbers Game – 1, 2, 3

Students are warmed up by doing a ‘sound off’. They stand in a circle and call numbers in sequence, starting with

one until they all have said a number. The process is repeated until a rhythm is developed. If the rhythm is broken

they must start over. After this exercise students are paired. They decide who is ‘A’ and who is ‘B’. They are told

that they are going to count to three in turns. ‘A’ says 1, ‘B’ says 2 and ‘A’ says 3. ‘B’ then says 1 and they continue

counting until they develop a rhythm in the counting. When they have developed a rhythm, the teacher stops them.

Each group is asked to decide on a number from 1-3 they would like to throw away. After each group decides the

teacher instructs them to replace that number with a sound that they make with their mouth. They are instructed to

count again. The students now have to count two numbers and make a sound. When they have again developed a

rhythm, the teacher stops them. Each group is asked to throw away one of the two numbers and replace it with an

action. They are then asked to resume by counting one number, making one sound and performing one action. The

teacher walks around the class on each occasion giving assistance and side-coaching when necessary.

27

MIME ACTIVITY: Grow a Tree

Students are instructed to find a comfortable working space and sit on the floor. They are asked to identify their

favourite fruit with a seed. They are instructed that as teacher side-coaches they would respond with their bodies

what the teacher’s story tells them to. They are told to think about the fruit as they close their eyes. The teacher

begins the story (The teacher may adapt the story, being careful not to make it too long.) Accompanying soft

music may be played:

You are a seed, snuggling under some soft moist leaves in the moist earth feeling very cosy and comfortable. You

hear the soft drizzle falling and you feel the warmth of the sun through your cover. Suddenly you feel as if your

skin is getting tight and soon is about to burst. You start to feel something shooting up from your head, and then

something else fixing you to the ground. You feel yourself growing upwards and suddenly the sunshine is on you.

You look up and you see tiny leaves growing out of your head. You feel nice in the sunshine and the soft rain as

soon you begin to see branches and more leaves. You grow tall enough to look around and see others like

yourself. Your feet are now sturdy in the ground as you grow tall and strong, blowing about in the breeze. The

story continues:

birds live in your branches

then a storm comes – branches broken, friends uprooted

storm passes – you are still alive and you grow strong again

flowers appear, then fruits

fruits ripen – you are happy

schoolboys pelt fruits – you are frightened and injured

You recover. You share fruits with birds and people who picnic under tree.

Last fruit falls to the ground. You become that seed – gets covered up with leaves, settles into the cosy

ground and goes to sleep.

Students are guided slowly out of this activity, to come back to classroom mode. Reflection.

COOLDOWN: Go-rounds

Teacher gathers the group together, sitting in a circle. To teacher: Give the group a theme and if

they wish, a structure in which to respond to that theme, for example, one word on how you feel, a

sentence on best/worst moment of the day, one thing you have learned today; one time you were

angry Go around the circle listening to student’s responses

28

ASSESSMENT

Summative assessment - 20 marks

The rubrics and checklist below will be used to assess the following MIME scenario.

Activity: What am I doing?

Students work in pairs if the class comprises 20 or fewer students, or groups of 3 if the size of

the class exceeds 20. They are given ten (10) minutes preparation time and two (2) minutes for

their presentations. Each group is given a paper with an idea for a scenario written on it.

Examples of possible scenarios: opening an umbrella during a rainstorm, picking fruits from the

fruit-tree, peeling oranges, doing chores on a farm, playing cricket, playing a game, rowing a

boat, getting a haircut, washing dishes, opening a cupboard and putting away

clothes/dishes/groceries, putting on socks and shoes, setting up and decorating a Christmas tree,

making and eating a sandwich, giving the dog a bath, making your bed, etc.

The teacher may add activities that would accommodate groups of 2 or 3 students.

