Godly Play® Commuter Core Training

Building Holy Rituals & Spaces: Liturgical Action & Creating Sacred Environments

November 19, 2016

All Saints’ Episcopal ChurchFort Worth, Texas

This Godly Play® Core Training Manual was developed by the Godly Play® Foundation to be used as part of a Godly Play® Core Training, led by Godly Play® Foundation Trainers.

Copyright © 2015 Godly Play Foundation. All rights reserved.

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Contents

Beginnings4 Core Training Goal and Objectives5 Meet Your Trainers6 How Our Godly Play Practice Informs Our Gathering7 Goal of Godly Play8 A Godly Play Session Outline9 Debrief of Full Godly Play Session

Practice10 Preparing to Tell a Story in Training11 From the Heart12 Reflecting on Godly Play Story Presentations13 Godly Play Language: The Four Genres

The Spirituality of the Child15 The Spirituality of the Child16 In a Nutshell: The Godly Play Philosophy17 What Jesus Told Us about Children

Being in Service to the Circle of Children18 The Unspoken Lesson19 Space20 Quotes from Dr. Maria Montessori on the Prepared Environment21 Time22 Relationships23 Godly Play Teacher Roles: Door Person and Storyteller25 Supporting Children during the Response Time

The Godly Play Environment26 Layout of a Godly Play Room35 Art Supply Shelves36 Giving Your Room a Good Start

Other Resources37 The Spiral Curriculum39 Defining the Kinds of Lessons in the Godly Play Curriculum41 Wondering Where to Begin?42 Learn More

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Core Training Goal and Objectives

Goal:To equip persons to be Godly Play storytellers and door persons through an extended spiritual

growth experience and an intensive, professional training event.

Objectives:Through participation in a Core Training event of at least 18 contact hours, participants will have

increased their insights, skills, and commitment and demonstrated their competency as adult

guides of children in the Godly Play way of Christian formation by:

Participating in and debriefing a whole Godly Play session as an adult.

Gathering and worshiping as a Christian learning community.

Experiencing and debriefing sacred story, parable, and liturgical action presentations.

Engaging actively in major presentations dealing with the spirituality of the child, leading

a Godly Play session, supporting the circle of children, sacred space, and the theology of

Godly Play.

Practicing for the presentation of a sacred story, parable, and liturgical action story.

Presenting a sacred story, parable, or liturgical action story and receiving feedback.

Evaluating the training process and event, and one’s personal growth.

Sharing insights, ideas, resources, and materials in teaching Godly Play.

Expectations: We will begin and end on time.

Participants will receive a certificate for completing the full training.

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Meet Your Trainer

Godly Play trainers have been practicing Godly Play for many years, have received extensive training and certification from the Godly Play Foundation, and are in relationship with other trainers around the world through the Godly Play College of Trainers.

CYNTHIA HILL, Ph.D., began as a Godly Play teacher 20 years ago and has taught Godly Play in both the parish and parish day schools. In addition to teaching, she currently serves as the Godly Play Administrator in her home parish, All Saints' Episcopal Church, Fort Worth, Texas.  At All Saints’ she is blessed with clergy who are committed to the spiritual formation of children, an amazing team of Godly Players, and beautiful Godly Play classrooms.  She is a member of the most recent class of the College of Trainers. Cynthia has a Masters in Ministry from Nashotah House, an Episcopal Seminary and her doctorate in Psychology from the University of North Texas. She has studied the spirituality of children with Jerome Berryman at General Theological Seminary.  Very dear to her heart is Amazing Grace Children's Home and School in Awasi, Kenya, an orphanage and school for girls orphaned by HIV Aids. Cynthia has shared many Godly Play stories with the girls at Amazing Grace.  Cynthia has recently begun to study writing icons in the Prosopon School tradition. Cynthia and her husband of 28 years have two grown daughters, three dogs and an African Grey parrot.cadhill@mac.comAll Saints’ Episcopal ChurchFort Worth, Texas 76107

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How Our Godly Play Practice Informs Our Gathering

Getting Ready We recognize that we need to prepare, to slow down, open our hearts and anticipate that of God in each other and in our coming together. We check ourselves to see if we are ready.

Crossing the Threshold We choose to leave one space and enter another, bringing our whole selves to the circle and choosing to be present as fully as possible. We come with our doubts, fears, and failings as well as our convictions, joys, and successes, our listening as well as our speaking.

Building the Circle We extend and receive welcome. We do best in hospitable places. In this circle we support each other’s learning by giving and receiving hospitality. We take our place and make room for all to take their place.

Telling and Listening to the Stories We need and use story to listen to our own story. We use an economy of words and an economy of gestures so that we provide uncluttered and open access to the story.

Wondering We invite dialogue with open, honest questions. No fixing, saving, advising, or correcting each other. When there are differences and we feel judgmental or defensive we turn to wonder. “I wonder what brought them to this belief? I wonder how they are feeling now? I wonder what my reaction teaches me about myself?” We strive to put aside judgment to listen to others and to ourselves more deeply.

Silence We trust and learn from silence. Silence is a gift in our noisy world and a way of knowing in itself. We treat silence as a member of the group. After someone speaks we take time to reflect without immediately filling the space with words. We only speak to improve on the silence.

