Student Name: Kristina Karlsson (214168072)

Unit No.: EEA411 Primary Arts Education:

Focussed Study (DRAMA)
Tutorial Time: Tuesday 10:00am
Tutor: Helen Sandercoe
Assessment Number Two: Arts Curriculum Development
Due Date: 28 April 2016
INTRODUCTION
Below is a sequence of three lesson plans for 3/4 Year Level that aim to explore literacy through
drama. The skills students will learn are visual literacy, comprehension, character, theme and drama
elements appropriate for Year 3/4, in accordance with the Victorian Curriculum (Appendix One),
including role, focus, tension, space, time and symbol. The approach is student-centred, as they take
an active role in their learning, with teacher scaffolding to ensure learning goals are met. The
students are physically active, and are encouraged think critically and creatively to make links
between literacy and drama. Prior knowledge in literacy and drama occurs in Levels Foundation to 2,
but the formative assessment incorporated in the lesson plans will assist the teacher to discover any
gaps in learning for individual students. Literacy and drama can be subjective, and each student will
be diverse in their understanding and reading of texts. This should be encouraged, but students are
required to justify any choices made in their performances. The teacher should foster an
environment of respect and safety, in which students feel comfortable to step into character and
express ideas.

RATIONALE
In an over-crowded curriculum, it has become vital for teachers to consider which subjects can be
integrated, and to make as many meaningful connections across disciples as possible (Ewing and
Simons 2016, p. 42). Literacy and drama work well together, as people generally read/hear texts,
visualising the action in their minds. Carlton suggests When members of an audience create mental
images while listening to a person tell their story, they co-create the tale with the teller (2004, p.
29). Nicholls informs Using texts in the drama classroom can be a resourceful and stimulating way
to explore a range of drama forms (2004, p. 39). It not only enhances learning in literacy, it also
gives students an understanding of the drama elements used to convey a message, idea or story.

Each lesson includes a warm-up activity related to the literacy/drama element being explored, as a
method of easing students into the appropriate mood and to help identify theme. Warm-up games
introduce essential skills of drama, such as collaboration, focus and channelling of energy (Ewing and
Simons 2016, p. 17).

Role and character are important elements of both drama and reading comprehension. In drama,
students learn to take-on roles that are both similar and different from those of their real-life,
temporarily adopting another persons perspective. By walking in someone elses shoes, they learn
about the experiences and perspectives of others (Ewing and Simons 2016, p. 7 & 10). Drama offers
unique possibilities for helping students to change firmly held beliefs or preconceptions, that may
have otherwise remained unchallenged (p. 42). Drama does this by putting the learner in the centre,
where they are not a passive viewer of the action (p. 44). Teaching drama and literacy together can
assist students with comprehension strategies, and physically recreating the action can increase
empathy, deepening the experience of the text.

Teachers should develop a supportive atmosphere free from judgement, this does not mean
avoiding emotions, rather that students should be enabled to explore their emotions with a sense of
safety (Ewing and Simons 2016, p. 7). Permitting students to choose their roles will strengthen their
enactment, provide further safety, allowing for deeper engagement with the content (p. 37).

The drama element of tension is explored, where students create a narrative with a beginning,
establishing characters and settings; and a middle, ascertaining an issue requiring resolution; and an
end, where the issue is resolved. Ewing and Simon proclaim that A crucial element of narrative
structure and drama is how time is used in the telling of a storyusing the element of time to create
tension alongside the use of space in the classroom (2016, p. 14). Holding-off on a resolution can
provide tension, and produce excitement for the audience, engaging learners both intellectually and
emotionally. It also motivates involvement in the drama for both the players and the audience (p.
13).

Each lesson concludes with student reflection of own and others performances. This informs the
teacher of the learning growth that has taken place. It can help students consider parts of the drama
that they had not themselves noticed. Ewing and Simon support that Perhaps it may result in an
alternative interpretation of that critical moment in the story (2016, p. 31). This method teaches
students to respond to drama, how to be an audience and to critically reflect. It can also help
students disengage from the emotions brought-up/created, and step-back from the role (p. 16).

