Drama and Storytelling Integration: Al Toolbox and Seed Strategies Core Chapter Questions + What are“sced strategies” and why and how should they be used? + What are example drama seed strategies in these categories: (1) energizers and warm-ups; 2) drama elements and forms; (3) curricular areas: English language arts, math, science, and social studies; and (4) a special section on storytelling Overview We have more problems with people who can’t capably assume dient role than we do with people not Inowing how t do algebra. Zoomie (2014) nn response to requests fora set of high priority strategies, this chapter includes a drama inte- gration toolbox, which is shown in Ready Reference 9.1. The toolbox draws on big ideas from the previous chapter as well as strategies ftom this chapter and should be used in con= Junction with the ten Pills that create the ats integration (Al) framework, This chapeer is aso | compendium of seed strategies—ideas intended to spark creative thinking during collaborative planning. Both the toolbox andl the seeds in the chapter asume knowledge about drama elements and skills, along with principles for developing drama (these were both discussed in the previous chapter) ‘Seeds are strategies in Kernel form, which means they ate undeveloped and not “leveled”; they are ct “Al Toolbox: Classroom Drama Integration Note: Consult the index to find descriptions ofthese seed strategies—mos inthis chapter. 1. Energizers/Warm-Ups: Bel Tolls, Play Ball, Word Change, 10. Showtime Pass and Pretend ‘11. One-Liners or Who Said It? 112, Dialogue Cards Pantomime ; Character Monologues 2. Quick Mime: Show me Vocabulary Charades 3. Sound Motion Machine 15. Panels and Debates 4 123 Mine 16. Improv Scenes: BME, What I, and Big Moments 5: Counce 17, Pretend and Write (i Roe) Narrative Pantomime ; 1B. Student Storyteling 7. Tableau Variations: Timeline, BME, Cartoon Stip 49. Reader's Theatre Verbal improvisation Sound Stories eo 345B46 Chapter 9 intentionally not grade leveled but most can be customized to fit primary and intermediate grades using the PARTICULAR differentiation ideas in Ready References 3.11 and 8.9, The goal isto ‘match drama strategies with curricular standards, leson objectives, and student needs. No strategy should be used—even by next-door teachers at the same grade level—without adapting it for specific circumstances. First up under seed strategies are energizers and warm-ups; these are used to stimulate creative thinking and ger the body moving. Many emphasize concentration and focus—a key mental habit for learning. Next come seeds for teaching pantomime and verbal improvisation, followed by drama integration ideas for academic areas: ELA, math, science, and social studies. Finally, a special focus section on storytelling gives an overview of purposes, procedures, and storytelling seeds Introduction: Classroom Drama Recap If you're not pretending, check your pulse, Zoomie (2014) [As you consider the toolbox and following seed strategies, keep in mind that drama is more effective when teachers - + Create an aesthetic environment that supports creative inguiry using drama, Even during. inivial drama work, students should be challenged and feel free to take risks, and not be sim= ply copying, echoing, imitating, and following directions (non-creative low-level chinking) Classroom drama is not about mindlessly mimicking the teacher or any model. Students need to learn to create conclusions that are anchored in evidence from texts (fiction, nonfiction, scripts, paintings, music, etc). + Explicly teach needed drama elements and skills prior to challenging students to represent new learning in science, social studies, and so on, using pantomime and verbal improvisation, + Post drama elements and skills and name each drama process/tool/strategy (eg, narrative ‘pantomime). In addition, explain each stategy’s purpose, ask inquiry questions (IQ), and give ‘examples using think-alouds co make needed thought processes cleat (e.g, concentration, imagining, collecting, connecting, critique, and so on). Give time to experiment with making ‘connections using frames such as SCAMPER, + Daring drama work, coach using specific suggestions and feedback:*Make me believe in your character.”*Show me you are concentrating,” “Control your mind/body, fice, and voice” + Teach start and stop signals such as “open curtain/close curtain” and “begin/end.” + Ask stucents for different ways to repeat the drama to make it communicate more and be more interesting, + Save time for debriefing and reflection, Ask “What worked? What didn't? What did you learn + Teach the basics of audience etiquette—how to be attentive and responsive audience mnembers. Look for more drama p nters in the following Classroom Snapshot. Also, look for evidence of how Amanda Kilbane develops her studens’ creative inquiry skills, 9 Radio Commercials to Show History Learning When you don’t know how, just pretend and it'll come to you. Zoomie (2014) ‘Amanda's ith graders ae sitting at tables of four. On the walls a timeline of historical events. Today the focus i ving conditions during World Wari. She begins with a review. So, how did Americans do theirpart?” she asks. In response, students list contributions, includ ing scrap dives, victory gardens, and women going to work in factories, "Your challenge this week is to create a persuasive radio commercial, set during World War and for 3 particular audience. Let's lsten to an example from the 1940s." She turns to the smart- ‘board and cicks a YouTube website “Listen for specifics of how the announcer persuades.” In the dialect of mid-century radio personalities, 2 male voice appeals to listeners’ sense of pa- \riotism, giving reasons and ways for how Americans can help win the war. He urges listeners to save ‘metals and increase food production—all to help "our soldiers.” The PSA lasts about 20 secondsDrama and Storytelling integration: Al Toolbox and Seed Strategies 347 ‘Amanda claps a rhythm. The students echo. “Turn and talk about details from the radio ad. Immediately, students huddle across desktops and begin to collect ideas. After a few minutes, she debriefs each group, recording ideas on a whiteboard for class reference. In addition to the ‘obvious, students mention the emotional nature ofthe ad, how his voice sounded like a pasitive plea ‘and focused on advantages and benefits; it was not a balanced description. Amanda asks about the ‘dramatic way the announcer used his voice. Student comments include: "He sounded like an old time movie actor. Not natural.” "Yeah, his pitches were exaggerated.” Hyperbole!” a girl blurts out, Butt seemed right for that time,” a boy adds, \What was his hook?” manda asks. "Remember how in writing we need to get the audience's attention?” “He used dramatic statements.” “There were facts. “He asked questions “Yes! Remember you can use mystery, humor, and sound effects, to0,” she reminds ther, “Wow—a machine gun!” a boy exclaims and proceeds to pretend to be one, “But the sound effects need to fit the commercial’s purpose,” she says and siiles. “Let's collect ideas about potential tics for your commercial. What might you want to persuade people to do during Ww?” ‘Join up, maybe be a nurse inthe army,” ‘Sacrifice. Share ration coupons and vegetables from your garden.” "Volunteer to helo neighbors—tike ifthe husband or son are away atthe war.” ‘Don't throw anything away. Think of creative ways to use things lke left-over Spam and bottles.” ‘Contribute your jewely that can be melted into bullets.” ‘Amanda jots down their ideas and then picks up a stack of papers. She talks as she distributes ‘them. "Here are actual source documents—ietters and ads from World War i, You can use them to collect more ideas for your ad. ‘Once again, groups go head to head, ths time around the documents, ‘Amanda claps again and they echo. "Sorry, before you continue more evidence gathering, take a look at the checklist of what you'll need in your commercial.” She points toa list on the whiteboard: + Hook * Ideasspecifcs matched to WWW * Persuasion (at least four detallsevidence) * Clear audience + Presentation (e.g., speak clearly with enthusiasm) "Everyone needs a speaking part, in role,” she adds, “Okay, get to work." She turns and sets a timer on the smartboard. A countdown begins, ‘As they work, Amanda