Response We practice attending and responding to our own inner teacher as we explore stories, questions, and silence in the circle. We pay close attention to our own reactions and responses, our most important teacher, and give freedom to express that in a variety of ways. We trust our minds, our hearts, our emotions, our hands, and our bodies.

Prayers and Feast We take the time to express what is most deeply true and important (prayer). We recognize that feasting is who we are with (relationships), not what or how much we get (product).

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Blessing We both give and receive blessing. We genuinely see each other. We look for and call out the best in each other and affirm who each person most authentically is. We each are called to have the courage to be who we most authentically and uniquely are.

Goodbye We have all the time we need. We believe that it is possible to leave the circle with whatever it is that we needed when we joined the circle and that what we receive will continue to grow in the days ahead.

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Goal of Godly Play

Godly Play is the creation of the Rev. Dr. Jerome W. Berryman and his late wife, Thea. It has been his work for more than forty years.

“The goal of Godly Play is for children to move through the spiral curriculum during early, middle, and late childhood in such a way that they will enter adolescence with an inner working model of the classical Christian language system to root them deeply in the tradition and at the same time allow them to be open to the future” (Berryman, Teaching Godly Play, Morehouse Publishing, 2009, p. 21).

Six objectives or ways of meeting that goal are:

1. Model how to wonder

2. Show children how to create meaning with wondering questions

3. Invite children to choose their own work

4. Organize the mentoring time around the deep structure of Christian worship

5. Support the community of children by respecting and challenging them to participate constructively

6. Clarify the whole Christian language system by the organization of the room

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A Godly Play Session Outline

Getting ReadyGreeting at the Door (the threshold)Preparing to Enter the Circle (waiting)Building the Circle (walking, sitting)Sharing with the Community (experiences from life)Liturgical Greeting (asking for God’s presence)Silence (becoming still inside)

The LessonOpening the Bible to the passage the story comes from (if applicable)Bringing the Story into the Circle – Getting ReadyPresenting the StoryWonderingReturning the Story

Work TimeGetting Ready – Choosing WorkIndividual Work or Small GroupsGetting Ready for the Prayers and Feast (putting away work and materials)

The FeastPreparing

Preparing Tables (serving napkins, food, cup)Prayers (individual and communal thanks for the feast)

SharingEnjoying the Feast (eating, drinking, conversing)Putting Tables Away (discarding waste in trash container)

Dismissal and BlessingSaying Goodbye

Getting ReadyIndividual Blessing (each is thanked for work and blessed)

Leaving the SpaceLeaving the CircleSaying Goodbyes at the Door

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Debrief of Full Godly Play Session

What one word or phrase would you use to express your experience of the session?

What part of the session was difficult for you?

How did the door person in the experience help you?

How did the storyteller in the experience help you?

When did you come close to God, or what kept you from coming close to God, in the session?

From this experience, what would you like to know more about, or what would you like to ask?

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Preparing to Tell a Story in TrainingWorking in triads

1. Watch and listen to the stories presented to you by experienced storytellers. Notice what you notice.

2. You will hear up to fourteen core stories and tell one core story from the three genres of Godly Play stories.

3. You will work in a small practice group called a triad. Your triad will consist of persons presenting one story from each of the genres.

4. Story materials may be taken to a designated room, hall, or outside for practice.

5. During the story practice time for a certain genre, all those in the triad will be learning the story by supporting the person who will be presenting that type of story to the circle.

6. Use the practice time in the triad to help all participants become more comfortable with the story. It is not meant to be only an individual study time, but an engagement with others to integrate the story knowing and storytelling. Take turns telling, hearing, and reflecting on the story.

7. Triad members will respond constructively to the storyteller with observations about timing, movements, posture, volume, and overall presentation to help the storyteller more fully prepare for presentation to the circle.

8. The story presentations in the circle will include: getting ready story presentation wondering questions putting the materials away

9. After each presentation, members of the circle and the trainer will have a brief time (5-10 minutes) to affirm the presenter and to make helpful observations and suggestions regarding the presentation.

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From the HeartWhy is it important to learn Godly Play stories by heart?

Sometimes storytellers are afraid they cannot memorize the stories, and that they need to rely on written prompts such as notecards to help them present the story to the children.

First, “learning the stories by heart” is a more accurate description of what we do than “memorizing.” We hope that shift will transform the process from a task that must be accomplished to a joy that may be embraced. When the story sinks into your heart, it also comes from your heart in the telling. Children know the difference!

Learning the stories by heart: allows the story to take root in you so that it nourishes your own spirit. removes the distraction of having to look in two different places (the text and the

materials) as you present the story. Focusing your visual attention on the materials actually helps you remember the language.

gives the children only one place to look—at the story materials. This focuses their attention as well as yours.

shows the children that you love the story so much that you know it by heart. This is part of what Jerome Berryman calls the “unspoken lesson.”

enables you, eventually, to become fluent enough that you can work with any child who chooses any story material at response time.

Practicing Read the story in the Bible (several versions if you can). Read the lesson in the Complete Guide to Godly Play. Use the lesson materials or substitutes so you learn the story with your body. Practice with cue cards. Highlight key words or phrases. Record yourself on your phone and listen to the story over and over. Practice telling the story to a safe audience.

Developing your style Be patient with yourself. This is an art. It takes time. You have your own unique style. The story belongs to all of us and the children need to know that.