Assessments are included in the lesson plans, however it is difficult to reduce understanding in
drama to a technical process, as it is generally gained over the course of many lessons (Ewing and
Simons 2016, p. 44). Changes in attitudes, values and beliefs are not always easily measured.

The benefit for the drama teacher who uses a pretext, is that they already have a strong narrative,
a clear dramatic context and interesting characters (Nicholls 2004, p. 40). The benefits for the
literature teacher is that the opportunities for using texts in drama are endless, and only limited by
the imagination. Teachers may be surprised where the drama leads them, and with the new insights
and understandings that students gain (p. 54).
Drama Lesson One
Year level: 3/4 Lesson duration (mins.): 60-minutes

Title of lesson: Visualising and Enacting Literature using a Pretext The Rabbits (Marsden and Tan 1998)
Forming still-life (tableau) of part of the story, moving into 30-seconds of soundless action showing next part
of the story.

Learning Outcomes and specific purpose:

Drama - (VCADRE025) (VCADRD026) (VCADRP027) (VCADRR028)
English - (VCELA277) (VCELT283) (VCELT284) (VCELY288) (VCELA304) (VCELT306)
Critical and Creative Thinking - (VCCCTR015) (VCCCTR016) (VCCCTM018) (VCCCTM020)
(See Appendix One)

Exploring ideas in narratives, and ways stories can be visually represented using the body to convey
meaning. Concentrating on different ways of moving the body is a major element of drama and often a
useful way of beginning drama with primary-age children (Ewings & Simon 2016, p. 26). Creating and
performing a still-life, and soundless movement to extend the story to show comprehension. In the early
primary years, students will enjoy collaborating to recreate and extend a story through drama (Nicholls
2004, p. 42). Respond to own and other performances. Respond to literature by showing own ideas,
comparing to others interpretations. Work collaboratively to show a shared point-of-view. Use elements of
drama to hold the audiences interest. Students learn to tell a story in still-life, after which the image is
unfrozen for a few moments of improvisation, movement or mime without sound (2016, p. 33).

Prerequisite knowledge and/or links to previous/future lessons:

Link to modelled/guided reading lessons which use comprehension strategies to show textual
understanding. Discussions on authors intention/voice can be drawn-upon. Previous drama work with
tableaux. Experience in improvisation, devised/processed and scripted drama would assist.

Resources required and set up of space:

Pretext The Rabbits
Small whiteboards/markers to illustrate ideas collaboratively
Performance space/Audience Space
Costumes/Props (if required)
Timer and Bell (teacher)

Space: Keep space empty as possible, check for tripping hazards. Students will work in 4 groups of 6-7.
Groups will be given space to discuss ideas, practice and play. Groups will perform in their space, with other
groups turning to become audience.

Attachments:
Images of the Pretext The Rabbits (Appendix Two)
Four scenes (text only) from the book (Appendix Three)
Criteria Sheet checklist for teacher (Appendix Four)
Worksheet for Students to interpret/evaluate other groups (Appendix Five)
Lesson Introduction (whole-class focus)
Learning activities, key questions and teacher explanations:
Warm-up: Students fill-the-space walk, teacher asks them to walk as animals, including rabbits. When she
calls-out a structure like big-house or old-twisted-tree they freeze as that object.

Teacher explains activity. Students work in 4 groups of 6-7. Each group creates a still-life/tableau from one
scene in the book, given to them by the teacher (Appendix Three). Dramatic exploration of just one-line of
the text, can benefit deeper-thinking skills and go beyond superficial understanding (Nicholls 2004, p. 44).
They will extend still-life to a 30-second scene of soundless movement, to convey what happens next. The
teacher then reads pretext, without showing the illustrations, explaining that the illustrator has imagined
his own pictures from the words, but they may be picturing something different, this is visual literacy (15-
minutes).

