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Story sacks for Teaching English through Drama in the Primary Class
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Story sacks for Teaching English through Drama in the Primary Class

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This presentation shows the development of a team of teachers in Special Education in Argentina in designing a StorySack each to teach English through Drama for inclusion. It explores the rationale …

This presentation shows the development of a team of teachers in Special Education in Argentina in designing a StorySack each to teach English through Drama for inclusion. It explores the rationale and shows the contents of the StorySack including types of activities used in ELT.

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  • At the lake
  • Flint stone
  • Students from Korea, Germany, Mexico, China, Japan
  • This is in Norwich, Norfolk, UK
  • Transcript

    • 1. StorySacks forTeaching Englishthrough Drama in Primary Pearson Peru 2011Susan Hillyard B.Ed.(Hons)
    • 2. Order of the day a peep at some real StorySacks why stories are good springboards in ELT storytelling and reading techniques for teachers voice and body work lots of activities some project ideas Reader’s Theatre performance sites
    • 3. StorysacksBag +Book +Realia+Song + Activities = Story Sack!
    • 4. Contents of a Story Sack by B.Ed student Ayesha Khalifa Al Romaithi UAE
    • 5. More Examples
    • 6. Why Stories for teaching a language? offer a whole imaginary world, created by language, that children can enter and enjoy natural extension of childhood activity in first language bring the outside world into the classroom link with art, poetry and literature act as metaphors for society and human psyche Rich and intimate events
    • 7. Prototypical Features of Story formulaic opening introduction of characters description of setting introduction of problem a series of events>>>>>>>>> the resolution of a problem often with a surprise a formulaic closing a moral, stated or unstated
    • 8.  predictability e.g. LRRH sense of inevitability comfortable familiarity with a twist/change repetition of events and consequent language parallelism e.g. LRRH rich vocabulary supported by good art narrative and dialogue devices: alliteration, onomatapoeia, grammar: prepositions, tenses, word order in context
    • 9. Story Sacks are Positive, Theatrical, Special and Fun! Sequencing  Prediction Rhythm  Alliteration Compound words  Collective nouns Adjectives  Dialogue Questioning  Story setting/plot Rhyming  Character/theme Positional vocabulary  Also: Social skills. Interactive Creativity and Words ending in…… Cooperation Verbs
    • 10. Choose Stories With lots of repetition, rhythm and rhyme With enriched vocabulary With beautiful or special illustrations and features With a CD reading or telling of the story for pronunciation and production practice. A good theme like caring for each other, not telling lies, diversity, safety, ability and talent, comparisons, fears, relationships, greed, ……… The possibility to adapt to drama/poetry/ song or that have plays already embedded. The possibility of LAC/XCP, TBL Activities to do with other stories/songs/poems/films/posters/pop culture
    • 11.
    • 12.
    • 13.
    • 14. Story SackA story sack is a large cloth bag containing a good quality story activities for language development puppets soft toys games/action songs audio tape of the story play script to act out parts of the story handicraft/science/cookery/activities props/ realia
    • 15. Penny the Penguin from Patagonia
    • 16. Penny the Penguin from Patagonia Story: Little Penguin’s Stories Ball, Binoculars, Soft toys Cloth Three more Stories: Penguin, Penguin Small, Lost and Found Factual book: Penguins Flashcards Jigsaw Where’s Penny? PPT Original songs, chants and a play script
    • 17. Where’s Penny? Penny Around the World
    • 18. FromI CAN’T ToI CAN!
    • 19. Great Sites Commercially produced Story Sacks to purchase on-line http://www.storysack.com/ Guidelines on how to make your own story sack http://www.literacytrust.org.uk/assets/0000/3210/Story_sack_guide.pdf On-line resources from BritLit http://www.teachingenglish.org.uk/try/britlit/little-red-riding-hood Process Drama http://www.tki.org.nz/r/arts/drama/posters/3/key/miners_wedding_e.php EVO Drama http://www.google.com/#hl=es&xhr=t&q=Process+Drama+Conventions&cp=25&pf=p&sclie nt=psy&rlz=1R2ADRA_enAR377&source=hp&aq=f&aqi=&aql=&oq=Process+Drama+Conv entions&pbx=1&bav=on.2,or.r_gc.r_pw.&fp=35e26099eaba80a9 What is Process drama? http://esldrama.weebly.com/process-drama.html Videos on Process Drama http://www.google.com/#q=process+drama&start=10&hl=es&sa=N&rlz=1R2ADRA_enAR3 77&prmd=ivnsb&source=univ&tbm=vid&tbo=u&ei=FcW5TcqzGsjEgQeBioFR&ved=0CDAQ qwQ4Cg&bav=on.2,or.r_gc.r_pw.&fp=35e26099eaba80a9
    • 20. Worksheets for Sphere of Interculturality 1.Transport in Norwich and in Buenos Aires Description Norwich-type Buenos Aires-typeprivate cars grey Ford white Citroen black Suzuki all colours otherbuses green Mercedes single and doubledeckerbicycles manytaxis black/5 places white/4 places some vans for 8-50trains blue/other all sizes/a ll destinations slow and fastsubway NO NOairport small Air France KLM ( Holland)
    • 21. My Day Event Time starts Time finishes ContentsNorwich I get up at 7.30 a.m. my bedroom shared with my sisterBuenos AiresNorwich I have my breakfast 8.00a.m. cereals/porridge/baco at n/ eggs/sausages/tea/sug ar/milkBuenos AiresNorwich I go to school at 9.00a.m. 3.30pm morning: English, maths, social studies/ afternoon:sports, Spanish,Buenos AiresNorwich The shops open at 9.00a.m. 5.30pm corner, malls, department, chains, family,Buenos AiresNorwich I have my lunch at 12 noon 1.30 p.m. fish and chips, stew, pasties, spaghetti, hamburger, piesBuenos AiresNorwich I do my homework at 5.00 pm 6.00 pm Homework timetableBuenos AiresNorwich I go to bed at 9pmBuenos Aires