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Making “mistakes” It happens. Just keep going. Make a choice: leave it or correct it when you can. Use your mistakes. Learn from them.

The language of the Godly Play texts is carefully chosen and tested, and it is important to be attentive to the language. But it is even more important to be relaxed and to enter into the story you are presenting. Telling the story from your heart, to the children’s hearts, is more important that getting it “right.”

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Reflecting on Godly Play Story Presentations

Where did you find yourself in the story? What part was about you?

What was difficult for you in the story?

What did you wonder about?

What did you notice about the story presentation? How was this story presentation different from the presentation of a sacred story, or a parable, or a liturgical action lesson?

What did you notice about the wondering?

What did you see, hear, or experience that will help you in presenting a sacred story, parable, or liturgical action lesson?

What more would you like to know about presenting a sacred story, parable, or liturgical action lesson?

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Godly Play Language: The Four Genres

1. The Language of the Sacred StoryTelling the story so children can become the story

In a sacred story, God is the main character and the people of God are encountering God’s elusive presence. The people meet God in each of these stories . . . from creation through the patriarchs, into the Exodus, at Sinai, in the temple, in prophets’ visions, in psalms of presence, in sabbath, in the Word, in annunciation, transfiguration, and so many other times and places.

Materials are generally three-dimensional (Creation being the exception).

The wondering questions are consistently: I wonder what part of this story you like best? I wonder what part of the story is the most important? I wonder where you are in the story or what part is about you? I wonder if there is any part of the story we can leave out and still have all the story we

need?

We understand that children have already experienced the presence of the mystery of God. What they need is an appropriate language by which to identify, name, value, and express in community what such an event means . . . to remember, to be aware of it, and to hope for a continuing relationship. Sacred stories help children find their story.

2. The Language of the ParableEntering with wonder to live the questions

The Godly Play approach to parables includes six guiding parables in gold boxes, parables about parables, side-by-sides, the parable cards, and the parable games.

Materials are two-dimensional, supporting the timeless quality of Jesus’ words to us.

The wondering questions vary: I wonder what this could really be? I wonder where this could really be?

The pattern of communication in the parable is the closest we can come to the actual voice of Jesus. This very different and curious kind of communication must be included for children so they can hear the best approximation of the voice of Jesus during the time of their language formation.

continued

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3. The Language of the Liturgical Action LessonMarking life, time, and space so children can know the Holy

Liturgy helps express inner and outer existential realities in a way that allows others to participate. It involves action, so all of our senses can be involved in this kind of knowing.

Materials are both two- and three-dimensional, supporting a deeper understanding of the liturgical focus.

The wondering questions include but are not limited to: I wonder if you have ever come close to this in church? I wonder what happens when you see this in church? I wonder who puts it there?

Children need meaning and companions to share their faith journey. Like any art, to learn to worship, one must worship. These lessons only help show how.

4. The Language of SilenceShowing the sound of “ . . . ” in an I-Thou relationship

Silence is hard to speak about. Many languages are ambiguous in their terms to describe silence. For example, in Latin, quietus means quiet, tranquillus means still, and silentium means silence. What exactly are we trying to say with these words? We might call quiet the large category with stillness—a sense of calm coming from within—being a subcategory. Silence, then, could be another subcategory which comes from making no sound and can be imposed from outside. There is then a third and fourth kind of quiet to complicate matters. Sometimes there is nothing to say and at other times there is too much to say. Any of our four fundamental relationships (God, deep self, others, and nature) can involve one to the point of being overwhelmed, quiet.

At every stage of the Godly Play session there is silence: entering, the lesson, wondering, art and material response, the feast, and saying goodbye. A comfort with silence is shown and the assumption that silence is not empty, but full, is made.

The wondering questions include: I wonder where the silence materials are? I wonder where the silence is? I wonder where the silence comes from? I wonder how silence speaks?

Children have a growing inability to listen. We can make them be silent, but it is stillness (from within) that children need if they are going to learn. The ability to contemplate is the foundation of wonder, which opens the creative process, which in turn gives us life.

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The Spirituality of the Child

The subject of children’s spirituality and a related theology of childhood is a growing realm in the Christian community. Even though it has been developing since the time of Christ, attention to children’s spirituality has had periods of dormancy in history. The attention to children’s spirituality is growing in academic thought and practice. Jerome Berryman and his work of Godly Play has been pioneering this work. Godly Play seeks to nurture the deepest part of children’s hearts and help them become aware of the mystery of God’s presence in their life. This happens many ways, but some of the key themes you will find in Godly Play are:

Children have equal access to relationship with God. Their faith is not molded or formed by parents or other adults, but by God. This gift of faith is nurtured by the caring adults in their lives throughout a lifetime of meaningful interaction.

Nurturing faith involves sharing and passing along a “religious language.” This language helps connect the community as the body of Christ and helps one make meaning of the “existential limits” of being human.

Learning religious language happens best in a multi-sensory process of discovery. The lessons of Godly Play reflect the mystery of our relationship with God—and therefore are not the same as teaching math, science, or history.

All children are especially attuned to story and play. Play is related to love, flow, and contemplation in that it is pleasurable, done for its own sake, is absorbing, and must be voluntary.

When the child’s community is modeled on a deep respect for all children, it becomes a learning culture of ethics and peace.

Godly Play is centered around the mystery and celebration of the Christ who welcomes children and invites us to do likewise to know God and enter into God’s kingdom.