Main Component of Lesson

Learning activities, key questions and teacher explanations:
Teacher puts students into groups, and hands-out page of text without illustrations (Appendix Three).
Stepping into literature can begin with mime. The teacher can find places in a shared book reading that the
students can enact (Ewing & Simon 2016, p. 30). Students should think about what images come into their
minds when reading the text. Groups brainstorm ideas, using whiteboards to communicate ideas. Before
beginning a role-play students can be asked to draw maps or diagramswherever the story is setso that
they share a spatial understanding of the site of their drama (p. 14). Group members can also stand and
physically demonstrate ideas. Ensure each group member has a say in the tableau and action, and each
must be represented in the performance. Students can use props/costumes if needed. Teacher visits each
group to listen to ideas, using questioning skills to check understanding, making observational notes
(formative assessment) (20-minutes).

Possible Questions: Where might he be doing that? How would he respond to that? How do you picture that
would look? How might you show that? Do you agree with the character? What would his face look like?
What action would they be doing? How could you make that look interesting for the audience?

Lesson Conclusion
Learning activities, key questions and teacher explanations:
Lesson concludes with each group performing their tableau, holding for 30-seconds. Teacher rings bell, and
the group goes into soundless movement scene for 30-seconds. After performances, students complete a
worksheet for the other groups they have viewed, to evaluate and show understanding (Appendix Five).
Conduct a whole-class discussion, students can share their thoughts about their own and others
performances. Teacher highlights any important drama elements that students may have missed, such as
tension, contrast, mood, space, symbolism or rhythm. Teacher concludes by re-reading text, this time
showing illustrations, whole-class compares their interpretations of the text to the illustrators (25-minutes).

Teacher to mark criteria sheet after each performance (Appendix Four).

Assessment of students learning:

Teacher Criteria Sheet (Appendix Four)
Student Worksheet of performances (Appendix Five)
Teachers Observational Notes
Drama Lesson Two
Year level: 3/4 Lesson duration (mins.): 90-minutes

Title of lesson: Story Bags

Students create their own stories using: Once upon a time,Person, place or thing,And they all lived
happily ever after bags.

Learning Outcomes and specific purpose:

Drama - (VCADRE025) (VCADRD026) (VCADRP027) (VCADRR028)
English - (VCELA277) (VCELT283) (VCELT284) (VCELT297) (VCELT298) (VCELA304) (VCELT306)
Critical and Creative Thinking - (VCCCTM018) (VCCCTM020)
(See Appendix One)

Students explore narrative structures such as beginning, middle and end through devised/processed drama.
They problem-solve, brainstorming story ideas collaboratively. They use body, language and movement to
create characters/explore role. They create time and place through setting, use focus and tension to
develop and present a dramatic story performance. They use imagination, drawing from personal
experience or prior learning. Hold audience attention, using different drama elements to convey ideas.
Students both perform and become audience, giving constructive feedback.

Prerequisite knowledge and/or links to previous/future lessons:

Prior knowledge required of basic narrative structures, that is: for a story to be interesting it must have a
beginning, introducing characters, time and place; a middle, where a conflict or issue is revealed building
tension; and an ending where issues are resolved. Prior learning of Fairy Tales. Students should understand
rules of working collaboratively, ensuring all ideas are respectfully considered. Knowledge of how to develop
a character using body, language and movements. Literacy lessons where students have devised a story
(written or performed) either individually or collaboratively. Previous experience performing improvisation,
devised/processed or scripted drama.