    • 22. Birds (Factual book)Make your own flashcards to study the names andcompare habitats, physical features, sounds, colours,habits
    • 23. “(the child) actively tries to make sense of the world……asks questions……wants to know…..Also from a very early stage, the child has purposes and intention: he wants to do” (Donaldson, 1978:86).“Children bring to language learning their curiosity and eagerness to make sense of the world. They will tackle the most demanding tasks with enthusiasm and willingness. Too often these early gifts are turned to fear and failure” (Cameron, 2001:246).
    • 24. The requirements for the teaching and learning of the art of self control vis a vis other people cannot be met in the conventional classroom with traditional teaching and learning styles.
    • 25. Drama is: An activity which combines vocal expression and body action. It is true communication The ability to move an idea of the imagination or an event into a concrete happening through interaction of the mind and the body Self expression through role play and improvisation Willing suspension of disbelief Artistic play Our main method of receiving stories of the human condition today
    • 26. Drama is NOT: …..the teacher telling the students about drama/ theatre/acting …..the study of theatre/text/character/setting ….. theatre/TV/film …..an activity which requires expensive resources.
    • 27. Drama as Education SPICE Drama is a holistic discipline The five developmental processes are: Social Physical Intellectual (cognitive) Creative Emotional 
    • 28. Drama Conventions Teacher in role, Stranger in role, Mantle of the expert, Narration, Meetings, Interviews, Hot seating, Improvisation, Collective role play, Pantomime/movement, Dream sequences, Still image or tableau, Freeze frame, Thought tracking, Guided imagery/visualization, Decision alley, Role on the wall, Performance Carousel, Soundscape, Choral speaking.
    • 29.  . “The most significant kind of learning which is attributable to experiences in drama is a growth in the pupils’ understanding about human behaviour, themselves and the world they live in” (O’Neill & Lambert, 1982:13)
    • 30. Access to the Arts“Drama and theatre are not mutually exclusive. If drama is about meaning, it is the art form of theatre which encompasses and contains that meaning. If theatre is about expression, then it is the dramatic exploration of the meaning which fuels that expression” (Morgan & Saxton, 1987:1).
    • 31. The Benefits of Drama for All   Drama for transformation Drama as empowerment Drama for fluency ( speaking and listening) Drama as culture (play and storytelling) Drama for thinking ( all types) Drama for literacy (reading and writing) 
    • 32. Drama for ELT Pronunciation, diction and voice control Body language and gesture Stance and posture Blocking/interacting in space with others Register / Speaking in role/Improvisation Language games Lifting the word off the page Making language active, meaningful and fun 
    • 33. Confidence Building and Self Esteem experienced continual  a whole series of small discipline problems successes in a safe continued failures envionment within their routine  transform their self classes image failures in social lives  contribute to risk even before entering taking the school institution.  “I can” attitude rather than the already established “ I can’t” attitude.
    • 34. The Art of Self Control behaviour problems  turn-taking/ listening to self control is essential in other people drama  comprehending and understand limits responding becomes paramount the open space makes  a growing awareness of new demands practise interaction with the use of body and peers in pairs or in voice  the relationship between groups language and action
    • 35. Self-expression self expression -  whole variety of difficult for all but paralinguistic features especially for SEN  many more options students  works best with shy, variety of learning retiring, weak students difficulties precludes  holistic nature engages their ability to express the faculties themselves in any language which relies heavily on vocal expression (words) only
    • 36. Multisensory Education need to have all their  all senses employed senses developed through the use of through concrete and imaginative contexts practical activity  all processes are concrete cannot deal with the  all learning styles abstract nature of appealed to grammar or language  realia/props are real or rules. symbolic need to learn by  metaphor/story DOING inherently understood
    • 37. The Here and Now memorisation, or rote  present lived life learning is often  this moment is now impossible  recalled experience to school concentrates on live out now the past and the future:  imagined worlds to tends to ignore the create now present
    • 38. Communication Little opportunity for  group negotiation and play at home communication skills Cannot play and share at essential to drama school  human need for Maybe illiterate in involvement and mother tongue engagement the continuation of  Access vocabulary easier childhood play  remember chunks of language more easily  meaning in context
    • 39. The Mask  Psychologically, drama is little sense of self and cathartic self worth  a means to hide behind cannot BE the mask of “the other” unaware of diversity  become the persona and go beyond the confines unaware of the other of their own limited selves  understand the nature of the self and the other.