Questions to ponder:

1. What is your earliest memory of God?

2. How would you describe your relationship with God as a child?

3. How would you describe your relationship with God now?

4. How can we help children to come close to God by themselves?

5. What does “the spirituality of the child” mean to you?

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In a Nutshell: The Godly Play Philosophy

About children Even young children today face and wrestle with complex existential issues. Young children already have a spiritual life of depth that adults may not understand or

honor. Young children can discover and use the language of religious narrative and symbol that

will allow them to express themselves spiritually and “make meaning.”

About children’s work Children’s play is their work. Children are encouraged to choose their own work during each Godly Play session. Children like to work when it is work they have chosen for themselves. Adult guides do not interfere with the children’s work unless the child asks for help. When a child seems unable to ask for assistance, it should be offered by the adult. Part of the work of the community of children is the care of their Godly Play room and

how they treat one another. Children like to feel self-sufficient: it is good to allow them the opportunity to clean up

their own spills and put away their own work.

About adult guides and children Storytellers and door persons are guides. They do not need to have all the answers. Children have much to teach adults who will take the time to listen. Children are encouraged to do the work of discovering answers. When a teacher takes time to listen and observe a child, the teacher can find more

effective ways to lead the child into new discoveries. Children are treated seriously and with deep respect; they are subjects, not objects.

About the Godly Play environment The Godly Play room is a place for children

o to be themselves.o to learn how Christians live in community.o to come closer to the mystery of God’s presence.o to learn the language of the Christian people.

Respect for the space and for one another is maintained in a Godly Play room to help the children feel safe.

A Godly Play room should help each child feel successful.

About enabling a community of children to develop In Godly Play, children are encouraged to form their own community and take care of

one another. A Godly Play environment is not “over-adulted.” This allows children to form a

community and empowers them to be responsible for their space. It also keeps the storyteller and door person focused on the children and their work.

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What Jesus Told Us about Children

The parable of children’s playLuke 7:31-35Matthew 11:16-19

A child in the midst of themMatthew 18:1-5Mark 9:33-37Luke 9:46-48

Let the children comeMatthew 19:13-15Mark 10:13-16Luke 18:15-17

The millstone textsMatthew 18:6-9Mark 9:42-48Luke 17:1-2

Become like a childMatthew 18:3Mark 10:15Luke 18:17

Born anewJohn 3:3John 3:5-8

The children cry outMatthew 21:15-16

Revealed to childrenMatthew 11:25-26Luke 10:21

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The Unspoken Lesson

Jerome Berryman refers to everything that is indirectly being taught to the children by the organization of space in the room, the organization of the time spent in that space, and the attitudes and values of the adults in that space as the unspoken lesson.

What is the unspoken lesson?

Everything in the room: The materials The organization of the materials The care of the materials The care of the space

Everything that takes place in the space: How the time is used Every interaction that takes place between the adults and between the adults and

children

What is the unspoken lesson we want to teach children?

We welcome you. We value you. We love you. We respect you. We honor you just the way you are. You are capable. You are our primary concern during this time. We trust you to make choices. This is a safe place to wonder and find meaning. The community is important and will be supported. We will set clear limits and expectations. This is a place of imagining. A different language is spoken here. The stories have value. We love the stories. You can use the stories to make meaning. We love God. God is present in this place.

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Space

The sacred space for children to do Godly Play is both a worshipful and education environment. It is designed to be fully a place for children, with the scale of the furniture fitting their age, the artwork hung at their eye-level, and the materials fully accessible for them. The children are literally surrounded by the genres of the Christian language system: sacred story, parable, liturgical action, and contemplative silence. The lessons are always displayed in the same orderly way from week to week, with the chronology of the stories presented left to right.

The floor is the great unifier between children, adults, and work. The floor could be seen as the “altar” on which we all rest. Work is done on the floor, so care is given to guide children in respecting their work and the work of their neighbor by using rugs to mark their space and carefully walking around materials. Avoiding the traditional model of desks, tables, and chairs emphasizes the equality and accessibility of the story to all learners, including the teacher/mentor.

The sacred quality of a space is elusive. Architects and designers have searched for years to find just the right balance of axis, juxtaposition, hierarchy, symmetry and asymmetry, quality of light and aesthetic of materials. Imagine yourself in your favorite sacred space or even an art museum—that place has a transcendent quality that suspends time and place. We seek that feeling in Godly Play environments.

Godly Play environments run the gamut of budget and appearance! Around the world, one will see simple concrete and board shelves, professionally designed buildings and furniture, and everything in between. The most important element of a Godly Play environment is intentionality. The environment must always appear to children that it was prepared just for them, like walking in a bubble of suspended reality. Therefore it must be: orderly, clean, and simply beautiful. It is not about decoration or ornament, but transcendence.

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Quotes from Dr. Maria Montessori on the Prepared EnvironmentComplied by L. Seeley, N.M.I.

“The objects surrounding the child should look solid and attractive and ‘the house of the child’

should be lovely and pleasant in all particulars. It is almost possible to say that there is a

mathematical relationship between the beauty of the surrounding and the activity of the child.

He will make discoveries rather more voluntarily in a gracious setting that in an ugly one.”