Resources required and set up of space:

Three drawstring calico bags:
Once upon a time containing strips of paper with starting sentences, for example: The girl and boy had
seen something that scared the life out of them or By the time they got there it had already begun.
Person, place or thing containing toys/models and pictures of different people, animals, places or objects,
for example: princess, cowboy, policeman, cow, bike, house, string of pearls, tea cup, apple etc.
And they all lived happily ever after containing strips of paper with ending sentences, for example: and
that is why she never walked alone in the woods again.
or that is why I always phone my friends before I visit.
Paper and pen to write ideas.

Props/costumes. Using costumes or masks can be symbolic of stepping out of ones own self to take on
another role, students can find it liberating, and use their bodies and characters more freely to convey
meaning (Ewing and Simons 2016, p. 30)

Space: The room has the three bags on a table at the back. One student from each group queues to pick
items in an organised manner. This ensures there are not too many students in one area, and avoids
arguments. Students use the floor-space to discuss story ideas in groups. Teacher walks around the space,
stopping at each group several times to scaffold ideas. There would be a performing space at the front of
the class, and floor space for the audience.

Attachments:
Two Stars and a Wish self- and peer-assessment (Appendix Six)
Teacher Marking Rubric (Appendix Seven)

Lesson Introduction (whole-class focus)

Learning activities, key questions and teacher explanations:
Warm-up: Two-truths-and-a-lie students sit in a circle, a few are chosen to tell two true things about
themselves and one lie, the class decides which is the lie.

Whole-class modelling of the activity lead by the teacher. The teacher reads the starting sentence aloud and
asks the class what they think the story could be about taking 2-3 suggestions. She pulls-out some objects
and lays them on the floor, pretends to be stuck for ideas to encourage confidence from the students in
helping her. Teacher picks an end sentence and demonstrates intrigue I wonder what we could do with
that?, the whole-class discusses ideas, and pieces together a simple story. Teacher organises 4 groups of 6-
7, they are asked to focus on creating a story with a beginning, middle and end, characters (body, language
and movement), settings (time and place). Students get their own items from each bag, and in groups create
a 2-minute dramatic story performance (25-minutes).

Main Component of Lesson

Learning activities, key questions and teacher explanations:
Groups begin problem-solving/brainstorm ideas for a story, ensuring that each member contributes and has
a role. Teacher walks around the room asking questions to check understanding (formative assessment),
ensuring they are following the process, and are on track timewise. Students start writing simple notes
about the characters, settings and storyline (20-minutes).

Possible Questions: How do you think the character would act in this setting? Have you got ideas about what
the problem/issue could be? Do you think all the characters would like each other? How would your
character help another character to fix this problem?

Teacher lets students know they need to start practising by improvising and devising a loose script for the
performance. Again, the teacher will go around and watch the improvisations/processes asking questions.
Teacher leads them in the right direction using skilled questioning techniques. Students can explore use of
props for costume and symbol (20-minutes).

Possible Questions: What could you use to make that come to life? What type of clothes would he wear?
How would the character use his voice to show that? Do you think this is realistic? Are there other ways to
show this? Do you think that will get the audiences attention?
Groups perform, and the whole-class gives feedback through the Two Stars and a Wish worksheet (Appendix
Six). Teacher will lead questions to ensure students have noticed different drama elements such as role,
focus, tension, space, time and symbol (25-minutes).

Lesson Conclusion
Learning activities, key questions and teacher explanations:
The lesson is concluded by presenting the drama to the audience, and whole-class feedback, using the Two
Stars and a Wish form of self- and peer-assessment (Appendix Six). Teacher ensures that feedback relates to
learning outcomes, that is role, setting and narrative structure.

Teacher uses a simple rubric including observational notes for each performance. This checks understanding
of role, setting and narrative structure, also how students respond and give feedback to other performances
(Appendix Seven).

Assessment of students learning:

Teachers Observational Notes
Student Notes from Brainstorming
Two Stars and a Wish worksheet (Appendix Six)
Simple Rubric of Learning Outcomes (Appendix Seven)
Drama Lesson Three
Year level: 3/4 Lesson duration (mins.): 60-minutes

Title of lesson: Onomatopoeia Poetry and Sound

Readers Theatre soundscape with Poetry focus on onomatopoeia.