drculates. Most groups ignore the documents, But gradually, students realize they need more information and refer to the packet. After a few minutes, | get up and wan- der around, stopping to listen in on groups. “How about a drum roll ora bell for a hook?" a girl asks “Yeah, we could say it's the Liberty Bell Bong} “No, you can’t ring it because i's cracked,” a boy explains ‘Another group iscusses using different voices—women’s, Uncle Sam's, President Roosevelt's ‘accent, and Santa Claus's—possiby the ho ho ho as a hook After ten minutes, Amanda interrupts to check their progress. "Who has their audience picked fut.” Mosthands go up. “Okay, who has @ dear purpose about what you want the listeners to do?” Only one group responds Tell us,” she says. "Our ad is for kids. Like i their dads and brothers are in the war, we want to persuade them to help their moms,” ‘Do you have a hook?" \We talked about a song, maybe to the tune of ‘boogie woogie bugle boy'—but with new lyrics." “Starting with 2 bugle. Toot-dootely toot} That will get attention,” a boy says, pretending to play. “Thanks. Did their example help?” Amanda asks, “Yeah. We didn’t think of using a music hook,” a gi says. (continued)B48 Chapter9 WW tl ra Radio Commercial Performances ‘Collecting ideas from ather graups is often a useful source. Now, everybody, take a look at our ‘evaluation checklist. sat the clock, Please focus on the second and third bullet. Where can you ‘get more facts about World War I?” “Ourbrains,” says a git “This packet,” says another and holds up the documents. “The timer is et for five more minutes." ‘Amanda pushes a button and begins to move from group to group, Reflection Later, students present their commercials and complete both self and peer checklist, evaluations, Each commercial is different; al the students stayed in their roles and it is dear they leamed details about a difficult period in American history. They also really Capture the mood of the time with their voices and sound effects. How did Amanda get these results? Consider these questions + What aspects of creative inquity are used? + How do students collect ideas? + How are ideas connected to solve the problem of how to persuade an audience? + How and when i critique used? © Where do groups stand in terms of drawing conclusions? ‘© Why did the teacher interrupt the work to debrief? ve Chapter Organization ‘The fire four sections ofthis chapeer concentrate on energizer and warm-ups, pantomime, verbal improvisation, and specific curricular areas: English language arts, math, science, and social studies. A final special section focuses on storytelling 1. Energizers and Warm-Ups (E/WUs) Note: $ = students and T = teacher throughout this chapter. (Creativity pioneer Paul Torrance considered warm-ups essential to creative thinking (Kim, 2009). E/WUs are invaluable to motivate, relax, and increase concentration and focus and develop self= ‘control. In addition, they stimulate higher thinking needed for creative problem solving, such as categorical thinking needed to make connections and draw conclusions. Furthermore, many in- ‘volve warming up the body, fice, and voice. Some start with echoing, before a creative challenge js introduced. Energize from other chapters work t0 prepare for drama work, too, especially those in dance. See the Responsive Classroom website for videos of energizer. Greetings! Everyone mills around until the leader says, “Greet.” Everyone greets one another in different ways. T can suggest roles or dispositions: Pretend you are long-lost friends or from another culture (e.g, Japan, France). Use a tambourine to start and stop action. Wiggle Worms. § finds a personal space. T mimes opening a jar of worms and tells Sto get ready to grab them. The leader tosses the worms and directs the Sto catch, eat, and become wigale worms. On “fieeze" cue, $ stop. Repeat this activity with half che class being the audience who gives feedback, Then reverse. Variation: Call out body parts that become “infected.” (Jeff Jordan, Ashley River)Drama and Storyeling Integration: AI Toolbox and Seed Strategies 349 Hand Study. (Otservation/Ieebreaker) Partners ake tums examining each other's hands T tells them to se and feel everything tha is unique. Variation: Use a “got to know you" activi: “This, fs Joe. He has very thick hands with shor fingernails. His hand ae tan as ihe works outside alot” Play Ball. (Focus/Concentration). Form a circle. T holds an imaginary ball (how size with hhands) and calls someone's name before throwing, as in, “Sue, basketbal." The receiver then says, “Thank you, basketball.” Play continues, with each receiver calling a new name and throwing the pretend basketball. After a few rounds, T introduces a second ball, saying, “Joe, beach ball,” and Joe tatches and responds, “Thank you, beach ball.” Continue to add more bali At the end, call “stop” and ask everyone with a ball to hold it. The audience guesses the ball by its size and how itis held. Concentration. (Visualizing). Make a tray of items, Direct S to mentally picture/study items for ten seconds. Cover the tray. 5 then list all they can remember. Variation: S close their eyes and an item is removed or rearranged; they figure out the change. Use small wipe-off boards so everyone can write the missing item and simultaneously display boards Line Up. Ask Sto list ways to line up, giving afew examples such as alphabetically, by birthday, ‘or by height. T chooses from the lst and S line up accordingly, Periodically, stop and ask S to interview those around them fo find out three things about one another. Variation: Give directions for groups to go to north, south, cast, or west locations such as “redheads take the north wall.” Tongue Tanglers. (Verbal Fluency). First, T says each ewister slowly and the group echoes, Next, practice individually and in pairs or go around a citcle. Make into a game where play begins over if a person mispronounces. Examples: “A hot eup of coffee from a proper copper coffee pot.” “Aluminum linoleum,” “Bugs black blood.” “Six sick sheep.” “Unique New York.” Find ‘more in Six Sick Sheep (Cole, 1993) and websites, Follow-up: Students collect and create twisters. ‘Organize alphabetically in a recipe box. Put up a Twister Master chart to keep track of ones they say three times without error. Challenge $ with longer twisters such as “Peter Piper.” (Schwartz's A Toster of Twists: A Tanger of Tongues [1972] offers the history of ths clase.) Finger/Hand Plays. (Concentration). Teach and perform finger plays such as “The Itsy Bitsy Spider.” (There are many variations such as Lite Richard's high energy CD.) Here is an ‘example fingerplay: Si on the floor and say, “I relax and focus” (poine to self with thumb and lay hands in lap). “I gather inthe good” (gather with hands brought in) “I push out the bad” (push ‘outward with both hands). “I celebrate the joy all around me” (aise hands, spread fingers, and do a silent cheer). Challenges Ask § for creative motions or collaboratively write new versions, One Word at a Time. Sit in a cicle. The fist person says one word to start a sentence ‘Then the text person adds a word, and so on. The goa is to make as long a “sensical” sentence as possible Sound/Action Stories. (Close Listening). The narrator tell a story while children echo lines and do actions. “Going on 2 Bear Hunt” is an example, and is accompanied by a walking rhythm, Between sections, give time for S to mime. When the bear is seen, actions are reversed—double ‘ime. Another example ofa sound/action story appears later in the chapter in Ready Reference 9.3, Challenge: Ask § for action and sound options. Scavenger Hunt. (Categories). Challenge groups to find items in a set time such as “In five ‘ninutes find a silky item, a book with an »-controlled word, something that moves, and something that can be used to create.” Items can be collected of written down, Variation: Organize searches by five senses: “Find something that looks like sounds like __ feels ike ___. Word Change. (Fluency). Sit in a circle, The frst person says a sentence, such as “Mary had a liede lamb.” The next person repeats the sentence, but changes one word: “Mary hala little goat.” Keep going all the way around. Challenge: Reverse and slowly return the sentence t0 its original form, Sound Alikes. (Close Listening). The goal is co form groups by having S find those who sing the same song or sound. Make cards containing sounds or song tiles, For example, do five different cides on five sets of cards for 25 students, Pass them out and begin Two FactsiOne Lie. Slist three facts about themselves. One item is false. S read aloud items. ‘The audience applauds to show which one they believe isthe lie. Noe: Discuss how to be creative without being obvious. 