(Rubrics and Marksheet – next 2 pages)

29

Rubrics - Mime Scenario

Learning Domains

Mime Element (Accomplished)

4 - 5 marks

(Developing)

2- 3 marks

(Emerging)

0 - 1 mark

Cognitive

Devising & Development of Concept

Student composes scenario that

- conforms to time requirement (2 minutes long)

- shows alignment to theme at all times

- includes at least 4 actions

- shows sequence of actions

- is less than time requirement (2 minutes long)

- shows partial alignment to theme

- includes fewer than 4 actions but more than 2


- is less than 1 minute long,

shows little alignment to theme

- includes less than 2 actions


Psycho-motor

Gestures, facial expressions and freezes

Student clearly demonstrates at least

- 2 facial expressions,

- 2 gestures,

- 1 freeze.

Student clearly demonstrates at least

- 1 facial expression,

-1 gesture,

- 1 freeze.

Student clearly demonstrates only one of the following:

1 facial expression,

1 gesture,

1 freeze.

Manipulation of Imaginary Objects

Student is able to create the size, shape and weight of 4 – 5 imaginary objects.



Affective

Relationship with Peers

Student clearly demonstrates interaction with members of group on 4 – 5 occasions.

Student clearly demonstrates interaction with members of group on 2 - 3 occasions.

Student clearly demonstrates interaction with members of group on 0 - 1 occasion.

30

Assessment Scoresheet - Mime Scenario

No

Name of Students

Cognitive Psycho-motor Affective Total

Devising and Development of Concept

5 marks

Gestures and Facial Expressions

5 marks

Manipulation of Imaginary Objects

5 marks

Relationship with Peers

5 marks

20marks

32

INTRODUCTION TO STORYTELLING

Stories are entertaining to hear and tell. The first ones we hear as children are usually told to us

by a parent or grandparent. Children come to know and love these tales before they are able to

read and write. All the earliest stories of our civilisation were passed down orally, from

generation to generation. Today, with television and movies, children learn new stories and

revisit old ones through new media. Hearing a story without pictures allows us to use our

imagination. Storytelling is one of the earliest forms of theatre. Actors can learn a great deal by

practicing this ancient tradition. This unit on Storytelling will give students experience in using

their voice effectively. It will help them to organise details in memorisation, and use movement

and gesture to reinforce meaning. At the same time, it would provide pleasure to their audience.

Storytelling and drama share a number of features which make it natural to integrate them during

lessons. Both build on children’s innate capacity for fantasy and imaginative play, and even very

young children can differentiate between the conventions of a story or drama and real life.

Through stories and drama, children develop understanding of themselves and the world around

them. The distance afforded by characters and events which are not real also helps children to

explore significant issues which are relevant to their daily lives, in a way that is safe and

enjoyable. In storytelling and drama, the usual norms of time, place and identity are temporarily

suspended as, for example, in a story which spans a hundred years yet takes three minutes to tell,

or a drama activity which transforms the classroom into a ‘jungle’ and all the children in it to

‘hungry lions’. Storytelling and drama are above all shared, communal classroom events which

engage children’s interest, attention and imagination and develop their language skills in a

holistic way. They also appeal to children with different intelligences and learning styles and

provide a framework for fostering social skills and attitudes, such as active listening,

collaborating, turn taking and respect for others.

Stories help young children to develop concentration skills. They also develop emotional

intelligence, such as empathy and relating to other people. Stories provide a springboard for a

wide range of activities which develop language, thinking skills, positive attitudes and

citizenship, as well as appreciation of other cultures. As children increasingly develop their

ability to understand, retell, act out and/or create their own stories in English, this also has a

positive effect on their motivation, confidence and self-esteem.

33

The Teacher must emphasise the following important considerations.

In devising or analysing the story, students must pay attention to:

Elements of a

Story

HOW

How do the events unfold? How are the

issues resolved (worked out)?

WHO

The characters in the story ‐ the main and

minor characters. How are they dressed? How do they behave? How do they make you

feel?

WHAT

What are the main issues in the story? What is the story all

about?

