Developing deep understanding through Phileas's fortune: a story about self expression.

Ewing, Robyn

Drama is not simply a subject, but also a method ... a learning tool. Furthermore, it is one of the key ways in which children gain an understanding of themselves and others. (Neelands, 1992, p. 3)

Introduction

There is a large evidence base for the important role that the Arts and educational or process drama in particular can and should play in language and literacy development. Enactment or walking in someone else's shoes (Ewing & Simons, 2004) can be regarded as the essence of educational drama. Process drama, a term first coined by Cecily O'Neill (1995), refers to using a range of theatre strategies (such as sculpture, role walking, role play, depiction or still image, improvisation, mime, thought tracking, hot-seating or questioning in role, play-building, mantle or enactment of the expert, conscience alley) to enable participants to make meaning. Details about these drama strategies can be found in a range of books including Gibson and Ewing (2011), Miller and Saxton (2004), Ewing and Simons (2004) and O'Toole and Dunn (2002).

In addition, using these kinds of drama strategies can encourage collaboration, problem-solving and the development of empathy and reflection (see for example: Ewing, 2010; Sinclair, Donelan, Bird, O'Toole, & Freebody, 2012; Neelands, 1992). The opportunity to explore a fictional context enables us to suspend who we are in our real world to make meanings from a range of other perspectives (Bolton, 1984). Heath (2000) uses a range of research to demonstrate how moving from physical enactment or embodiment of an idea or event, to visual and then written representation, can extend and develop our neural circuitry. Storytelling and imaginative writing have been shown to be greatly enhanced through the use of process drama strategies (see for example Dunn and Stinson, 2012; Ewing, 2010b, 2006). Imaginative storytelling (both oral and written) are important because they encourage the exploration of our current beliefs and ideas and the extension of our boundaries to create new possibilities. Drama can also engage students in creative thinking and problem-solving across all other curriculum areas and help them make emotional connections.

Links with the Australian Curriculum

The Australian Curriculum: English (ACARA, 2012) emphasises the significance and explicit benefits of using quality Literature in English programs. This unit demonstrates that the Language and Literacy strands of the intended curriculum can also be realised through close study of a literary text. It addresses some of the literature, language and literacy outcomes mandated in the Australian Curriculum: English (ACARA, 2013). In addition it highlights two of the national curriculum's cross-curricular capabilities, critical and creative thinking and personal and social capability. This integrated unit has been shared as a workshop with a number of teachers as well as in primary classrooms across the country. It uses drama strategies to explore the rich meanings underpinning Phileas's fortune: A story about self expression (Agnes de Lestrade and Valeria Docampo).

The lessons can be adapted for children in Years 2-6 but the experiences can easily be adapted for older participants.

While a sequence of lessons has been suggested, this could easily be altered depending on the children's needs and interests as well as the teacher's particular English or literacy focus. The strategies described below are based on the belief that deep understanding of the themes in this book can be enhanced through initial enactment and embodiment followed by talking and listening activities, visual representation of ideas, and finally by, writing. While the specific focus for this unit are listed below and emphasis has been placed on using process drama strategies, Visual Art, Music and Dance experiences are also integrated (Gibson and Ewing, 2011). It therefore demonstrates the integration of arts processes and experiences and relates to the incoming Australian Curriculum: The Arts (ACARA, 2012). Any of the suggested activities may be used as assessment strategies.

Ideally, 6-8 copies of the book should be purchased so children could use the book for close study. Study of the images will be important if the students are to develop and understand the metalanguage of visual literacy (Callow, 1998; 2013).

Aims:

This unit aims to:

** explore literature as an art form as well as a multimodal text.

** enhance the development of inferential comprehension.

** foster collaboration and the development of strong peer relationships in small groups.

** engender empathy for others.

** encourage close study of words and expressions.

** provide opportunities for students to demonstrate their creativity by responding imaginatively to the story through drama, dance, creative writing, visual arts .

** interpret themes of the story and draw implications for our own contexts.

Lesson 1:

Warming up: Children are asked to think about three words or expressions:

* one that you consider precious or beautiful;

* one that you consider silly;

* one that you consider hideous.