“With the realization that children absorb unconsciously from their environment, it became

necessary to provide a seemingly perfect learning environment for developing children. This

structured environment for learning involves use of a wide range of didactic apparatus, varied

activities reflecting all aspects of the child’s development, with everything being aesthetically

pleasing and geared to the child’s size, needs, and interests.”

“It is through the environment that the individual is molded and brought to perfection . . . since

a child is formed by his environment he has need of precise and determined guides and not

simply some vague constructive formulae.”

“Sometimes very small children in a proper environment develop a skill and exactness in their

work that can only surprise us . . . . An adult environment is not suitable for children . . . there

must be a suitable environment for the child’s growth. Obstacles must be reduced to a minimum

and the surroundings should provide the necessary means for the exercise of those activities

which develop a child’s energies . . . adults should not be an obstacle to a child’s independent

activities by means of which a child reaches maturity.”

“The room is dedicated to him, and he is free to move about in it, talk and apply himself to

intelligent and formative kinds of work.”

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Time

“Some people say that time is in a line . . .”

Class timeOur organization of time in Godly Play mirrors the structure of worship. We gather, hear the story, respond, come together for the feast, and are sent in blessing until the circle begins again. This also establishes a cycle of action and reflection—a powerful process for learning. It also balances times of doing something in community (hearing, wondering, feast) with time to work and process alone or with a few friends (response).

Through the yearThe ancient and modern tradition of the liturgical church year is also a part of the rituals in Godly Play. The Circle of the Church Year lesson allows children to work with the whole liturgical year at one time. That lesson is reinforced weekly by changing the wall calendar to reflect where the world is in relationship to God’s time reflected in the church. Also, the cloths on the focal shelf are the liturgical colors, which will coordinate with what a child sees in other worship spaces.

LifetimeWhile the Godly Play pedagogy is designed for children ages 2-12 years, the spirit of Godly Play is the long game of peek-a-boo with God over a lifetime. It is joyfully playing at the edge of knowledge. This lifelong learning, searching, and wondering calls out to the child of God within all of us as an invitation to play.

Spiritual passageSpiritual passage is often experienced as a series of cycles that one could image as a spiral, like a wind funnel. In Godly Play, we try to become more aware of and intentional with the spiral process—celebrating the familiar recognition and the new insight each time one passes around the familiar circle (whether it is the class time or the liturgical year).

Each time the child revisits a story in a new year, he or she approaches it with a familiar welcome and with a new point of view the year’s-worth of development offers. This process of repetition is called a spiral curriculum. Elementary-age children who have been offered Godly Play in their younger years are offered stories that enrich or extend the core stories. However, the core stories are always at the core of understanding. So when approaching children’s or adults’ spirituality we recognize that we are not “ahead” of children nor are they “behind” us. Our differences may relate more to social, cognitive, developmental, or aesthetic structures than to spirituality.

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Relationships

There are two adults present in Godly Play with children: the storyteller and the door person. Both roles are vitally important to supporting the community. These caring and dedicated adults get ready to provide this support by learning the art of Godly Play through knowing the Volumes and practicing this knowledge in training gatherings.

These two roles are the visible support for the Godly Play community, but the invisible support comes from an international network of storytellers, door persons and trainers who seek to support the children by supporting each other. This global network is guided by the Godly Play Foundation and provides support for those practicing Godly Play.

Managing disruptions within the circleFive suggested steps are found in The Complete Guide to Godly Play, Volume 1 (p. 69) and in Teaching Godly Play (pp. 56-60).

In general, model expected behavior, keep a neutral tone in your voice and maintain focus on lesson.

1. At the first interruption, freeze story/action, and check yourself. Then continue when attention is on the story.

2. Raise your eyes, looking at each child, and say, “We need to get ready again. Watch. This is how we get ready.”

3. Look at the particular child directly. “No, that’s not fair. You need to be ready, too. Let’s try again. Good. That’s the way.”

4. Invite the child to sit by the door person. “It will be easier for you to be ready there.”

5.a. If the child does not leave the circle and is persistent in disruption, ask, “May I help

you in moving to the door person?” Also remind the child, or the whole circle, “You don’t need me to invite you to sit by the door person. You can always move there on your own if you feel you need to.” The goal is freedom and self-control.

b. Or, you take plenty of time and look deeply into the child’s eyes. You then say “Okay,” and go on with the lesson. The push of the child’s power play fall by its own energy. No more attention is invested in the disruption. If the child continues to try to divert attention from the community, that action is dismissed by the storyteller by commenting to the other children that they need to help the disruptive child by not giving him or her any attention. Call the child by name and say in an offhand way, “Bobbie is having a bad day. That’s okay. We’ll just go on.”

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Godly Play Teacher Roles: Door Person and Storyteller

Door person

Getting Ready

Check the shelves, especially the supply shelves and art shelves.

Prepare the feast.

Get out the attendance book and nametags and position yourself at the door. Get ready to greet children and parents. (Remember, this may be the first welcome a newcomer receives.)

Slow down the children coming into the room. You may need to take and put aside toys, books, and other distracting objects. Help them to get ready.

The Story / Lesson

Close the door when it is time. Be ready to work with latecomers and children who come to you from the circle.

Avoid casual eye contact with the storyteller to help prevent the adults in the room from turning the children into objects, talking down to them, or manipulating them.

Work Time

When the children choose their work, listen to what they choose. They may need help setting up artwork and getting materials from the shelves for work on a lesson, either alone or in small groups, especially if they are new. Show children how to do this rather than doing it for them.