5é 350 Chapter 9 Animal-Car-Flower, (Metaphoric Thinking/Icebreaker). § write down the three categories and an example that applies to them, For example, “My name is __and 1 identify with a cat because —_, a Jeep because © Variation: Change categories: water, land, buildings, music, furniture, and fruit, 1 and roses because Reverse Web. (Team Builder). Form small groups, each with a piece of large paper so everyone can write. One person draws a big circle in the center with a short leg coming out for teach person. Fach of the $ writes his/her name on one web leg, Discuss what the group has in common and write/drav results inthe center. The more unusual the better (e.g. all like broccoli. Pass and Pretend. (Creative Thinking/Viswal Imagery). Sit in a circle. Pass around an ‘object (cart). Challenge S to use it creatively by imagining what it can become. For example, a scarf could be rocked like a baby. Encourage using details in action (ee “Invisible Object Mime”), Variation 1; Do without a prop and ask $ to imagine an object, such as a pen, and pantomime using it The fist $ passes it to the next, who must use the same object but then transform it into something else. Variation 2: Pas an object (e.g. straw) saying, “This is nota straw, it'sa__.” ‘The receiver demonstrates how it has transformed. Character Voices. (Fluency). Ask § to lst various characters and write them on cards. Then create a lst of random sentences: “Hi, how are you?” "Can you tell me how to get to the nearest hospital?” “We've really been having bad weather lately.” “I'm so tired.” Place the cards in a basket, Go around with each S drawing a eard and saying one of the sentences, in character. Peers tell what message and feelings ehey heard and any clues to who itis. For example, Santa might laugh, between his words or phrases. Laugh Contest. (Focus/Conttol), A panel tries to resist laughing as one classmate has a go at telling jokes, making fices, and the ike, Discuss school-appropriate humor beforehand. ‘Challenge: Create individual joke books by collecting and writing prior to the contest. Research how excellent joke tellers use timing, voice, and so on. Belly Laughs. (Team Builder). Everyone lies on the floor with his/her head on someone else's belly. Ata signal, someone says “ha” and the “ha” travels round the circle. When it gets around, someone eke stats a different ugh (e., "he he"), Noiseless Sounds. Brainstorm ways o pantomime sounds without making any noise: ugh, applause, choke, sneeze, Variation: Ask S to divide the sound into three consecutive pantomime actions such as steps in a sneeze. Groups practice and present to the class. What's Different? (Concentration/Detaih). Pair S and label as A and B, A faces B and ceoncenttates on details of B's appearance. T signals and pairs urn back to back. B makes a change. Pairs tur around, and A gets three guesses 0 figure out “what's different.” Then B takes a turn Bell Tolls. (Category Game). This requires fst thinking and movement. Give each Sa 1/2-inch, piece of masking tape, Make a circle. An “IT” goes to the center. Everyone else stands on his/her tape. IT says, “The bell oll for anyone who and plugs in a category (plays an instrument, knows Picasso's frst nam). Everyone who fits the extegory must move to 8 new spot, while FT tries to get a tape spot. Whoever is without a spot is the new IT. Altematively, IT may shout “tornado” {instead of a category) and everyone must move to a new spot, but not right next door. Adapt for any unit such as states (e.g, knows the capital of Maine). Name Sock, (Concentration/Teebreaker), Make cwo balls using knotted scarves or socks Stand in a circle and explain the purpose is to Team names. Ask each § to say his/her name with class echoing, T then models how the game works by saying his/her name and the name of a Sto whom he/she then throws one ball, Then S says his/her own name and another person's as in “Claudia to Charles," and then throws to that S and so forth, When things are going well, T throws outa second sock ball, Variation: Each Stakes an alias (eg, book character, famous person). Hot Sock. (Categories). Make a set of alphabet or general category cards and tie a knotted sock, Sit in a cirele with IT in the center. IT closes his/her eyes and throws the sock. At will, IT says “Stop.” The S caught with che sock passes it to the S to the right who holds it. IT draws 1 card and reads it aloud, The sock is now passed, person to person, around the circle while the “caught” A tries to name five ivems in a category such as “chings chat star with B.” Vary number as appropriate,Drama and Storyteling Integration: Al Toolbox and Seed Strategies 351 Here’s Looking at You, Kid. (Icebreaker). Standing in a citcle, everyone looks at the floor. When T calls out, “Look up!” each $ must look directly into the eyes of another S, Most of the time, the § looked at won't be looking back, but a few S will make eye contact so they point and say, “Here's looking at you, kid,” and exchange places in the circle. Voice Stunts. (Focus). Form groups of four. Give each a phrase, For example, “To be or not to be," “Zig-2ag-zog,” or “Slip-slap-slop.” Each S says one word in the phrase and then passes the play using eye contactor pointing, Stunts and Tricks. (Confidence). Srudents research and perform stunts; for example, rub stomach and pat head simultancously, balance balloon on the end of the nose, stand with left shoulder and side of left foot snug against a wall and ery to raise right leg. See Goodman's Magic ‘and the Educated Rabbit (1981) and Randi’s The Magic World of the Amazing Randi (1989) for more ideas Boring Words. (Fluency). Brainstorm dull words (e.g, cardboard, the, dust, bax) and put in a basket. Form circle. Draw one word and go around with each S saying it “interestingly” by alering dynamics (volume), tempo (rate), pitch, pause, and stress. Variation; Collect boring phrases and sencences for this activity Ways to Celebrate. Create variations on ways to celebrate good ideas such as Examples: Standing ovation, paton the back, mime exploding firecrackers. Esimple: Chant and mime,"Pat, ', pat, on the back, back, back, fora job well done. Altogether now ... REPEAT.” Stage Directions. (Quick thinking and concentration). Do in an open space to teach stage dlrections, which are from the actor's viewpoint: stage right, stage eft, and center stage. Designate ‘the stage area and use tape to line off the audience area. Explain that you will be ealling directions {quickly and sometimes there will be more than one group at a place. Stare with saying “audience,” ‘which is the cue for everyone to sit behind the line. Next, divide the class into four groups, Call these kinds of directions quickly. + Groups 1 and 4: Stage Right + Group 2: Stage Lef + Group 3: Stage Cemter + Groups 1 and 3: Audiewe Il. Pantomime Seed Strategies Pantomime or “mime” is acting without word (ie, its nonverbal communication), Mime is also about pretending in 2 role and begins with a challenge to “ase your imagination” to communicate _using body shape, as wells movement and facial expressions. But use no words! Young children naturally use pantomime, even before they leam to speak, which makes ‘mime a comfortable place to begin creating meaning through drama. Additionally, mime isan im- portant tool co diferentiate instruction since i offers a communication altematve for shy students and those with limited verbal skill. Thus, English learners are able to express ideas and feelings using pantomime despite their level of English proficiency. Basics Even a simple pantomime challenge activates creative thinking, I've seen 2 room fill of five-year-old quickly transform into a stauue garden of American flags, Liberty Bell, and Lady Liberty with the ‘imple direction “Show me one symbol of the United Stas.” Of course, the clas had previously stud ied American symbols; content knowledge is necessary