WHERE

The place (setting) where the events in the story take place.

WHEN

The time (setting) –time of the day,

festivals, celebrations, decade, century, era, close to a significant

event.

WHY

The reasons (justification) for certain things

happening in the story. Why certain persons behave the way they

do.

34

SCHEDULE OF ACTIVITIES – STORYTELLING

SESSION WARM‐UP STORYTELLING

ACTIVITY

COOL‐DOWN

TERM 11

1 One word Story Magic Story Bag Tropical Rainstorm

2 Sounds Like … Story Circle Fruit Bowl

3 Stories in Songs 1001 Nights Festival The Wind Blows

4 1001 Nights Festival Spinning Yarn Go Rounds

5 Atom Game Tongue Twisters Affirmation Pyramid

6 Snake Tag The Imagination Game Magic Chairs

7 Word Tennis Picture Worth 1000 Words Change the Action

8 Give a Gift Puzzle Tale Treasure Box

TERM 111

1 Personal Fables The Story Basket Pass the Clap

2 Autobio. of Anything Nouns from a Hat Treasure Box

3 Bag of Tricks Best/Worst Magic Chairs

4 Catch a Story Tall Tale The Wind Blows

5 Led by the Nose Show & Tell Chief Ape

6 Storm Psst – Pass it On Guided Mimes

7 Chain Sentences The Other Side Pass the Energy

8

PRESENTATIONS

The following pages describe the activities for each session in more detail.

35

SESSION ONE

CLOSURE OF SESSION

WARM UP: One Word Story

Students are in a circle as the teacher gives the basic instructions that each person will

contribute one word to the making of a story. The first person to start a sentence should

start with words such as ‘One’, ‘I’, ‘Once’ or ‘The’ and going around in sequence, each

child will contribute one word that makes grammatical sense and follows on from the

first, until the story is completed. It may take a group a few attempts to understand the

process. Saying the first word that comes to mind enables sentences and stories to be

generated quickly. If persons are trying too hard to find the original or funny word,

they will slow the rhythm. It may be helpful to start with short sentences. The teacher

may have to add punctuation or the sentences will continue without proper endings.

When the skill of creating sentences has been mastered, then one sentence can be

developed into a short story. Some of the stories will work, some will be nonsensical.

Often they will be very amusing.

STORYTELLING ACTIVITY: The Magic Story Bag

The teacher should have a large assortment of objects, one for each student. The objects

could be ordinary objects such as a toothbrush, a rock, a feather, a hat etc. The objects are

placed into a cloth bag (one you cannot see through) and each student, without looking into

the bag, pulls out an object at random. The object is "magic" and is integral to the story.

The student is then given a couple of minutes to familiarize herself with the object. The

student will then tell a story around the object. Reflections.

COOL DOWN: Tropical Rainstorm

See page 20

36

SESSION TWO

.

CLOSURE OF SESSION

WARM UP: Sounds Like …

Objective: To explore how sounds affect a story.

Teacher reads some onomatopoeia (words that sound like the sound they describe)

such as gurgling, babbling, whoosh!, boom!, etc. Explain onomatopoeia. What kinds

of words would they use to describe different sounds? Make sounds with various

objects or with the body i.e., slapping hands against the thigh. Then encourage them

to create a sound filled paragraph using their words or sound effects. Discuss how

sounds can add dimension to a story.

STORYTELLING ACTIVITIES: Story Circle

Sitting in a circle each person tells a short part of a story eg. The Three Little Pigs, and then

passes the story on to the next person to continue. When a token (shell, beads etc.) is passed to

the next child this indicates who is now in charge of taking the story forward. If a child

struggles with his/her section of the story the teacher can freeze the game and ask another to

help them out. This technique can be used to retell a story that children know well. Reflection.