Learning Outcomes and specific purpose:

Drama - (VCADRD026) (VCADRP027) (VCADRR028)
English - (VCELT284) (VCELT285) (VCELY288) (VCELA304) (VCELT306)
Critical and Creative Thinking - (VCCCTM018) (VCCCTM020)

Create a Readers Theatre performance piece interpreting poetry and expressing ideas/emotions/actions
through sounds and onomatopoeia. Performance should be visually and aurally interesting, engaging the
audience using both calm and climatic moments to show contrast. Use elements of drama to respond to the
text, and interpret/review others performances. Engage with group ideas and suggestions, brainstorming
and problem-solving. Students can work together to devise appropriate effects that help define the mood,
heighten the tension, or provide a dramatic contrast to the spoken voice (Nicholls 2004, p. 51).

Prerequisite knowledge and/or links to previous/future lessons:

Prior study of poetry and rhythm. Understanding meaning of onomatopoeia. Music lessons where
instruments are used to make different sounds. Students experimenting with everyday objects to make
noises. Experience in performing and responding to drama through narration.

Resources required and set up of space:

Warm-up Tongue Twisters (Appendix Eight).
7 poems with rhythm and onomatopoeia (Appendix Nine).
Various instruments (more than one of each) triangles, xylophones, blocks, tambourines, keyboards,
recorders, maracas, kazoo, bongos, pipe whistlers, harmonicas, bell-shakers, spoons, shoe-box guitars etc.
Items around the room that can be used to make noise/sound.

Space: Students will be in 6-7 groups of 3-4. Instruments are available at the front of the room. Students
choose instruments after reading the poem and group discussion. Groups will have their own space in the
room to discuss performance, and sounds they will create. They perform at the front of the room, and the
audience will sit on the floor facing them.

Attachments:
Warm-up Tongue Twisters (Appendix Eight)
Poems (Appendix Nine)

Lesson Introduction (whole-class focus)

Learning activities, key questions and teacher explanations:
Warm-up: Tongue Twisters whole-class teacher lead (Appendix Eight).

Teacher begins activity by reading a poem to the whole-class, then asks students to put their hands-up if
they think they could make any of those sounds. Students can elaborate by describing the sound and what
they would use to make it. Teacher will have instruments beside her, asking students to listen to see if they
work. Students can also use objects in the room to make noises. The students may all choose a different
instrument for the noise, teacher explains there is no right or wrong, as it is their interpretation of the
sound. But they do have to justify why they used that sound as it helps to show they have interpreted the
text, and can use reasoning skills (15-minutes).
Main Component of Lesson
Learning activities, key questions and teacher explanations:
Students are broken into groups, and each given a poem. One group member reads poem aloud. Students
breakdown the poem, one-line at a time, thinking about what sounds could be used. Students are
encouraged to use the different musical instruments/objects to experiment, returning them to the front for
other groups if not needed. Groups are asked to choose a narrator to read the poem for the performance,
whilst the other 3 members play the instruments. Teacher walks around the room, to check if students are
managing their time, asking about the sounds they are hearing/creating and what they mean. The teacher
questions the students to see if they can justify using an instrument or sound. The students cannot
randomly make noises, but rather must think about what they are expressing and why (20-minutes).

Possible Questions: Why do you think it makes that sound? Would it be a loud or soft? Would you make the
sound once or repeatedly? Do you think this bit is the climax? What do you think the audience will feel at
this point? Where is the calm moment? Could you use another noise to show the same thing?

Lesson Conclusion
Learning activities, key questions and teacher explanations:
Lesson concludes with a Readers Theatre performance of the onomatopoeia poetry. Students who are not
performing make-up the audience. After each piece, the whole-class discusses and analyses what worked,
and what could be improved. Teacher asks the audience if the feeling of the poem was captured by the
noises used, could they have used different noises, had quieter/louder moments? Teacher takes
observational notes (25-minutes).

