This document provides an overview and curriculum for a drama program for 4th grade students. It includes 3 terms focused on mime and storytelling. Term 1 focuses on introducing mime through various warmup activities and exercises. Sessions are structured with objectives, reflection questions, and closing routines. The goals are to develop students' creative expression, collaboration skills, and confidence through experiential drama activities.

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CONTENTS
Introduction 2
General Curriculum Objectives 4
Specific Curriculum Objectives 4
Programme of Work 5
TERM 1 6
Introduction to Mime 7
Introduction to Side-Coaching 7
Term 1 - Schedule of Activities 10 - 26
MIME - Session details 11
Assessment 27
Analytic Rubric - Mime scenario 28
Assessment Scoresheet – Mime scenario 29
TERM 2 30
Introduction to Storytelling 31
Elements of a Story 32
Term 11 & 111 - Schedule of Activities 33
Term 11 – Storytelling - Session details 34 - 41
TERM 3 42
Term 111 - Storytelling - Session details 43 - 49
Glossary of Terms 50
References 51

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INTRODUCTION
Drama as core curriculum provides an exciting opportunity to enhance student learning and
make teaching more meaningful at the primary level. Students of Standard Four will be able to
develop a range of skills including concentration, collaboration, creative thinking, critical
thinking and problem solving. As a discrete subject area, Drama affords students an outlet to
express their thoughts, ideas and feelings in unique ways, and to build self-esteem. Research
shows that as early as 429 – 347 BCE, Plato recognised that Dramatic Play was important to
learning. More recently, Dewey (1859 - 1952) laid the foundation for learning through activity,
experiential learning etc. More contemporary research shows that Drama in Education caters to
the development of children in all of the learning domains – cognitive, psychomotor and
affective. Both its content and conventions are aligned to the more universal learning theories.
Drama also provides opportunities for students to have fun while learning!
As teachers of Drama, you will be able to interact on several levels with your students. Drama
teaching and interactions will allow both teachers and students to approach the work in a less
formal way. This helps to create an atmosphere in which greater participation and more honest
responses from the students can be elicited. In Drama, teaching is student-centred, allowing for
equity in treatment of the individual student even as it caters to their Multiple Intelligences
(Gardner, 1983). This mode of interaction, improvisation-based drama rather than literature-
based drama, also allows you the teacher greater scope for utilising improvisational skills to
teach ‘in the moment’ and to ‘think on your feet’.
This manual will seek to dispel the notion that the teacher of Drama does not have to be
prepared. Dorothy Heathcote (1926 – 2011), foremost proponent of Drama in Education, insists
that teachers must always be prepared, since they are responsible for setting the structure that
ensures that true learning takes place. They must prepare the physical environment, plan the
activities to be taught and ensure that each activity is prefaced by rules of engagement.
Heathcote claims that only through this approach of commitment for the work would Drama
receive the respect it deserves. In addition, only within this structure of discipline would students
be able to extend their imagination, exercise their innate creative abilities, experience fulfilment
and simply have fun, in ways that traditional teaching modes do not allow.

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Dramatic play can be used to teach national curricula, including social and moral values while at
the same time generating high levels of excitement and fun. When teachers use dramatic
activities, they allow children to use their bodies and voices to create meaningful learning.
Dramatic play allows students to experience the message of stories in ways that are different
from simply hearing the story or seeing it acted out by others. They are able to immerse
themselves in cultures and situations different from their own. Such an approach can teach facts
but also stimulate empathy, and yet bring immense joy to learners while simultaneously
presenting alternate opportunities for learning.
Dramatic play helps children to work together in teams, whether in pairs, small groups or large
group activities. Lev Vygotsky’s (1896 – 1934) Social Behaviour Theory demonstrates how in
group activities such as is common in Drama sessions, the leader (teacher) can help each child
understand his part in relation to the whole, while coaching him to become actively involved.
Working in groups also demands that students become aware of personal space while respecting
the general space, as they are taught that respect and safety are paramount.
Dramatic play builds confidence in young children by allowing them to experiment with their
bodies and voices in a non-competitive, non-threatening environment. Because dramatic play
focuses on the process of each activity, rather than the product or performance of that activity,
each child can be coached to experience and appreciate the value of the process.
Dramatic play engages all sensory faculties of children. Rather than superficial ‘let’s pretend’,
students are guided to experience and respond to the sensations - really ‘hear’ concert music, or
to really ‘walk’ in space etc. By assuring children that their responses about their own
experiences cannot be wrong, the teacher allows them to name their feelings and acknowledge
them safely. This positive experience builds children’s confidence.
Working through dramatic play will allow you the teacher to interact on several levels with your
students. This will certainly encourage a higher level of engagement, enjoyment and
accomplishment in teaching and learning.
So, dive in and together with your students, embrace the new modes of teaching and learning and
create greater opportunities for their success!