COOL DOWN: Fruit Bowl

Everyone stands in circle. They are all endowed as their favourite fruit e.g.

apple, plum, banana. Each fruit must have at least two students. When teacher

calls call a fruit eg orange, all students who are oranges exchange places with

each other. Call ‘Fruit Bowl’ for all to change.

37

SESSION THREE

CLOSURE OF SESSION

WARM UP: Stories in Songs

Find and learn songs which tell a story. Some folk ballads, calypsoes,

contemporary songs often suggest a larger tale. Listen to cds and then have

students retell the story in the song in their own words. Or have a "storysong"

concert. The teacher must emphasise the importance of the story-teller

interacting with the audience through the use of verbal, non-verbal

communication and the significance of eye contact. The teacher explains the

type of performance space being used and the location of the audience.

STORYTELLING ACTIVITY: 1001 Nights Festival

This is a continuing storytelling session in which a story is begun and then left open-

ended at a crucial point. The next session the story is completed and a new one begun and

left open-ended at an exciting moment. Stories could be selected from the various local

Folk Tales or other popular stories. Reflection.

COOL DOWN: The Wind Blows

This is a good game for mixing up cliques and a variation of fruit bowl. Put chairs in a

circle. Turn one chair to face out. Choose someone to stand in the middle. They (or

teacher) can call: “ The wind blows for… everyone who had breakfast today, everyone

who likes ice cream, everyone wearing a watch etc. If the statement applies to a pupil,

they must get up and change places. The caller finds a seat. The last pupil left standing

becomes the new caller. No one can change places with the person sitting next to them.

38

SESSION FOUR

CLOSURE OF SESSION

WARM UP: 1001 Nights Festival

This is a continuing storytelling session of a story which began in the last

session and was left open-ended at a crucial point. In this session the story

is completed. Stories could be selected from the various local Folk Tales or

other popular stories.

STORYTELLING ACTIVITY: Spinning Yarn

Materials Needed: A large ball of yarn/twine with knots tied at 3 to 5 feet intervals.

Players should sit in a circle close to each other for easy access. The teacher will start the

story, unraveling the yarn as he tells. When he reaches the knot, the yarn is passed on

and the next person continues the story, unraveling the yarn as well. When the next knot

is reached, the yarn is passed on and so forth. The players should be instructed that they

are building the beginning of the story, developing the body, rising to a climax, and

closing the story with an appropriate ending. Teachers should focus on story starters that

tickle the imagination such as “I was walking along a deserted road when I saw a large

house to my right. It looked empty and since no one was around, I decided to go in.

Little did I know that....”

COOL DOWN: Go-rounds

Teacher gathers the group together, sitting in a circle. She gives the group a theme and if

they wish, a structure in which to respond to that theme, for example, one word on how

you feel, a sentence on best/worst moment of the day, one thing you have learned today;

one time you were angry. She goes around the circle listening to student’s responses.

39

SESSION FIVE

WARM UP: The Atom Game

See page 16

STORYTELLING ACTIVITY: Tongue Twisters

Have the students say two of the following tongue twisters three times, fast:

Objective: To loosen the teller’s tongue; vocal exercises.

1. Jenny drew a joyful dragon.

2. Three fleas flew free.

3. We read what we write.

4. Did Chuck up chuck a chocolate chip and chick-a-cherry cola?

5. She slept on a slick and slippery sheet.

6. She tiptoed on tippy toes to tickle Tina's tiny nose.

7. Hubert heard Henry heartily hee-haw halfway home.

8. Suzy sneezed and wheezed when she saw fleas.

9. Three thick tree twigs.

In this session the teacher will help the students to concentrate on diction and projection in telling their

story. Reflections.

COOL DOWN: Affirmation Pyramid

The group stands in a circle. The teacher asks each group member to think about one thing about

the group that they enjoy, respect or value, eg. the support offered by the group. One by one, each

person places their hand, (palm down) in the centre of the circle, on top of the hand before and

say one thing they thought of, until there is a pyramid of hands in the centre. After the count of

three, everyone releases their hands in the air and remembers one thing that was said that they

will take home with them.