Assessment of students learning:

Teachers Observational Notes include if they can justify articulately why they made the sounds.
References:

Child drama 2017, Drama from picture books, Matt Buchanan, retrieved 23 April 2017,
<http://www.childdrama.com/picturebook.html>.

Drama Teachers Network 2016, Warm-up Games, Drama Teachers Network, retrieved 27 April 2017,
<https://dramateachersnetwork.wordpress.com/warm-up-games/>.

Ewing, R & Simons, J 2016, Beyond the script: drama in the English and literacy classroom take three,
Primary English Teaching Association Australia, Newtown, NSW.

Elementary AMC 2015, Learning goals, achievement levels and two stars and a wish, Elementary AMC,
retrieved 24 April 2017, <http://www.elementaryamc.com/2015/02/learning-goals-achievement-levels-
and-2.html>.

Marsden, J & Tan, S 1998, The Rabbits, Hachette Australia, Sydney, NSW.

Mooney, M & Nicholls, J (eds.) 2004, Drama journeys: inside drama learning, Currency Press, Sydney,
NSW.

My Word Wizard Kingdom of Words 2015, Onomatopoeia Poems, My Word Wizard, retrieved 24 April
2017, <http://www.mywordwizard.com/onomatopoeia-poems.html>.

Poetry Soup 2016, Best onomatopoeia poems, Poetry Soup, retrieved 24 April 2017,
<https://www.poetrysoup.com/poems/best/onomatopoeia>.

The Cutest Blog on the Block 2011, Serendipity from jewels, Julia M Kelper, retrieved 23 April 2017,
<http://www.serendipityfromjewels.com/2011/02/story-bags.html>.

Beat By Beat Press 2017, Drama Game: Tongue Twisters (the ultimate game), Beat By Beat Press,
retrieved 27 April 2017, <http://www.bbbpress.com/2013/02/drama-games-tongue-twisters-the-
ultimate-list/>.
 Appendix One
DRAMA Explore and Express Ideas
Explore ideas and narrative structures through roles and situations and use empathy in their own improvisations and devised drama
(VCADRE025)

Drama Practices
Use voice, body, movement and language to sustain role and relationships and create dramatic action with a sense of time and place
(VCADRD026)

Present and Perform

Shape and perform dramatic action using narrative structures and tension in devised and scripted drama (VCADRP027)

Respond and Interpret

Identify intended purposes and meaning of drama, using the elements of drama to make comparisons (VCADRR028)

ENGLISH Reading and Viewing

Language
Text structure and organisation
Identify features used in imaginative, informative and persuasive texts to meet the purpose of the text, and understand how texts vary in
complexity and technicality depending on the approach to the topic, the purpose and the intended audience (VCELA277)

Literature
Responding to literature
Describe the effects of ideas, text structures and language features of literary texts (VCELT283)

Examining literature
Discuss how authors and illustrators make stories exciting, moving and absorbing and hold readers interest by using various techniques
(VCELT284)

Understand, interpret and experiment with a range of devices and deliberate word play in poetry and other literary texts (VCELT285)

Literacy
Interpreting, analysing, evaluating
Use comprehension strategies to build literal and inferred meaning to expand content knowledge, integrating and linking ideas and analysing
and evaluating texts (VCELY288)
 Writing

Literature
Creating literature
Create literary texts by developing storylines, characters and settings (VCELT297)

Create literary texts that explore students own experiences and imagining (VCELT298)

Speaking and Listening

Language
Language for interaction
Understand that social interactions influence the way people engage with ideas and respond to others (VCELA304)

Literature
Responding to literature
Discuss literary experiences with others, sharing responses and expressing a point of view (VCELT306)

CRITICAL AND CREATIVE Reasoning

THINKING Investigate why and when the consequences of a point of view should be considered (VCCCTR015)

Identify and use If, then and what if reasoning (VCCCTR016)

Meta-Cognition
Consider concrete and pictorial models to facilitate thinking, including a range of visualisation strategies (VCCCTM018)

Investigate a range of problem-solving strategies, including brainstorming, identifying, comparing and selecting options, and developing and
testing hypotheses (VCCCTM020)
Appendix Two
 Appendix Three

Teachers sheet - Sections of text from The Rabbits

(Marsden & Tan 1998).