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OBJECTIVES
General Curriculum Objectives
The subject Drama will:
 provide opportunities for pupils’ creative and aesthetic development
 foster leadership skills through decision-making and problem-solving activities.
Specific Curriculum Objectives
The student will:
 explore dramatic play.
 engage in creative thinking, self-expression and dramatization.
 develop discipline and control in the use of voice, body, mind and space to create
scenarios.
 develop an awareness of, and recognition and creation of sounds.
 develop social skills and the ability to work cooperatively.
 develop poise and confidence through challenging activities.
 use creative movement to interpret and communicate meaning.
 respond with sensitivity and respect for the ideas of others.
 operate in personal space while respecting general space
 discuss the elements of the activity
 create and work in a mime scenario with a beginning, middle and end.
 reflect on activities and experiences
 develop concentration, focus and time-management skills.
 participate in activity with purpose
 understand the importance of fitness

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PROGRAMME OF WORK
The programme of work for Drama in Standard Four is organised around two general units:
(1) Mime (2) Storytelling.
The initial implementation for the Continuous Assessment Component will be done as follows:
Term One (1) Unit on Mime will be taught and assessed in a formal manner. Scores will be
stored and moderated as part of the initial implementation.
During Terms Two (2) and Three (3) an extended unit on Storytelling would be taught. At the
end of the Storytelling unit presentations of stories may be scheduled for enrichment and
enjoyment.
Certain elements of the programme are presented as collective packages from which the
teacher can select the appropriate activities for each Session.
1. Specific objectives ( See pg. 5)
2. Sample questions for reflection. (Structured reflection by students allows the
teacher to assess whether the objectives were effectively achieved, and whether
students enjoyed the session. It is also an opportunity for the teacher to deepen the
learning.)
 Did you make sense of this activity?
 What parts of it did you enjoy or not enjoy?
 Did you feel comfortable going to the centre of the circle?
 How is it similar to being on a stage with other people looking at you performing?
 Were you confused at any time?
 Were you able to follow all of the directions on time?
 What do you think the activity was about?
 Did everybody complete the task of the activity?
3. Closure of Sessions (Session closure is critical for tying up the lesson, for guiding
students to points of focus, and to help students to move on to another lesson in a
disciplined manner.)
At the end of each session, pupils stand in a circle; eyes closed and are asked to replay the events
of the lesson in their minds. They are reminded of the highlights of the lesson - the mood, the
rhythm, the singing and the actions. Students are asked to take deep breaths, breathing in all that
was positive and breathe out all the negatives. They open their eyes and leave in silence.

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INTRODUCTION TO MIME
Students are first introduced to simple Drama activities that should prepare them for more
engaging work later in the term. Emphasis is placed on developing skills in MIME. This
manual, in particular for Term 1, offers numerous activities, although the teacher may not be able
to use all activities listed, due to constraints of time, space and number of students etc.
INTRODUCTION TO SIDE-COACHING
Mime, sometimes referred to as pantomime, is an aspect of drama where a
performer relies totally on gesture, facial expression, and movement, rather
than speech, for enactment of his material. Mime introduces students to the
concept of physically creating objects and suggesting environments and
scenes through pantomimic technique. The area of mime covers a range of
learning activities that in one term could offer a reasonable degree of
exposure to students on the benefits of Drama in Education. Students will
learn that in pantomime the actor is trained to act out the story/character with
movement instead of words. If perchance your school is limited by space,
numerous Mime activities are included in the manual for working within
limited space.
Side-coaching is the foundation technique used in conducting the
lessons. Side-coaching is a technique used during dramatic activities,
in which the teacher offers suggestions or comments from the side,
while the students are in action, in order to heighten and advance the
action and the experience. Usually, compliments are given or
questions are asked when side coaching. The technique also serves to
motivate students (keeping them on task), and for reminding students
of activity goals. Helping students to visualize is a key function of side