40

SESSION SIX

CLOSURE OF SESSION

WARM UP: Snake-tag

Students are warmed up using some simple stretching exercises. They are then told that

they are going to form a giant snake. However in order to form the snake they have to

catch the various parts and put them together. Someone is asked to volunteer to be the

head of the snake. This person also has to catch the first body part, while students are

moving around in the space. This body-part attaches itself to the head and then must

continue to catch another body part. This continues until all students are caught to form

the whole snake. The teacher side-coaches offering advice that encourages the students

to cooperate to accomplish the task. If the task remains difficult, the teacher can

suggest the formation of a second snake to make the task easier to accomplish.

STORYTELLING ACTIVITY: The Imagination Game

Bring out a ‘prop’, which can be anything – a tube, a plastic plate, a basket or anything

that can be transformed into something else using the power of the imagination. Pass it

around the group (not a whole class) as they sit in a circle. Each child takes turns to come

up with an idea of what it can be by demonstrating it or by telling. Reflections.


Everyone puts a chair in a space and moves away to the side of the room. The

teacher explains what sort of chair it is and the pupils move to it and sit in it

appropriately staying silent and concentrating on their mime. The chairs might be:

In a restaurant, dentists chairs, couch, in a plane etc.

41

SESSION SEVEN

COOL DOWN: Change the Action

The pupils must copy teacher’s PREVIOUS action at the command “Change”:

Teacher claps hands. Pupils sit still. Teacher shouts CHANGE and begins to pat her knees.

Pupils begin to clap their hands. Teacher shouts CHANGE again and begins to click her

fingers. Pupils now pat their knees etc.

STORYTELLING ACTIVITY: A Picture is Worth 1000 Words

The class is divided up into groups. The class selects an interesting painting with persons in it.

Looking at the painting for inspiration, the first group constructs the first few sentences of a story

through group discussion and suggestion. The paragraph is then sent on to another group which reads

the first paragraph and adds on another. The process is repeated until the story seems finished. The

groups then gather to hear the result of their group effort read out loud and to see the painting that

inspired the story. Reflections.

WARM UP: Word Tennis

In this word-association game, pupils have to keep thinking up words in a chosen category

and ‘bat’ them to each other. Whoever repeats a word or can’t think of one is out, and

somebody else takes his or her place. You can demonstrate with two students and then play it

in pairs or teams of four or five students. Each team should form a line facing another team.

The two students at the head of each line play each other until one of them can’t think of a

word – or repeats an earlier word. That person goes to the back of the line and the next

student takes their place. Categories can include colours, fruit, sea creatures, flavours of ice

cream, fairy tale characters, sports, capital cities, adverbs, adjectives and so on.

Change the categories as often as you need to maintain interest. Students will soon

come up with their own interesting suggestions for new categories.

42

SESSION EIGHT

CLOSURE OF SESSION

WARM UP: Give a Gift

Have the students work in groups of four or five. This activity is much like

charades. Each player will mime giving a gift to another player in the group. The

gift-giver is to then act out the gift she is giving by describing it with only body

language. No words will be used. The other players then guess what the gift is. For

example, the gift could be a ring. But the ring could come in a big box filled with a

lot of paper. The player would then mime opening a big box, pulling out a lot of

paper, and finding the ring inside. Each gift recipient will then give a gift to another

player who has not received a gift until all the players have received gifts.

Encourage the players to use their imaginations with the gifts.

STORYTELLING ACTIVITY: Puzzle Tale: Putting the Pieces Together

Copy a folktale from a printed anthology and cut it up into sections or scenes. Paste each

section on a separate page. Give out the sheets to students who each prepare to retell their

small piece of the whole story. Assemble the story by having each student retell his or her part

in the plot's sequence. Have students keep the flow going as the story is told so that the

performance moves along as though one person were telling it. Do a second round by giving

students different sections to retell. Notice how differently students retell the same sections!