They should write these down in a special place as they will be returned to later.

Children are then asked to choose one of these words or expressions to embody. These will be shared simultaneously around the drama circle and then one by one if children are confident. Then the children will focus on verbalising these chosen words/expressions using tone, pitch, and so on to convey meaning. Finally children will embody as well as verbalise the words around the circle. They could also draw/paint/sculpt their interpretations of these words.

Talking and Listening: Take some time to discuss observations made by looking at the front cover using questions like:

* What do you think the book will be about?

* Describe Phileas.

* What is he holding?

* What might 'fortune' mean?

Lesson 2:

Depiction: In groups of four or five children portray the concept of friendship as a freeze frame/still image. Take some time to analyse each group's portrayal. Record these depictions to use as a trigger for brainstorming what friendship means.

Shared Reading: Read up to 'Words sometimes go on sale, but usually these are old-fashioned and pretty useless words like carriage or crank'.

Shared talk: Children might like to discuss how this state of affairs came to be--why would a factory have to make the words we need to say? They could discuss how the word-making process might work. They might like to sketch this process and share with a partner. Partners could then share with another pair.

Representing the factory: Small groups represent a particular stage or process in the word-making factory and these could be ordered. Alternatively they could choose to draw the word making process and annotate what happens where.

Lesson 3:

Talking and Listening: Discuss the different categories of words described: beautiful words; hideous phrases; grown-up terms; baby talk; precious expressions; silly expressions; valuable words; cheap words; dull and boring words; old fashioned words. If desired, repeat the word--embodying and verbalising activities in the warm-up above.

Writing: Pairs or triads might take responsibility for beginning to brainstorm a list that represents one of these categories of words. Lists can be created and displayed and these can continue to be added to throughout the unit. Children can choose to research several of these words/expressions.

Shared Reading: Read the next part of the story--up to 'Tomorrow is her birthday!'

Talking together, writing: Children can discuss who Cybele might be and then predict and then record what these three words might be.

Lesson 4:

Talking in pairs: In turn children can say their three predicted words to each other, embodying them as before.

Shared Reading: Read up to 'I know we will marry'.

Readers' Theatre: After discussing the way the author has represented the spoken words in these two pages, children may work in pairs to script them. They can then rehearse their scripts, annotating how they will read them.

Lesson 5:

Drama from a picture: Before reading, study Phileas' pose after Oscar has spoken to Cybele. How does he feel? Children depict Phileas, then Oscar. As the teacher counts to 10, children transform from Phileas to Oscar, and back again. Teacher chooses to tap in to see what a few Oscars and Phileases are thinking.

Writing and Drawing: Children draw their version so both Oscar and Phileas and add a thought bubble for each.

Prediction: Children predict what will happen next. Teacher records several alternatives.

Lesson 6:

Shared Reading and Discussion: Teacher finishes reading the book. Children discuss. Take time to examine the words themselves as well as the colours and use of font and so on to help construct meaning.

Drama: Hot seating Children are divided into three groups:

* writes questions they would like to ask Cybele

* writes questions they would like to ask Phileas

* writes questions they would like to ask Oscar

They then prioritise in preparation for hot-seating these characters.

Lesson 7-8:

Responding to the text: Give children the following options to respond to the story (this may take several lessons for the children to complete):

Writing and drawing: Children choose the words they chose at the beginning of the unit, the words Phileas chose, or one of the expressions listed. They make represent the words through collage or paint or a series of photographs or found objects.

Drama: In a small group children choose the scene they consider the most critical to depict. They will show these to the class as well as record these still images for later use as a stimulus for writing.

Visual Artist: Children choose the page in the book they would most like to represent visually. Using oil crayons, chalk pastels, paint or collage they can create their own illustration. Artwork can be shared, displayed, discussed, bound into a big book class version or scanned.

Soundscape: In small groups children experiment with words and instruments to tell the story or share their selection of key ideas.

Dance: Either individually or in a small group children explore ways to share the story through dance.