to make drama, Furthermore, with coaching students leam new ways to create body shapes, movement, and ficial expressions to show emotions, actions (verbs), ages, sizes, weights, and temperatures ‘While a mime challenge can be as straightforward as “become a teapot and pretend to tip and pour,” students can be coached to progressively express more complex conceps, such as transforma tion: “Show me transforming from a seed to a plant” or “Show me a character becoming increasinglyB52 Chapter9 confident.” Thus, students leam that their imaginations can create places, events, and emotions tha they may never experience finthind (e.g, walking on the moon). Further, pantomime can become a full three-act performance; for example, a reenactment of Columbus's voyage tothe New World can make visible dent understanding of big ideas, such as how dreams become realities throxigh hard work Getting Started After the concept of pantomime has been introduced and explored by experimenting with body shapes, movements, and ficial expressions in shor activities such as energizer, teachers can set ‘up more complex creative challenges. Pose curriculum-telated questions and problems that cause students to think imaginatively and express thoughts and emorions through body and face, with ‘or withoue movement—sometimes using ffozen shapes and at other times movement at different speeds, especially slowly to increase concentration and control. Ready Reference 9.2 isa resource to plan pantomimes that challenge students to take real-life role, for example pretending to cook involves mixing, stitring, pouring, and slicing. Examine curricular content for natural opportunites, for pantomime, usually places where emotion and movement are explicit or implied, such as original poems about aninval behavior: “Cats scratch and birds hatch horses prance, but people dance.” Succes is ficilitated by use of easy strictures, such as narrative pantomime (described subse quently) and beginning with short activities confined to small spaces. To enhance concentration/focus and creative thinking, coach daring pay. For example, ay, “Isee and “Show me how else you ‘ight Also important is asking students to describe in detail what they see peers doing (ke. assume roles as attentive audience members to collet clues about the posible pantomime messige) ‘At first, students may get silly of exaggerate (ham it up). To ameliorate this behavior, tell the lass in advance that good actors really concentrate on staying in role, which requires self-control Use several energizers to build concentration and comfort with creative use of body and fice. Ready Reference’ #2: Pantomime Seed Possibilities A-Z Directions: Use this cross-cuncular fist to prompt thinking about topics for mime. Invite students to add ideas. A + Actions (verbs: clean, scrape, gobble, ignore, cough, + ‘nudge, videotape) + Adverbs: add to any verb (e.g, clean slowly, happily, grumpy, quickly) + Animals (of different species, ages, etc.): moving, eating, sleeping = Book parts: key events ar actions on each page, ina chap- ter, atthe climax = Characters (actions and emotions: spider confidently writes in web, Jack hastly climbs beanstalk) People: poses or actions of celebrities, poitcians, inven- tors or roles (mother, police oficer) Pets: how to cae for, play with, rain Places: beach, cave, coset, rootep, edge of cit, boat Plants: changing, growing, blooming, dying Processes: nesting, cooking, building, manufacturing Rituals and customs: greetings farewells, ceremonies Ses: tiny, miniscule, giant, enormous Sensory responses: what if ...? (@, delicious smell, scary ound) = Emotions or feelings: happy, angry, disgusted, surprised,» Sports: how to dress for, play, waiting your turn embarrassed + Temperature: hot, cold, cool, warm, freezing '» Events: Fourth of july, birthday, funeral, signing of the + Things you: ike to do, do not like to do Declaration + Tools: use of, leaning, carrying ++ Foods: being planted, tended, gathered, prepared, eaten * Toys: using, storing * Getting ready: for school, to set sal on the Mayflower ‘+ Transformations: seed to plant, infant to adult, liquid to * Hobbies or vacations: juggling, jumping rope, tennis solid * Holidays or festivals: customs in various cultures “Vehicles: scooter, inline skates, tricycle + Jobs, Occupations, Careers: bricklayer, seamstress, + Walks: in character, under different circumstances ‘conductor (moods, destinations); change levels, pathways, speeds ‘Machine movements: computers, mixers, vacuum, mower = Making things: shoes, quit, shapes (e.g, types of Greek columns) + Objects: holding and placing objects (e.g, frit, animals, food), playing music instruments, cleaning * Pairs: anything that takes twa (eg, fold a sheet, play tennis) Weather: response to conditions or pretend to be a kind cof weather Weights: light, heavy, feather-weight Wise sayings: for example, “You can lead a horse to water ‘but you can’t make him drink” Word categories: antonyms, homophones, three syllablesDrama and Storytelling Integration: Al Toolbox and Seed Strategies 353 Draw attention to specific behaviors used by those who show control, Additionally, instead of turning pantomimes into simple guessing games—which directs thinking toward a right answer— challenge students to think like detectives. Invite them to desribe details from the pantomime that tell the most. For example, “She kept looking at her wrist so I thought she was waiting on something.” Notice the format—describe the behavior frst and chen the inference/conclusion, ‘This sequence teaches students to ground their conclusions in evidence. Thus, students learn how to attend to and collect important details, connect them through experimenting and inferring, and formulate reasoned, but individual conclusions. ‘The following section includes types of pantomimes adaptable for curricular areas, All involve 8 ereative challenge. I noted ones especially good for concentration and focus. Consult Ready Reference 9.2 for concepts related to ELA, science, social studies, and math, Remember the goal is for students to expand their communication options by using pantomime to show they know=—to ‘ake invisible leatning visible. To create pantomimes, students will need to collect key ideas, con- rect chem in diverse ways, and make conclusions about ways to show understanding With thoughtful teaching, students quickly mature beyond simple recall of information to thinking about the most important detail. Instead of low level retelling, they learn to connect ideas in diverse ways, and pantomimes emerge that reflect summarizing and synthesizing, Further, as students shape and ¢week their work, they will naturally revisit content to add fidelity to conclu sions, Additionally, when students learn the values of self and peer critique, used before and ater performance, cheir work grows more complex, interesting, and ereative—clear evidence that studlent-actors are growing the ability to construct meaning through drama, Mini Lesson: Mime Basics. To make an object look real, teach students to concentae Challenge them to 1. Slowly study it (size, shape, texture, temperature) - Reach out as ifco touch it {move toward it to show how you will take hold). . Take hold (imagine your hands on it, ehen feel it). Use itas you would if it were really there. - Stop and slowly replace i. Let go slowly and move away. Post steps and model, Practice with stadents, coaching them through the steps. Next, have ‘them workin pairs ora small group. Then, invite volunteers to perform for che clas, Aferwatd, in vite stucents to isolate a part they did well and demonserate, or ask them to give each other feedback ‘on which steps looked most real and why. Kalamazoo. Divide into ewo groups. Each chooses a topic such as jobs, animals, or toys (see Ready Reference 9.2). Line up facing each other. Group 1 says, “Here we come,” and group 2 responds, “Where are you from?" Group 1, “Kalamazoo.” Group 2, “What do you do?” Group 1, “Here's a clue.” Group 1 then pantomimes while group 2 guesses, Mystery Bag. Use a big or basket. Sit in a circle, Ask § to think of objects related to a unit {€.g. Colonial times, fairytales). First volunteer (IT) pretends to pull out an item and shows: shape, size, weight, texcure, temperature, and a way it can be used. Guessers put thumbs up. IT ealls