Reflections.


See page 11

44

STORYTELLING (continued from Term 11)

Teachers are advised to use the Storytelling activities to help prepare students for a storytelling presentation at the end of the term. This presentation would be solely for aesthetic value and for enjoyment. Presentations may be done for classmates only. Sample ideas for story presentations:

The story of my scar

The story of my name

A story about my grandmother/great grandfather etc.

The story of my village/town/community named ….. .

SESSION ONE

WARM UP: Personal Fables

Ask students to assign animal characters to represent people they know. This is a

private process and no one but the student needs to know which animal represents

the student's mother, teacher, brother, or, themselves, etc. Have students create a

story staring those animal characters.

STORYTELLING ACTIVITY: The Story Basket

Use a basket of props and have the children pick out one at a time and use it to add to the

next part of a made up story. You can pick the first prop to begin the story but ask the

children questions so that they first generate who it belongs to or where it might have been

found or indeed what it might be. This is something that can be alongside a theme. If you

wanted to create a circus story then you might pick related objects like a clown toy, a red

nose, an animal or a bit string or rope. Reflections.

COOL DOWN: Pass the Clap

See page 13

45

SESSION TWO

WARM UP: Autobiography of Anything

Everything has a story! Everything comes, in its elemental origin, from the Earth. Collect an

assortment of "things": Piece of Paper, Pencil, Sneaker, Match, Rubber Band, Paper Clip,

Football Socks etc … . Imagine the life story of each of those "things." Describe their history

backwards through the personal use, purchase, manufacture, to original natural resources from

which it or its components were made. Personify the thing and tell its story like an

autobiography. Example:

Tell the tale of a piece of newspaper back to the tree in the forest.

STORYTELLING ACTIVITY: Nouns from a Hat

There are many improv games which involve slips of papers with random words, phrases or quotes

written on them. Usually, these phrases have been invented by audience members. "Nouns from a Hat"

is one of these types of games. Students write nouns on slips of paper. Proper nouns are acceptable. In

fact, the stranger the noun, the more interesting this improv will be. Once all of the nouns have been

collected into a hat (or some other container), a scene begins between two students. Every thirty seconds

or so, as they establish their storyline, the students will reach a point in their dialogue when they are

about to say an important noun. That's when they reach into the hat and grab a noun. The word is then

incorporated into the scene. The results can be wonderfully silly. For example:

BILL: I went to an interview today. They offered me a job as a ... (reads noun from the hat) "penguin."

SALLY: Well, that doesn't sound too promising. Does it pay well?

BILL: Two buckets of sardine a week.

SALLY: Maybe you could work for my uncle. He owns a... (reads nouns from the hat) "footprint."

Scene may continue for a while then reflections take place.


See page 11

46

SESSION THREE

CLOSURE OF SESSION

WARM UP: Bag of Tricks

Teacher demonstrates the use of items from her ‘Bag of Tricks’ to students.

Her bag contains scarves, ties, hats, jackets, small hand props, large jewellery

(chains, bangles, etc), spectacles, shades, handbags, wigs etc. She

demonstrates how quickly she could use a few items from her bag and

become a character eg, an old lady. Students are advised to search for items

to start their own ‘Bag of Tricks’. Items should be as dated and as peculiar as

possible. Teacher monitors this process for the rest of the term. Items can be

used in their final presentation.

STORYTELLING ACTIVITY: Best / Worst

In this improv activity one person creates an instant monologue, telling a story about an

experience (either based upon real-life or based upon pure imagination). The person begins

the story in a positive way, focusing on terrific events and circumstances. Then, someone

blows a whistle or rings a bell. Once the bell sounds, the storyteller continues the story, but

now only negative things occur in the plot. Each time the bell rings, the storyteller shifts the

narrative back and forth, from the best events to the worst events. As the story progresses, the

bell should ring more quickly. Reflections.