Re-Reading and Responding: Teacher re-reads the story or children read to each other in pairs.

Children share their chosen responses. They return to their original special words/expressions and reflect on how they would represent them now. Finally they can reconstruct their friendship still images and then record their understanding of the concept using a mindmap.

[ILLUSTRATION OMITTED]

Other picture books about friendship and relationships Blabey, A. Pearl Barley and Charlie Parsley.

Sunday Chutney. http://www.penguin.com.au/ products/9780670071791/sunday-chutney

Stanley Paste, http://www.penguin.com.au/ products/9780670071807/stanley-paste

Browne, A. Willy and Hugh.

Gleeson, L. Amy and Louis.

Gordan, G. Herman and Rosie, Melbourne: Penguin.

King, M.K. Henry and Amy.

References

Australian Curriculum, Assessment and Reporting Authority (ACARA). (2012). The Australian curriculum: English. Accessed July 2013 from: http://www.acara.edu. au/curriculum_1/learning_areas/english.html

Australian Curriculum, Assessment and Reporting Authority (ACARA). (2011). The Shape of the Australian curriculum: The Arts. Accessed July 2013 from http:// www.acara.edu.au/arts.html

Bolton, G. (1984). Drama as education. London: Longman.

Callow, J. (2013). The Shape of Text to Come: how image and text work. Marrickville: Primary English Teaching Association Australia (PETAA).

Callow, J. (1999). Image Matters. Sydney: Primary English Teaching Association.

Crumpler, T., & Schneider, J. (2002). Writing with their whole being: A cross study analysis of children's writing from five classrooms using process drama. Research in Drama Education 7(1), 61-79.

Dunn, J. & Stinson, M. (2011). (2011). Dramatic play and drama in the early years: Reimagining the approach. In S. Wright (Ed.), Children, meaning-making and the arts (2nd ed., Sydney: Pearson/Prentice-Hall.

Ewing, R. (2010a). The Arts and Australian Education: Realising potential. Melbourne: Australian Council of Educational Research.

Ewing, R. (2010b). Literacy and the Arts. In F. Christie & A. Simpson (Eds.), Literacy and social responsibility. New York: Equinox.

Ewing, R. (2009). Creating imaginative possibilities in K-6 English. In J. Manuel, P. Brock, D. Carter, & W. Sawyer (Eds.), Imagination, innovation, creativity: Revisioning English education. Sydney: Phoenix.

Ewing, R, (2006). Reading to allow spaces to play. In R. Ewing (Ed.). Beyond the reading wars: Towards a balanced approach to helping children learn to read (pp. 171-182). Sydney: Primary English Teaching Association.

Ewing, R. & Simons, J. (2004). Beyond the script. Take 2. Drama in the classroom. Sydney: Primary English Teaching Association.

Gibson, R. & Ewing, R. (2011). Transforming the Curriculum through the Arts. Melbourne: Macmillan Palgrave.

Heath, S.B. (2000). Seeing our way into learning. Cambridge Journal of Education, 30(1), 121-131.

Miller, C. & Saxton, J. (2004). Into the story: Language in action through drama. Portsmouth, NH: Heinemann.

Neelands, J. (1992).). Learning through imagined experience: The role of drama in the national curriculum. London: Hodder & Stoughton.

O'Neill, C. (1995). Dramaworlds: A framework for process drama. Portsmouth: NH, Heinemann.

O'Toole, J. & Dunn, J. (2002). Pretending to learn. Sydney: Pearson.

Sinclair, C., Jeanneret, N. & O'Toole, J. (Eds.), (2012). Education in the Arts. 2nd edn. Melbourne: Oxford University Press.

Robyn Ewing is currently Professor of Teacher Education and the Arts and Acting ProDean, Faculty of Education, University of Sydney. Her teaching, research and extensive publications include a focus on the use of drama strategies with literature to enhance students' English and literacy learning. She is working in partnership with Sydney Theatre Company on the School Drama project to develop primary teachers' expertise with drama and literature. Robyn is National President of the Australian Literacy Educators Association and Vice President of the Sydney Story Factory Board.