Stay in your chair unless children need your help. Do not intrude on the community of children. Stay at the eye level of the children

Storyteller

Getting Ready

Check the material to be presented that day. Ensure that it is complete and ready to be presented. Find the passage in the Bible on the Transition shelf so you can open it easily at the beginning of the lesson.

Get seated on the floor in the circle and prepare to greet the children.

Guide the children to places in the circle where they will best be able to attend to the lesson. Visit quietly until it is time to begin and all are ready.

The Story / Lesson

Open the Bible to the passage the lesson comes from (if applicable). Present the lesson. Model how to “enter” the material.

Draw the children into the lesson by your introduction. Bring your gaze down to focus on the material when you begin the actual lesson. Look up when the wondering begins.

Work Time

After the lesson and wondering, go around the circle, dismissing each child to begin his or her work, one at a time. Each child is supported as each chooses what to do. Go quickly around the circle the first time, returning to the children who could not decide. Go around the circle again for decisions until only a few are left. These children may be new or for some other reason cannot make a choice. Present a lesson to them.

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whenever possible, as if there were a glass ceiling in the room at the level of the average child.

Feast

Help the children put their work away, and also guide the selected children who are serving the feast. (One to do napkins, one to do crackers, one to do water or juice.) Be sure that the trash can has a liner in it.

Sit quietly in your chair.

Saying Goodbye / Dismissal

Greet the parents and begin to call the names of the children who are ready and whose parents are there.

If a child starts for the door without saying goodbye to the storyteller, remind him or her to return to the storyteller to say goodbye.

Remember to give back anything that may have been taken for safekeeping at the beginning of class and retrieve the nametags.

After the class, check and clean the art and supply shelves.

Sit quietly and contemplate the class as a whole. Evaluate, make notes, and discuss the session with your co-teacher.

Remain seated in the circle unless children need help with the lessons they are working with. You may need to help with art materials. Keep yourself at the children’s eye level.

Feast

When it is time for the feast, go to the light switch and turn off the lights. Ask the children to put their work away and come back to the circle for the feast. Turn the light back on. Go to the circle to anchor it as the children finish their work and return.

Support the children in the circle as they wait for everyone to be served. Then ask for prayers, but do not pressure. After the feast, show the children how to put their things away in the trash.

Saying Goodbye / Dismissal

As the children’s names are called, they come to you. Hold out your hands. They can take your hands, give a hug, or keep their distance as they prefer. Tell them quietly and privately how glad you were to see them, describe the good work they did that day, or if they had a hard time during the session acknowledge that with an understanding smile and warmth. Invite them to come back when they can.

Take time to enjoy saying goodbye, with all the warmth of a blessing for each child.

Check the material shelves and clean.

Sit quietly and contemplate the class as a whole. Evaluate, make notes, and discuss with your co-teacher.

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Supporting Children during the Response Time

What to expect

2-4 years: “Scribbling,” very little recognizable to adult eye. They represent gestures (small marks are rabbits hopping). Can sometimes put body parts in order, but seldom “realistically”.

5-8 years: Realism more recognizable. Making it look real takes on importance. They will pay careful attention to detail.

9 years: First attempts at truly recognizable realism (even 3-D).

What to say

With very young children (ages 2-5): No questions need to be asked! Open, affirming comments are best:

Very interesting.Nice colors.I saw you enjoying the green paint.

With older children: Use open-ended questions.

I wonder what your picture is about?I wonder if there is anything in this room that you would like to put in your picture?

Use descriptive statements for any age child:There is a lot of blue in your picture.I see three people and . . .There are lines here and circles there.You’ve used many bright colors.You’ve put some over here and . . .These are very large, and the others are smaller.

Use feeling statements:Your picture makes me feel sad (warm, happy) inside.So many people [play dough] make me think of my family.Yellow makes me think of sunshine, and that makes me feel happy

Do try to honestly value whatever they have done.

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Layout of a Godly Play Room

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Art Supply Shelves

The art supply shelves provide a feast of possibility for the child, often sparking creativity and showing that here is a place where God’s abundant good gifts are present.

Possible art supplies for the Godly Play room: Clay Poster paints Watercolors A variety of sizes of paintbrushes Good quality markers (washable is a good rule) Variety of wooden sticks, wood scraps, wood glue Variety of ribbon Tissue paper in various colors Fabric scraps Journals or paper for writing or sketching Drawing pencils/pens Watercolor crayons Glue sticks Tape Scissors (good ones; make sure some can be used by lefties) Painting paper (heavier than copier paper) Construction paper Beads Found objects

General principles: The materials should be easily accessible to the children. The materials should be neat and organized. Group needed supplies together (e.g., watercolor paints with brush and water cup). Provide a variety of high quality materials.

On qualityThis is another way we respect our children. If we expect them to make an art response, then we need to provide materials that will really work, and not frustrate them.

Good supplies are not necessarily more expensive, but often are. Because we expect everyone to take care of all the materials in a Godly Play room, the materials usually last a long time. You can caution the children about taking only what they need and returning scraps. This is another lesson: about being good stewards.