See page 19

47

SESSION FOUR

CLOSURE OF SESSION

WARM UP: Catch a Story

Have a ball or (better) a beanbag. Begin a story. Throw it to the person who

must continue the story. This is better than dragging around the circle and shy

people can get rid of the story after only one word.

STORYTELLING ACTIVITY: Tall Tale

Read some tall tales such as stories by Roald Dahl or Lord Nelson’s calypso, “The Liar”.

Have players create tall tales of their own. The details of the story should be realistic

enough to believe but the story itself should be made up. Hold a contest to determine who

can tell the "tallest" tale with enough realism in the storytelling to make it believable.

Award prizes such as a fake long nose. Reflections.

COOL DOWN: The Wind Blows

This is a good game for mixing up cliques and a variation of Fruit Bowl. Put chairs in a

circle. Turn one chair to face out. Choose someone to stand in the middle. They (or teacher)

can call: “ The wind blows for… everyone who had breakfast today, everyone who likes ice

cream, everyone wearing glases etc… . If the statement applies to a pupil, they must get up

and change places. The caller finds a seat. The last pupil left standing becomes the new

caller. No one can change places with the person sitting next to them.

48

SESSION FIVE

CLOSURE OF SESSION

WARM UP: Led By The Nose

Pupils must imagine that strings are attached to various parts of their bodies. Move around the room led by that part e.g. right thumb, nose, knees, eyelashes etc

STORYTELLING ACTIVITY: Show and Tell - Family Stories

Students would have been asked to bring an item that reflects some aspect of their

family. The teacher will give to the students a list of questions to assist the preparation

and collection of information from their relatives. Have students collect and tell true

tales about the "old days" by interviewing older relatives. Have students find out about

the history of their families as far back as anyone can tell them. Reflections.

COOL DOWN: Chief Ape

All players sit in a circle and then chose a person to be “it”. The “it” is to leave so that “it” cannot see or hear. Teacher chooses one person to be the chief and he will act out short movements. Examples are clapping hands three times, stomping feet 4 times, etc. All other players must do what the Chief does. Have “it” return to the group to figure out who is the Big Chief. He can be given him up to three guesses if there’s a large group.

49

SESSION SIX

WARM UP: Storm

Pupils build up a storm by joining in teacher-led sound effects one by one. It

builds to a crescendo and dies down to silence. Scenario:

It was still and quiet. A gentle breeze was heard. (Teacher rubs hands

together. Children to her right gradually join in.)

The breeze grew louder. (Rub more vigorously). A patter of rain was heard.

(Tap hands on palms). It began to thunder. (Stamp feet).

STORYTELLING ACTIVITY: Psst – Pass It On

Players sit in a circle. The group leader will begin whispering a short paragraph

including names and details into the ear of the player next to him. At the end of the

story, the group leader says "Pass It On..." The next player then relays the story to the

person next to him and so forth. No one is allowed to repeat what was said. Each player

must speak clearly and each player must listen carefully to what was said. Encourage

players to repeat what they "heard". The last player stands up and relates the story,

ending with "Pass It On." The results are often hilarious. Following the activity, tell the

original story and discuss what changes occurred. Discuss the evolution of the story and

how stories change from teller to teller. Reflections.

COOL DOWN: Guided Mimes

Individual silent mimes, talked through in detail by teacher. Examples:

Walking the dog Learning to juggle

At the beach Climbing a tree

50

SESSION SEVEN

CLOSURE OF SESSION

SESSION EIGHT

WARM UP: Chain Sentences

Teams of two students orally construct sentences for an invented story. To orally

make the story, each says one word, trusting their ears to recognize conventional

grammar. Shape the improv by setting the tone of the story. Make sentences for: a

ghost story; pirate story; love story; mystery; any story, etc.

STORYTELLING ACTIVITY: The Other Side

Objective: Copies of classic fairy tales and stories such as Little Red Riding Hood, The

Three Bears, and The Three Little Pigs, paper and writing utensils.