on peers who describe aspects ofthe mime that were miost “telling.” Affer important mime details are pointed out, the object can be named. Quick Mime/Show Me. Brainstorm key events fom story of unie texts. Next to each, list, emotions caused by evens, For example, “can't go to the ball—disappointed.” Use the lit to give a series of “Show me with your face and body" directions. For example, “Show me delighted, ‘when the shoe fics.” Action Songs. Use songs with characters and actions, such as boat rowing, stars twinkling, ‘or ants marching. Examples: “Grand Old Duke of York,” “My Hat It Has Three Comers,” and “This Old Man, He Played One.” YouTube videos show many “action songs.” Instead of having students imitate of follow movement directions, challenge them to listen to lyrics to collect actions and then imagine unique ways to mime each. Variations: (1) Write song adaptations with actions (e.g, ifyou're happy and you know it ugh out loud, smile a while, show your teeth, gin a lod) Check song listed in subsequent music chapters and in the Ready References. (2) Sing or recite nursery thymes, Divide into groups and have each group plan which rhyme to say and mime, or use mime, Perform with che audience observing and giving feedback,B54 chapter 9 Mirror Me. (Concentration), Brainstorm people or characters. Partners fice each other. Partner A pretends to be a character of person and looks into the mirror. Partner B becomes the mirror. The goal is align body and face actions so an observer cannot tell the “real” from the “reflection.” Start in slow motion, Example: A pretends to be a self-centered stepsister getting ready for the ball. Reverse roles and B chooses a character. aviation: Call out an emotion or condition related to a character or moment: anger, worry, or relief. Student A physically portrays the emotion and freezes. Then B mirrors A. Both remain frozen until the next emotion is called ‘out and B then eakes the lead. Discuss whae was easy and difficult (eg. staying frozen). What did they notice about facial expressions, gestures, body shape? Solo Mime. Students work individually, bur simultaneously within the whole group, each in a personal space (Heinig, 1993), Control the action by coaching and narrating. For example, “You are Little Miss Musfet looking for a place to sit and eat. Remember, you've seen spiders in this garden before.” Give signals to start and end, such as flick lights or count down, Five Alive. Number off in fives and group, Choose a setting such asthe farm in Charote's Web, Call a number. Groups plan a pantomime using an action from the setting. Affer cach performance, audience members (other groups) fist describe specifics they observed, followed by “inaming’ the action, Another number is then called, and so on, Note: Group members can perform the action in unison ot give different simultaneous interpretations. Count-Freeze, Name a category, such as “things you do at school” (Ready Reference 9.2), Count to gen as $ pantomime as many actions as they can, then freeze on ten. Variation: Do in pairs or trios, ot count at different speeds. Literature example: “The Mouse at the Seashore” (fable): mime what the mouse might have done on his joumey in the morning, afternoon, and evening. 4-2-3 Mime, Ask $ to imagine actions for a given topic and then number each. For example, “Think of three things Goldilocks might do while traveling through the woods. Number them ‘one, 60, and three in your mind, When I say a number, you mime your action.” Coach with, “Make it real," “use more detail”, and “slow down”. Break It Down. (Analysis/Sequence). Students list a series of actions in an event oF a place (eg, sneeze). Break into three to five parts and pantomime in order. For example, wrinkle nose, suck in breath three times while throwing back the head, throw head forward, wipe nose Variation: Add conflict (e.g, can't get to the "choo". Slow-Fast-Slow. (Control). The goal is to mime at different speeds from slow to fast and back to slow. For example, coune slowly and invite students to move “as if you are under water.” Slow mood music or a piece such as "Clair de Lune” can be used to set the pace. For fast motion ‘mime, challenge S to move like a fst-forwarded video or use fist pieces such as Scott Joplin songs cor the “Spinning Song.” Note: It is ideal to end with a slow speed. Transformations. Brainstorm characters or things that change (e.g., young to old, seasons, phases of the moon). Ask § to break down phases and then mime in slow motion, Music can be added, Example: Become a fairy tle character and change, on a slow count of ten, into another character (e.g., a beast into a prince). Pair Pantomime. Brainstorm actions requiring two people (e.. playing checkers). Partner. ‘Ata count or with a time limit, they mime as many as they can. Example: Prince putting the slipper on Cinderella, Suggestion: Do an action in slow, regular, and then in quick time to increase self-control. Variations: Mime famous pairs such as the Wright brothers experimenting at Kitty Hawk. Add conflc in repeat playing to increase creative thinking (e.g., Wilbur is mad at Orville because...) Think Back. Students recall key actions of characters or event from science, math, or social studies (eg, sewing the fist flag). Each chooses one. At the start cu, S repeat it, staying in place ‘until the stop signal. Coach $ to use the BEST (dance) elements (Ready Reference 10,2) to make changes and replay. Extension: § line up and replay in plot order or get into groups (beginning, middle, end of story, or by importance}. Emotion Pantomimes. Decribe an emotional situation, such as being home alone and hearing strange noises Practice miming at desks. Next, ask $ to brainstorm emotional moments in a story or other aress of study (times when someone had strong feelings), At the tart cue, $ we fice and body to mime examples. Coach using “Isee "statements focusing on deta that show action/Drama and Storytelling Integration: Al Toolbox and Seed Strategies 355 ‘emotion. For performances, split the cass into actors and audience. Reverse so all have a chance 10 observe and tell what works, Variation: Add conflice co increase interest and creative thinking, What If... Obstacles. Brainstorm actions of characters or people from units and record ‘hem om a chart, Do a unison (whole groups) pantomime of the ideas. Nest, divide S into groups and challenge each to add a problem or obstacle (conflict) to one action (e.g, Charlote is writing bbut gets very sleepy). Groups each perform with audience feedback on what works. Chain Pantomime. One person begins miming. Others join ina lin as they guess the topic (guessers can whisper answers to the teacher). Example: For a weather unit, che first S might mime towering cumulus clouds and other S mime different types of clouds ‘Chain Mime with One Liner. Form a circle and number off: Number one goes to the center and pantomimes a simple action, say eating soup. Two enters and says, “What are you doing?” While continuing to pantomime, One answers with anything EXCEPT the truth, For example, one might say, “mowing the lawn.” Two must immediately pantomime that. One then exis, Student numbered Three then enters and says, “What are you doing?” And so on. Challenge: Elaborate on pantomime answers; for example, “I'm mowing che lawn in 10 degrees below zero.” Five Senses Mime. Brainstorm actions for five senses or categorize ideas from a book or tunic using five senses. Call a sense for S to pantomime. Variation: Add a problem, such as you are eating a chicken sandwich, but you bite into something hard (ase). Verb Mime. Brainstorm actions (verbs) or ways to move from current units, (See BEST dance elements in Ready Reference 10.2 and Movement Bingo in Chapter 11.) Put words in a basket. Each person picks one and “becomes the verb,” while others gues its name. This ean be done in pairs, such as all in group A ewise, while those in group B observe and switch. Charades. This favorite game involves ewo teams. Fach takes a tum. Traditional categories are book, song, TV show, film, and famous person, buc any category can be ased: one, two, or three-syllable words, hink-pinks ("sad dad”), synonyms, antonyms, words beginning with a letier oF sound, homophones (uum-some, red-read), quotes, proverbs, famous pais (eg, peanut butter and