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Giving Your Room a Good Start

Lessons and materials that will give your room a good start: The Complete Guide to Godly Play, volumes 1–4 and 8 Wall hanging of the Circle of the Church Year (hung low enough on the wall so the

children can easily move the gold arrow each week) The Circle of the Church Year The Holy Family Holy Baptism The Good Shepherd and World Communion Advent The Mystery of Easter The Faces of Easter Creation The Flood and the Ark The Great Family The Exodus The Ten Best Ways Parable of the Mustard Seed Parable of the Good Shepherd Parable of the Good Samaritan Parable of the Leaven Parable of the Sower Parable of the Great Pearl Knowing Jesus in a New Way The Mystery of Pentecost Paul’s Discovery

Complete stories or kits for do-it-yourselfers can be purchased from Godly Play Resources. Once the materials are purchased they will last for many years.

Other items The Story of the Church (vol. 8) on its own shelf, with books about churches, stained

glass windows on the shelf below A basket or box of “work rugs” A shelf for unfinished work or work in progress Low kneeling tables—good for painting or clay work Cleaning materials Trash can Feast supplies Low chair by the door for the door person

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The Spiral Curriculum (* in development)

Core Presentations(ages 3-6, 6-9, 9-12)

Sacred StoryThe Holy FamilyThe Holy BibleCreationThe Ark & the FloodThe Great Family

The ExodusThe Ten Best WaysThe Ark and the TentThe TempleThe Exile and ReturnThe Prophets

Wisdom*Psalms*The Greatest ParableSaul Changes

The Twelve

Liturgical ActionCircle of the Church YearAdvent I-VEpiphanyHoly BaptismFaces of Easter

Knowing Jesus in a New WayThe Greatest ParableGood Shepherd and World CommunionSynagogue/Upper RoomCircle of the Holy Eucharist

Extensions(ages 6-9, 9-12)

MaryBooks of the BibleThe Falling Apart

Abraham, Sarah,Jacob, JosephMosesMosesRuth, SamuelDavid

Elijah, Isaiah,Jeremiah, Ezekiel,JonahJob, DanielDavid

Paul’s Travesl and LettersPeter’s Vision*Jesus and the Women*

Mary

The Twelve

Mystery of Pentecost

Miracles*

Enrichments(ages 6-9, 9-12)

Mystery of Christmas

Mystery of EasterJesus and JerusalemEaster Eggs

Symbols of the Holy Eucharist

Synthesis(ages 9-12)

The Sacred Story Synthesis

Liturgical Synthesis

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ParablesGood ShepherdGreat PearlSowerLeavenMustard SeedGood Samaritan

Deep Well, Parable of Parables

Parable Synthesis

Contemplative SilenceThis genre of classical Christian language is found in the way the lessons are presented. The mindfulness, measured pace, and leaving pauses contribute to this. The prayers and reflection during the feast are also examples.

After the Biblical EraThe Part that Hasn’t Been Written YetThe CrossesThe ChurchThe Communion of Saints

Thomas AquinasValentinePatrickCatherine of SienaJulian of NorwichColumbaElizabeth of PortugalAugustine of HippoMother Teresa of CalcuttaTeresa of AvilaMargaret of ScotlandNicholas, Bishop of MyraThe Story of the Child’s Own SaintThe Story of the Child’s Own Life

For a full outline of Godly Play’s spiral curriculum, see the appendix of The Complete Guide to Godly Play, Vol. 2, Revised & Expanded.

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Defining the Kinds of Lessons in the Godly Play Curriculum

1. Definitions“Core lessons” are the key sacred story, liturgical action, parable, and silence lessons. An example is “Creation.” The sacred stories follow the key events noted by Samuel Terrien’s The Elusive Presence (Harper & Row, 1978), which provides the biblical theology for Godly Play. The liturgical action presentations follow the liturgical year. The parables follow the gospels. The contemplative silence genre may be found in the way the lessons are presented, the organization of the room, and the whole process of Godly Play.

“Extensions” extend the core lessons. An example is the story of “Sarah,” which extends the narrative of “The Great Family” by adding to the story’s line and complexity by telling more about Sarah.

“Enrichment” lessons do not extend so much as enrich or deepen the core lessons. This kind of lesson goes over the same material in a core lesson but from a different angle or in a more detailed way. An example is using a map and model of Jerusalem to retell what was said about Holy Week during the presentation of “The Faces of Easter.”

“Synthesis” lessons integrate the key lessons in the four genres.

“Afterwards” lessons involve events and symbols that are not part of the biblical era. An example is the variety of crosses that have been developed since the original Roman cross Jesus died on. Another example is the lesson about “The Church.”

2. Discussion of the DefinitionsThere are, of course, overlaps in the definitions. “Knowing Jesus in a New Way” is a good example. It is a core liturgical action lesson because it follows the liturgical structure of Eastertide and parallels the way the lessons for “The Faces of Easter” prepare for Easter during Lent. It continues “The Faces” by marking the next six Sundays in Eastertide to prepare the child for Pentecost. This is not merely a story about Jesus, because it is organized to follow the liturgical year during which Jesus’ presence becomes more vivid today. The artwork is different from “The Faces,” because Jesus’ presence is suggested by the faces of the disciples. The focus now is on the wonder and awe of the disciples as they slowly begin to understand what the empty tomb means.

Another overlap might be seen in “The Mystery of Pentecost.” It is an extension of “Knowing Jesus in a New Way,” because it extends Eastertide and Pentecost by adding the Tower of Babel to the narrative.