Choose a classic story or several stories and have the students pick a character other than

the main character. Have them re-write the story from the other character's view point

such as Grandma's story or the woodcutter's story in Little Red Riding Hood. Be true to

the story line and maintain the characteristics of the characters as found in the original

stories. Explore their motivations. What was Grandma doing before the wolf came over?

How did she react when the wolf showed up at the door? Did the story turn out

differently? What was the woodcutter doing in that part of the woods? How did he react

when he saw Red Riding Hood and the wolf? Have the students read aloud or tell "The

Other Side" of the story. Discuss how the characters were developed and how their

participation changed or added to the story. Reflections.

COOL DOWN: Pass the Energy

See page 17

PRESENTATIONS.

51

GLOSSARY

Character a person, animal or entity in a story, scene or play with distinguishing

physical, mental and attitudinal attributes

Critiquing the ‘art’ work: Discussing all aspects of the work created

Cue the signal for an actor to speak or perform an action, usually a or word spoken by another actor

Dialogue the lines of the play spoken by the actors

Drama method using a drama activity to introduce or explore an idea

Endow to give the power of the skill or the profession to the participant

Freeze students become as still as statues

Gesture the movement of a body part or combination of parts with the emphasis on the expressive aspects of the move

Improvisation/improv the spontaneous use of movement and speech to create a character or object in a particular situation

Mime performance in non verbal language

Projection (voice) to cause one’s voice to be heard clearly at a distance

Props short for PROPERTIES; any article, except costume or scenery, used as part of a dramatic production; any moveable object that appears on stage during a performance

Script the written dialogue, description and directions provided by the playwright

Sculpting using ones partner’s body to create a piece of sculpture

Setting the time and place of a scene or a play

Sound effect any sound artificially produced or reproduced from a recording to create a theatrical effect

Tableau A non-verbal, frozen picture that clearly expresses and communicates a

thought, feeling, idea or situation. Elements of tableau are: Space, Shape,

Time and Energy.

52

REFERENCES

Anthony, M. (2004). Folk Tales and Fantasies. London: MacMillan Caribbean.

Besson, G. (2007). Folklore and Legends of Trinidad. Port of Spain: Paria Publishing.

Beaty, J. (1994). Picture Book Storytelling. New York: Harcourt.

Ellis, G. & J. Brewster. (1991). The Storytelling Handbook for Primary Teachers. London:

Penguin.

Framer, David. Learning Through Drama in Primary Years. www.dramaresource.com/resources/learningthrough-drama

Jennings C. (1991). Children as Storytellers. Australia : Oxford.

Livo, N. & S. Rietz. (1986). Storytelling: Process and Practice. Colorado: Libraries Unlimited.

Mc Caslin, N. (1990). Creative drama in the classroom. N.Y. : Longman.

Morgan, N., & Saxton, J. (1995). Teaching drama: a mind of many wonders. New

Hampshire: Heineman.

Neelands, J., & Goode, T. (2000). Structuring drama work. Cambridge: Cambridge

University Press.

O’Neill C., & Lambert, A. (1991). Drama structures – A practical handbook

for teachers. Portsmouth: Heinemann.

Parmasad, K. V. Anson Gonzalez (Ed). “Kheesas: Local Indian Folk Tales.” Port of Spain:

Publications Division, Ministry of Education and Culture. 1976.

Sherlock, P. (1995). Four Caribbean Folk Tales: The Illustrated Anansi. London: MacMillan.

Smith, K. (1986). Stages in Drama. London: Foulsham.

Spolin, V. (1986). Theater games for the classroom. Illinois: NW University Press.

The Drama Play House – Drama and Story Telling Activities for Teachers:

www.thedramastudio.com.

Wagner, B. (1999). Dorothy Heathcote: Drama as a learning medium. (Rev. Ed.). Portsmouth: Heinemann.

CAC Teachers' Manual Drama

Education

Transcript of CAC Teachers' Manual Drama