At first we didnt know what to think. They looked a bit like us. There
werent many of them. Some were friendly.

They didnt live in the trees, like we did. They made their own
houses. We couldnt understand them.

and stole our children.

Who will save us from the Rabbits?

 Appendix Four
Teacher Criteria Sheet Checklist for Visualising and Enacting Literature using The Rabbits
(Marsden & Tan 1998)

Group: _______________________________________

Criterion Yes No

Have they comprehended what is happening

in the story?

Do they understand what came before/after

their given section of the story?

Did they understand who the characters

were and how they interacted with each
other?

Did the group work collaborate and giving

every member a voice?

Did the 30-second action after still-life

further explain the story, showing
understanding of what happened next?

Did they use only body and movement to

convey their ideas?

Did they give constructive feedback to

comparisons between their visualisation and
the illustrators?

Additional comments:
 Appendix Five
The Rabbits (Marsden & Tan 1998) Still-life and soundless movement

Student Name: _______________________________

Group Number:

What part of the story was

this group given? What was
happening in this scene?

Which characters were

involved?

What happened after they

moved out of the still-life?

What emotions could you

see being shown in each
character?

Group Number:

What part of the story was

this group given? What was
happening in this scene?

Which characters were

involved?

What happened after they

moved out of the still-life?

What emotions could you

see being shown in each
character?
Student: ________________________________ Appendix Six
 Lesson Two: Story Bags
Student: ____________________________
Criterion Expert
Role and Character Excellent use of all elements: body,
movement and language/voice to
show character.
Time and Excellent introduction/display of
Place/Setting/Use setting, showing clearly understand
of Space of the drama element of time and
place. Excellent use of space to
demonstrate setting.
Narrative Structure Had a clear understanding of
narrative structure. Story had clear
beginning, middle and end, where
characters and setting were
introduced, issue was revealed and
then resolved.
Use of resources Used beginning and end sentences
very appropriately. Used majority of
objects from the bag to create an
interesting story with character and
setting.
Gave response and Gave respectful and encouraging
feedback to their feedback, but was also able to be
own and others constructive about improvements to
performances performances.
Additional comments:
Practitioner
Very good use of all or some
elements: body, movement and
language/voice to show character.
Very good introduction/display of
setting, mostly showing
understanding of the drama element
of time and place. Good use of space
to demonstrate setting.
Had a good understanding of
narrative structure. Story had a
beginning, middle and end where
characters and setting were
introduced, issue was revealed and
then resolved.
Used beginning and end sentences
well and mostly appropriately. Used
majority of objects from the bag to
create a story with character and
setting.
Gave feedback and could understand
what was needed to improve
performances.
Apprentice
Good use of some elements: body,
movement and language/voice to
show character.
Good introduction/display of setting,
showed a little understanding of the
drama element of time and place.
Did use the space to demonstrate
setting, but could have thought
about this more.
Had some understanding of narrative
structure. Story had elements of a
beginning, middle and end,
characters and/or setting were
introduced with little details, issue
was not as clear as possible, in the
end the issue was resolved, but could
be clearer.
Used some of the resources but not
all. May have missed either
beginning or end sentences, or not
used as appropriately as they could
have. Only used one or two objects
from the bag to create a story.
Gave limited feedback and didnt
understand how to say this as
positively as they could.
Appendix Seven
Novice
Needed more work to incorporate
elements of body, movement and
language/voice to show character.
Needed a clearer
introduction/display of setting,
needs further understanding of the
drama element of time and place.
Did not use the space appropriate to
demonstrate setting.
Had little understanding of narrative
structure. Story did not have all the
elements such as beginning, middle
and end. Characters and/or setting
were not introduced clearly; issues
was not set up and resolution did not
occur.
Had little understanding about how
to use the resources and missed
important elements of the activity.
Beginning and End sentences may
not have made sense, or objects
were not used appropriately within
the story.
Did not give any feedback.
 Appendix Eight