“The Greatest Parable” is a sacred story about the public ministry of Jesus, but it might also be thought of as an extension of “The Faces of Easter.” It extends this core lesson, but it is more importantly the culmination of the sacred story about God’s elusive presence that began with “Creation,” so it is listed as a core lesson.

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Another overlap can be illustrated by “Jesus and Jerusalem,” thought of as an enrichment lesson. A schematic model of Jerusalem is used to trace Jesus’ movements during Holy Week. It could be considered an extension of “The Faces” because it adds a few details to Jesus’ journey during Holy Week. The model and map, however, do not add substantially to “The Faces.” Instead, it provides a sensorial telling of what happened, using much the same language of “The Faces,” so it is more an enrichment than an extension lesson.

For a full outline of Godly Play’s spiral curriculum, see The Complete Guide to Godly Play, vol. 8: “Core and Enrichment Presentations from the New Testament” (Morehouse Publishing, 2012), pages 161-169.

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Wondering Where to Begin?

Spend time learning about the Godly Play approach and structure.Read Jerome Berryman’s books (see “Learn More” toward the end of this manual)Visit a Godly Play program already up and runningAttend a Godly Play workshop or conference (www.godlyplayfoundation.org)

Gather support in your community.Learn a story and present it to key people in your communityBe prepared to answer questions about cost, materials, space, etc.Be prepared to answer questions about Godly Play’s approach

Make decisions regarding budget, staffing, materials, and space.

Recruit people to support this ministry:People to pray for the successful implementation of the programStorytellers and door personsFeast peoplePeople to help gather or make materialsPeople to help set up the space

Gather materials. Let your needs be known throughout the community.

Set up the space.Use the highest quality materials that are available and affordable to you

Train the adult guides and plan the schedule of lessons.

Communicate with the community, particularly the parents of young children.Educate parents about the goals and objectives of Godly PlayEducate parents about the importance of the threshold and “being ready”Offer opportunities for parents and other adults to experience a Godly Play session

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Learn MoreWhere to go when you need help

Training: Godly Play Foundationwww.godlyplayfoundation.orgPhone: 931-636-3993

This site will give you information about Godly Play A list of scheduled training events A list of current regional training coordinators as well as local trainers A link to the Godly Play Resources website where you can browse and order materials

For more information please contact Teresa Phares: training@godlyplayfoundation.org or 931-636-3993.

Materials: Godly Play Resources, Ashland, Kansaswww.godlyplayresources.orgPhone: 620-635-4018

The Complete Guide to Godly Play, Jerome Berryman, Morehouse Publishing, 2002–2012*Vol. 1 – How to Lead Godly Play Lessons (also available in Spanish)*Vol. 2 – 2nd edition - Revised & Expanded (also available in Spanish)*Vol. 3 – 2nd edition – Revised & Expanded (also available in Spanish)*Vol. 4 – 2nd edition – Revised & Expanded (also available in Spanish)*Vol. 5 – Practical Helps from Godly Play Trainers*Vol. 6 – OT Extension Lessons*Vol. 7 – Saints*Vol. 8 – Core and Enrichment Presentations from the New Testament

Other Books by Jerome Berryman*Teaching Godly Play: How to Mentor the Spiritual Development of Children. Morehouse,

2009.*The Spiritual Guidance of Children: Montessori, Godly Play, and the Future. Morehouse,

2013.*Becoming Like a Child: The Curiosity of Maturity beyond the Norm, Church Publishing, 2017.*Children and the Theologians: Clearing the Way for Grace. Morehouse, 2009.*Godly Play: An Imaginative Approach to Religious Education. Augsburg, 1995.

From Other AuthorsSofia Cavalletti. The Religious Potential of the Child. Liturgy Training Publications, 1992.David H. Jensen. Graced Vulnerability: A Theology of Childhood. The Pilgrim Press, 2005.*Rebecca Nye. Children’s Spirituality: What It Is and Why It Matters. Church House, 2009.*John Westerhoff. Will Our Children Have Faith? Morehouse, 2000.

Social MediaFacebook: Godly Play / Twitter: @GodlyPlay / YouTube: GodlyPlayFoundation

* available as an eBook

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Notes

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Core Training Schedule

Friday, August 28 (4:30–9:00)4:30 Arrival and registration5:00 Building our circle5:30 Dinner6:15 Worship6:30 Full Session of Godly Play7:30 Break7:45 Debrief of Full Session8:30 Introduction to Sacred Story Genre, choosing stories9:00 Closing prayers, good night

Saturday, August 29 (8:30–6:00)8:30 Coffee8:45 Morning prayers9:00 The Spirituality of the Child10:00 Sacred Story practice in triads (includes break)11:00 Sacred Story presentationsNoon Lunch12:45 Sacred Story presentations1:45 The Classroom Environment2:30 Introduction to Parable genre and debrief3:30 Parable practice in triads (includes break)4:30 Parable presentations5:55 Closing prayers6:00 Home

Sunday, August 30 (9:00-10:00, 11:15–4:30)9:00 Intro to Liturgical Action genre10:00 Worship with Christ Church11:15 Liturgical Action practice in triads12:15 Lunch1:00 Liturgical Action presentations3:00 Break3:15 Being in Service to the Circle of Children, Q&A4:15 Closing worship4:30 Blessings and good-bye

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