jelly), states, countries, nd so forth. Create nonverbal cues, such as sounds ike (pull ear), short ‘word (show size with fingen), long word (show with two hands moving apart), syllable numbers (show with finger), movie (pretend to roll film), and book (use hands eo show open book) Imaginary Place. (Heinig, 1993). Students visualize a setting from history, literature, or science, Matk off space with tape or allow 2 volunteer to establish the place through mime: bring an item and place it Each $ then pretends to stock the place with additional appropriate items. Subsequent actors observe and follow suit with another object that fits. Coach the audience to hhone in on specific ations for clues. Pairs can work cogether for big items, such as bringing a stove into a kitchen. The next actor might then bring in a reltigerator and add detail like getting ice, Suggestion: Periodically review all items and their placement (o increase visualization, QU Plot Pantomime, (Based on Heinig, 1993). Ask Sto list key events in a story and then pou them in order. Type the fist using the format: U (for YOU) (what ode) anda Q (CUE) (what t ook fn). Use aQ to stare the pantomime. Make two copies ofthe lit. Cutone into strips and pass out, Retain a fall copy of the "QU" script to keep tack of the action. ere isan example ofa fll copy based on Charlte's Web. Note: Cut so EACH stip has a Q and a U. Give each S one sip, Double of triple cast for Fall participation. Q The leader (Ceacher) says, “A Day in the Barn” Pretend to be Charlotte spinning her web : When Charlotte spins her web i: Mime Wilbur eating out of his rough : Wilbur eating out of his tough : Pretend co be Fern and come in and sit on a stool to watch ): Fem comes in and sits on her stool retend to be Templeton sneaking around ‘empleton sneaking around Applaud Variation: Use co review content under study (e.g, steps in a science experiment) U: Q U; Q356 Chapter 9 Sound-Motion Machine. Choose a category to pantomime (eg, one chapter in Maclachlan’s Sarah, Pla and ‘Tall (1985) bas these movements: rolling a marble, sweeping, riding a horse). Each § chooses a repeatable movement related to the category, sch 3a chapter or character. One S starts the pantomime, and others join in until all are moving in a space On signal, everyone adc a sound, Variation: AM! members of a machine must touch to create 2 connected whol. Prediction Pantomime. Technically, all pantomimes should be creative, but prediction pantomime offers particular room for improvisation. Instead of interpreting actions, chis pantomime involves more “what if" chinking. For example, stop reading a story ata poignant point and ask S to pantomime predictions of what might happen next. Emphasize thinking about posibltes. For example,“ want to see three things Cinderella might do afer she gets home on the fist night of the ball couns. Les begin. One.” Variation: Do half ofa science experiment or top partway through a video and ask stidenes co mime an event they anticipate. Improvised BME Scene, Pick scene that has a beginning, mide, and end (BME) and at least ewo characters. Seare with simple familar plot, such as an imagined scene with Miss Muffet sathering items for a meal on her tafe, finally sitting down to eat, and so forth, Signal S to “begin” and coach, as needed (eg, “Ie cool ouside so she needs a bonmet and coat”). When S prepare small-group scencs, remind them (ose signals (such as “green” and “red” co start and stop so the audience understands). Variation: Give each group a B, M, or E scene to plan, Provide rehearsal ime. Then, each group presents, Variation: Add captions and/or dialogue. ‘One Minute After Scene. Students imagine what happened one minute after apiece of art ‘was finished o after ahistorical moment, such asthe signing of the Declaration of Independence. Divide into groups to plan BME, Groups then present to the whole clas Character Improvisation. Read a scory and stop afier the conflict is introduced. Break into groups to discuss; use these questions, which are categories for story maps. + What does the character want or need (goals or motives)? + What is the problem or conflic? + Whar stands in the way of the character getting what is desired? + What actions can the character take to deal with the problem (plot)? Where might the character be (place)? + What might che character say (ea one-liner about che problem)? Challenge groups to plan a scene with a beginning, middle, and end (BME) co deal with questions, (One structure is to create a one-liner about the problem to end the scene, Character Meetings. Each S chooses a character from a text everyone knows, Partners then have conversations, in character, about their lives, problems, and so forth. Invite pairs to share conversation highlights with the class. Variarons: (1) Use in social studies by assuming hiseorical character. 2) On cue, characters feeze and the audience suggests an emotion. When the converation begins again, characters must use the emotion. Narrative Pantomime (NP). This ceacher-directed pantomime offers students a degree of | security. The teacher reads or tell a story 3 students simultaneously cteate individual pantomimes that show creative thinking, Apple Example: Tell stadents co find personal space and use their imaginations and pantomime skill to go on a journey. Say: “Show me finding an apple. Show where ‘you are, Show gering the apple. Show the size, weight, and smell. Take a bite and show how it tastes. Oops, ‘there i problem. Show me what iti Now show how you solve the problem. Now finish the wile ding using your imagination to add your oun details. Show what you do with the cove, Show how yu fe! now ‘that you refinished.” Throughout the mize, comment on what you see students doing, especially ‘unusual and telling gestures and ficial expressions. Repeat using split audience (half ofthe students perform while the others observe and comment, then revere). Extension: Partner and repeat ‘with mimoring or have eich student take a turn miming while others tell what they see. Invite volunteers to perform for the class. Variation: Change objects. Materials, Stare with familiar material from previous units or stories, Select stories with lots of action, a clear climax, and a quiet ending, Beware of too much description and literary devices suich as flashback. Stories of journeys, trips, oF cycles of events (eg. caterpillar turning into a butterfly or “day in the life of, .." structures) work well for narrative pantomime. Van Allsburg’sDrama and Storyteling Integration: Al Toolbox and Seed Strategies 357 ‘The Z Was Zapped (1987), Van Laan’s Possum Come a-Knockin’ (1992), Berger's Grandfather Twilight (1984), Keats's A Snowy Day (1962), and Chaconas's The Way the Tiger Walked (1970) ae stories that need only minor changes to become usable texts, Ready Reference 8.7 provides an annorated bibliography. Procedures. For best results, recast stories in the second person, 'you,” to help students to take 4 character's role. Edit stories by eliminating dialogue and exteancous description. Add setion by ‘changing descriptions to actionable text (¢.g, instead of “It was a hot, hazy day” change to “You wipe your brow and squint as you look across the hazy horizon”). If there is a repeated sound, word, of phase, invite a choral response, For example, Robert Munsch’s Thomas’ Snowsuit (1988) offers the repetition, “No!” A pause for students to add the word builds engagement. For chapter books oF long stories, isolate one event to mime. For example, choose one chapter from Because of Winn-Dixie (Dicamnillo, 2000) or Junie B. Jones and the Stupid Smelly Bus (Park, 1992). Remember to convert to “you” while reading, rather than use frst person, To introduce NP, read the story aloud fist. Ask students to listen for actions as they enjoy the story. Read again, using expressive oral elements and pausing for students to mime, Props, costumes, and scenery are not necessary; students’ imaginations can supply everything needed. If students want to develop pantomimes further, music may be added, Characters and actions can also be added by imagining others who might enter the story. An example of one of my science NPS is part of Planning Page 8.6. Note chat I previously eaughr habitat concepts Variations. Narrative pantomime (NP) is usefil for introducing basic story structure (beginning, ‘middle, end) and literary elements (plo, setting, characters, conflict, resolution} because it calls for scuclents co physically engage with concepts. NP can also be written or told by students, if they understand concepts such as how co plan a beginning, middle, and end and add conflice to create a plot, Orders critical itis awkward to mime a nonsequential narrative, such as “You wake up. You {getup and brush your tech, First, you turn on che water and then you putt paste on your toothbrush.” Use the BEST dance elements in Chapter 10 to add variety to actions of any pantomin NP: Music. As students sing or listen to a story sung through a ballad, invite them co interpret actions with pantomime. Example: Davy Crockett, NP: Visual Art. Students imagine they have tiny paintbrushes and not much space in which to paint. Narrate a pantomime in which you tell them to keep painting, but describe how the size ‘ofthe brush and the space keeps getting bigger and bigger. Music can accompany this (e., “The [Blue Danube” wal). Variation: Using an actual painting, narrate its construction, Coach stadents to visualize the product as they paint. Afterward, show the actual painting and compare it with their mental images NP: Group Stories. Sicga Non (dePaola, 1989}, The Cloum of God (dePaola, 1986), and Lentil (McCloskey, 1978) are examples of children’s literature that contain crowd or group scenes Such stories can be used ro ease students into dialogue. Do this by freezing NP scenes and asking actors to ay a one-liner about who they are or what they feel atthe moment, From there seudents can move into writing dialogue for groups. NP: Puppet People. In personal spaces, students pretend to be puppets that SLOWLY ome to life, according co teacher nareation: You are made of sad 9 you can’ move any body pa at all, But BOINGH have put a mage spell on you to bring you to ie. e starts with yor eyes. Move them ap and down and every way you can. New your eyes are coming to ie. All your life you've ad 9 stare sagt acd, bt row’ you cn Tok al deen sys. (Cal our ways stadt ove thes) Now the spell enters your ears and nese. Wiggle and setch then. On it goes to your nit. Stnch your lips into st wide grin and then purse the Now ty diferent facil expressions to show how yu fl. (Call ou what you see them ding.) Oh my, your head is lose? You ist to each side and strech eu your ein, the lower it 0 your ces. Ok lok, you fingers ae moving —dancing inger—slw dancing an fast dancing ad slow again, And you have elbows tht you can lap and point. The spell enters your right shoulder, bu remember oUF fo is weed, s0 you can’t move it. Move your righ shoulder in cies; now move your ei. Fe a le 40 up and down your spine, Tha’ the magic! Te spell spreads ass your chest and you pu out lke 4 prod soldier. Bring your lef hand upto your fice and study it. Move youe finger in difent ways (Call out what they do.) You lower your ann and note the spell as entered your sis. Sly bend frwad, then 1 the lf side, now te ight, Make cele of bending atthe waist. Oh, now your hips comet i, bt, ok wo, your knees are stil cked gether, Wow, see hips moving al arund. Now the spell hits your hes. You A :BSB Chapter9 a bred the ight knee and the left. Bend over and pull your left fot fee. Unf! Now rotate your ankle and point the te. You slowly try 1 pull your sight fot fee. POP, itis fee. Now you are totaly alive. Everyone ‘an move in difrent ways. P' put om some musi forthe puppet people 1 dance @ Tableau. Pairs or small groups are challenged to summarize conclusions/learning by creating frozen pictures. Fist, students selecc che mos tension-filed scene or a key emotion froma narrative ron or nonfiction work related to a science or social studies unit. Next, they plan a frozen scene "using only body shapes and facial expressions. Audience members participate by + Describing whar they see, focusing om significant details they used co draw conclusions about the message, + Asking questions of ubleau actors, especially regarding their feelings and motives, + Suggesting ways to make the tableau more interesting or intense (e.g., use of facial expres- sions, focus, variety of levels, use of arm positions). The audience may act as “sculptors” and physically move actors into new positions To develop point of view, give audience members a role, For example, using the scene from Charlowe's Web where Wilbur wins the blue ribbon, the audience might become farmers, other farm animals, oF Charlotte, and describe what they see. Tableau variations include the following: Fast Freeze. Divide into groups offive to seven, and give each a name or number. Call out scenes to one group ara time. Without talking, che group who is up must quickly create 2 ableau without talking. Other students act aan audience, less: Use any emotion, of captions such as “A day at the beach” or “Winter sport.” Select important scenes from history, science, and literature to summarize ‘curricular material, Veraron: Signal for a tableau to come to life with actors speaking and moving. Count Freeze. Students create three liferent tableaux to a count. For example, “Remain the same character but move into three differene positions a I (lovly) say 3-2-1.” egies Moving Tableau. Students ftceze, then move (et, three steps), and then freeze on cue. Coach students to use movements that reveal telling details about who they are (eg., emotions). they are “set,” the teacher ps them one by one and each says one line about what he or she is, thinking or feeling. Variation: When capped, students come to life, do an action, and then refreeze. One-Liner Tableau, _Seadents create scenes fiom artwork, history literature, and the like. Afier e@ Series Tableau. Groups cach plan a series of tableau (e.g. from BME of a story) and create visual scenes with cheir bodies—like cartoon strip panels, Variation: Create the scene before or afer ‘what is depicted in a painting, photo, or historical moment. Captions. To prompt ableaux, use book titles, newspaper headlines, current events, advertisement slogans, famous quotes, of phrases ffom units. For example, “Why does she always get to sit up font?" or “Hubble Telescope Repaired.” Variarion: Take photographs of tables poses and post for caption writing, Sithouettes. Use light behind a taut sheet to create silhouettes. Students should stand close to the sheet to present a clear image, then tam off the lights, Place colored gels on the lights for interesting effects, Discuss how using silhouette changes the tableau. Add-On Tableau. One person takes the stage and becomes a statue, announcing her role as in “Iam a house.” Another $ quickly enters, forms another statue in the same picture, and announces, “Tam a tre in front ofthe house” (or whatever), and so on until there are six to eight sudents in the picture. Restart, with a student who didn’e participate in the frst round. Coach st to promote quick thinking. Challeng: Say, “On a count of three, make it a moving ” Use in place actions (nonlocomotor), and/or add sounds and dialogue. Ill. Verbal Improvisation Strategies Improvisation involves “thinking on your fee.” In “improv.” actors must sink creatively and may ‘use pantomime of, discused inthe next section, add words for effect. Verba improv engages all aspect of ing, sequen wed oye or evew melo coneact bigides. Seu- dents can be mgd into in-depth analysing many stateges, suchas challenging dhem to build a Scene from stop point in a nara, The following rates are organized from easy to more dificul.Drama and Storytelling Integration: Al Toolbax and Seed Strategies 359 Sound Effects Stories. As the teacher reads or tells a story such as Too Muck Noise (MeGovern, 1966) or Night Noises (Fox, 1989), students (S) add simple sound effects using their voices or rudimentary musical instruments, Firs, read the story aloud and ask § to lis sounds heard oor suggested. Plan who will make the sounds and how they will do so. Specific groups can be responsible for certain parts, with everyone involved at some point, Sueestion: Use an imaginary volume signal to practice controlling louiness. Example stories with refrains or repeated lines are Viorst’s Alexander andthe Terrible, Honible, Ne Good, Very Bad Day (1972), Beck's Hamilton (1976), and Hutchins’ Don'r Forge the Bazon (1978) Sound Stories, Find or write 2 story or poem that contains repeated words (eg, character names) (Heinig, 1993). Brainstorm sounds for repeated words and post. Each time repeated words are read, $ respond with a sound. To prepare, rehearse each eue word. For example, Jack: “oops” and sad fice, jill: giggle and play with curl, Some stories and poems are preset with sounds, such as “Laughing Time” in Jay's book by the same title (1990), which has animal names paired with different laughs. McGovern’s Too Mus Noise (1966) and Murphy's Peae at Last (1992) are recommended. Variarine Add actions. An example sound story based om How t0 Clean a Hippopotamus (Page and Jenkins, 2013) appears in Ready Reference 9.3, Volume Control. Brainstorm sound categories (e.g., shore vowel, city sounds, kitchen sounds, sounds from any story of unit). IT stands infront of clas, calls a category, and “turns up" the volume or “cums it down” using an agreed-upon cue; for esample, moving one’s hand (0 a low or high position. Vaviasion: Do in pairs or small group. Don't Laugh. (Fluency/Control). Form four to five groups, with each making a circle. 