Tongue Twisters

Unique New York

Three free throws

Red Leather, Yellow Leather

I thought a thought.
But the thought I thought wasnt the thought I thought I thought.

One-One was a racehorse.

Two-Two was one, too.
When One-One won one race, Two-Two won one, too.

Say this sharply, say this sweetly,

Say this shortly, say this softly.
Say this sixteen times very quickly.

Rubber Baby Buggy Bumpers! (Repeat. Increase the tempo.)

Silly Sally swiftly shooed seven silly sheep.

The seven silly sheep Silly Sally shooed Shilly-shallied south.
These sheep shouldnt sleep in a shack; Sheep should sleep in a shed.
 Appendix Nine

ONOMATOPOEIA POEMS

Mum and Dad are home

Slam! Slam!
Go the car doors.
Jangle! Jangle!
Go the house keys.
Jiggle! Jiggle!
Go the keys in the door.
Squeak!
Goes the front door!
Thump! Thump!
That is me running down the stairs.
Guess what?
Mom and Dad are home!!
Poetry by Natasha Niemi

The Game

Clap! Clap!
Stomp! Stomp!
Swish! Swish!
This is the way we get through
Our games.
The crowd shouts,
Yahoo!
The ball soars through the air.
Then, bounce, bounce, bounce.
The audience holds its breath.
SWISH!
The ball goes in;
We win!
Poetry by Natasha Niemi
Camping

Crack! Crack!
The fire crackles under the stars.
Sizzle! Sizzle!
The water sizzles above the fire.
Crunch! Crunch!
The campers crunching on potato chips.
Click! Clack! Click! Clack!
The tent poles clicking and clacking together.
Rustle! Rustle!
As we prepare our sleeping bags to go to sleep.
Chirp! Chirp!
The crickets say, good-night.
Poetry by Natasha Niemi

To Grandmas we go

Rumble! Rumble!
The thunder roars.
Drip! Drip!
The rain comes down.
Boom! Boom!
The thunder shakes the window panes.
Run to the car! Run to the car!
Splash! Splash!
To Grandmas we go
For hot cocoa.
Zoom! Zoom!
Poetry by Natasha Niemi
Rain

When it rains, it pours

It's like opening every doors
Whizzing wind, Whispering breeze
Makes your senses at ease.

When it rains it pours

It's like knocking every doors
Thunder here, lightning there
Awaking your sense somewhere.

When it rains it pours

It's like sweeping every floors
Homes are wet, walls have tears
Taking every dirt and fears.
Poetry by Angelo Faunillo

Fireworks

The cold night is awoken and warmed

A family of excitement ready to release their arsenal
Stored under the stairs until the big night
Let the show begin:
Traffic lights whoosh colour changing
Rockets whoosh bang screeching
Jack in the box whoosh bang-jumping
Sparklers whoosh fizzle-sparkling
Catherine Wheel whoosh dizzy-spinning
The big one at the end
Poetry by Alexander Seal
Hearing the day start

caw caw caw

the crow's on my roof
waiting for their breakfast,
chatter chatter
the magpie's call
usually first to the table,
a shrill little tweet
go the sparrow's and their relatives
awaiting their feed
in smaller bites
from the safety of their prickly bush;
the sounds of the morning's
for me
are heaven sent.
Poetry by Elizabeth Alexander