1T points at someone and asks a funny question. The person to the right of the person questioned ‘must answer, Everyone tries not to ugh. Go fist, Example: “Would you ext blue food?” Note: Prevent problems by discussing school appropriate topics ahead of ime, Pair Sound Effects. Brainstorm sounds from a context or event (e., ocean, storm, grocery store). Partners become an A or B, Partner A makes sounds while B stands behind A and makes 6 Ready ady Reference renee 9.3%Sound Story Example: Symbiosis Directions: Ask students for sounds and actions for each animal (examples are shown). During reading, pause after underlined words for response: Hippopotamus: ugh, aw “Well I'm afraid of being eaten by bigger fish,” said the Turtle: nibble nibble ‘Clown Fish, who swam close to the Sea Anemone, who again Clown Fish eck stung him with its tentacles. But it didn’t hurt so much this Sea Anemone: swish swish zap time. Symbiosis link fingers “A Turtle told me that in Africa animals help each other,” Arica: ‘drum thythm said the Clow fish as he let another Sea Anemone tentacle ‘A big brown Hippo and a Helmut Turtle lived near a lake in touch him. This time, it barely hurt at al Africa. The Hippo and the Turtle had learned that they could help each other using symbiosis, The Turtle ate troublesome al- {gae from the Hippo’s skin. They each got something and gave something. That's how symbiosis works in Africa, ‘A Clown Fish living in a coral reef hada big problem. Bigger fish kept tying to eat him. He asked a wise Turtle what to do. “in Altica, the Hippos and Turtles help each other,” the Turtle said. “Its called symbiosis.” “Who can help me?” asked the Clown Fish, “Fist, look for a friend who needs help,” the Turtle sai. ‘The Clown Fish looked around and saw the Sea Anemone, who looked like a great place to hide, The Clown Fish swam ‘over to talk, ut like always the Sea Anemone stung him. “why do you do that?" asked the Clown Fish, “Because | am hungry," said the Sea Anemone. “Oh,” said the Sea Anemone, who looked hungaly at the fat Clown fis. “ts called symbiosis,” soid the Clown Fish. “W's about beeing partners—ike Turis in Afica who eat annoying water plants growing on the kin of Hippopotamuses.” “You seem to be proposing to me," said the Sea Anemone. “How could we help each other?” “Look al me,” sid the Clow Fish, who felt a sight jolt as he came closer. “im very colorful. could attract ts of food to you.” “vimmm,” said the Sea Anemone. “And | suppose I could protect you?” “Right!” said the Clown Fish, {And so it happened that the Hippo and Helmut Turtle in ‘fica and the Clown Fish and the Sea Anemone lve more hap- pily because of symbiosis.360 Chapter9 actions that coordinate with the sounds. Reverse roles. Everyone participates simultaneously. Volunteers ean replay for the class One-Liners with Pictures/Props. Students change their voices (dynamics, tempo, pitch, pause, stres) appropriate to a role reited co a picture or object. If picture is used, S can become chatacters or objects in it. Ian object is used, S can be someone who might use the objec. Then each S.saysa one-liner. Others tell how the actor best showed his or her identity. For example, afer reading “Linde Red Riding Hood,” pass around a red cape. Student use the cape in some way and say a line the character might sy. Suggestions: Create picture collection using magazines, cards che Internet, and so forth. Invite contribations to a clas prop box for units (e.g, weather items and picture). Say It Your Way. (Flueney/Expresion), Students sy a sentence in a role or in a mood. The audience then uses key vocal chues and guesses the student's identity. Give rehearsal time so S can explore ways to speak sentences (e., angry, sad, confident). Coach to emphasize different words to change meanings: " Wha is my friend? Who ie my friend? Who is my friend? Who is my, fond?” ‘Cards with roles (character or person) may be used to stretch thinking. Here ae sentence examples. + I don't like your attitude. + Everyone just left + She has a terrible headache, + We only have five lef. + Remember to check each answer. + Where do you chink you are going? + Tum out the light + Close the door. WholWhere One-Liners. Make a set of numbered cards, each listing a place and person or character. Example: Lost girl at a parade, Sit in a citcle and pot an object (e.g, hand mirror) in the center. Give each S a card. The S with number one says a one-liner, talking to the object, pretending to be the character, using face, voice, and body consistent with the given location Classmates describe detais/elues that indicate posible conclusions about who the person is, the location, and what the object represents. Challenger Choose characters and locations from units, Variation: Seadents ask a question instead of saying a one-liner. Conflicting Messages. (Fluency/Expression). Students say a given one-liner differently from what the words seem to convey (eg. "Lam happy” spoken with great sadness). Discus effects Character Talk. _(Flucncy/Expresion). Use to review any material, Students write important sentences or phrases from stories ora uni on cards. Mix cards ina basket. Students chen draw cards and read them aloud inthe rle of the character who said it. Ask about the context of each line Sentence Frames. (Fluency/Expression). Fach person orally completes this frame: “T am Students are not to say names, bue suggest a role the person played {@ hero) and a goal (ave a life). Coach to vary dynamics, tempo, pitch, pause, and stress so each response is different in content and expression. After each S says the frame, the group can echo, “She is__and she wants * Suggestions: Use book charactets or famous persons. See more sentence frames under “English Language Ares” in Chapter 5. QU Scripts. (Attention/Fluency). Shore scrips that summarize a story or key ideas in any unic are written wich “cue” and “you” directions (see previous QU directions). Type the script and use the copy/paste function to repeat the U line a the Q for the next reader. Cur QU lines apart with one Q and one U on each strip. Students rehearse their U (YOU say this) wich meaningful expression, and note the Q (the CUE). For example, Q = Mary had a ltde lamb. U = Its fleece ‘was white as snow. The teacher follows a master copy during the reading, Swgestions: Jokes and riddles are easy o adapt because of the reader-response or questio~answer format, Poetry ‘written in the fist person, such as Silverstein’s “Sick,” works well, See an example QU in Ready Reference 9.4, Adape stories such a8 If You Give a Mouse a Cookie (Numeroff, 1985) or The Tie ‘Story ofthe 3 Little Pgs by A. Wolf Scieszka, 1991). Conflicting Motives. Brainstorm motives orreasons for the actions of characters or real people and provide examples of what they do, Put motives on cards, Ask for two voluntees—A and B. A draws a motive card, such 2510 “get B to sit down,” and leaves the room. B draws a different motive, sich as to “get A to sy the word no.” A is brought back andl they are given a context: “You are in the grocery store and you meet an unpleasant neighbor.” Neither partner can verbally give away his cor her motive. The audience observes how A and B interact, who accomplishes the goal, and how. and T want