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SCHEDULE OF ACTIVITIES
Activities have been designed to be included in the school’s timetable for the academic Term
One (1) - September to December, commencing in Week 4 of the term. The schedule covers 10
teaching weeks, with one teaching session per week. The 11th
week is scheduled for summative
evaluation.
SESSION WARM UP INTRODUCTORY
ACTIVITY
MIME ACTIVITY COOL DOWN
1 Hello Hands on Deck Mirroring Treasure Box
2 Weaving - Freeze Snake Tag Magic Box Pass the Clap
3 Weaving -
Directions/Greetings
Transformations Facial Expressions &
Gestures
Body Parts
4 Weaving –
Levels/Patterns
The Atom Game Tableau/Magic
Camera
Pass the energy
5 Weaving – Fast & Slow Sharks Activities -Using the
Senses
Magic Chairs
6 Sounds in the
Environment
Sound-scape Machines Tropical Rainstorm
7 Fruit Salad Tug of War Sculpting Texan Yell
8 Follow the Leader Song/Movement What’s my Job Bubble the Pot
9 Weaving – Character
walk
What’s the stick! Chinese Mime Rainstorm Massage
10 Weaving - Tension Numbers
Game:1,2,3
Grow a tree Body Parts
11 EVALUATION

11. 11
The following pages describe the activities for each session in Term 1.
SESSION ONE
WARM UP: Hello – Getting to Know You (Song – Game)
Song Lyrics – (Teachers would learn the melody in the training workshop)
H-E-L-L-O
We are here to say hello
……is my name and (drama) is my game
With (drama) on my mind, Woopsie - woopsie all the time!
Students and teacher stand in a circle. Teacher begins the activity through his/her own
performance and encourages pupils to continue, keeping the flow of the action. Students
in turn go to the circle-centre and perform the song. Pupils insert their interest – “…… is
my game”. They can also change the phrase ‘woopise – woopsie’ to their preference and
also interpret the phrase through movement, trying not to repeat what went before. At the
end, pupils sit in a circle to discuss the activity.
INTRODUCTORY ACTIVITY: Hands On Deck
Teacher creates the illusion that the space being used for the activity is the deck of a ship. Students are all
deck hands who must carry out the Captain’s orders. Through the technique of side-coaching, the teacher
issues instructions. All or some of the following instructions may be used.
 Hands on deck! Students must all diligently mime various tasks on the deck
 Captain’s approaching! Students must all briskly come to attention and salute
 Man overboard! Students must all run to the left of the space and mime diving overboard
 Man the lifeboats! Students must all run to the right and mime getting into lifeboats
 Bombers overhead! Students must stoop on the floor with hands over their heads
 Hoist the sails! Students must mime hoisting the heavy ropes for the sail
 Row the boats! Students must find a partner, sit opposite each other and row
 Land ahoy! Students mime looking through the telescope to look for the land faraway.
 Walk the plank! Students mime walking the plank.
 Scrub the deck! Students mime different ways to scrub the deck.
Teacher starts slowly and then begins to increase the speed at which the orders are given to the point
of confusion and tiredness. Teacher gives pupils time to catch their breath before bringing them into a
circle to discuss the activity.

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CLOSURE OF SESSION.
COOL DOWN: Treasure Box
Students are brought together in a circle. They are made aware that the inside of the
circle becomes imaginatively a treasure box/ treasure trove in which all their
experiences are stored. Each student is then asked to share his/her experience and
then place it into the box and give it a shake so it mixes with all of the other
experiences. The experiences of each student become the experiences of all the
students.
MIME ACTIVITY: Mirroring
Students are asked to walk around in the space. Teacher calls ‘Stop’ and instructs students to group
into pairs. They decide who is ‘A’ and who is ‘B’. Teacher instructs that A is the mirror and B is the
person facing the mirror. The character in front of the mirror will initiate movements for the character
in the mirror to imitate. Students are told:
 make slow movements so the image can follow
 the image’s movement should be as closely timed with the person’s movement as possible
 make movements that flow into one another
 try to maintain focused
 explore levels and maintain distance
 work in silence
Students are given two minutes to complete the exercise. Then they are instructed to change roles and
perform the exercise again. Students are brought into a circle and are asked to comment on the activity.
Each opinion given by a student is valued. The teacher probes until the word or idea of mime is
mentioned. The idea mime is explored. Students are asked if mime and freeze are similar. More
discussion is encouraged.

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SESSION TWO
WARM UP: Weaving - Freeze
Students take note of the marked space and are advised to perform the activity
within it. They are also instructed to exercise care in moving and try to avoid
‘crashing’ into anyone. They are asked to focus on the teacher’s voice.
Through side-coaching, teacher calls out instructions for students to follow:
 move in the space avoiding touching anyone
 freeze
Teacher side coaches students encouraging them to follow the directions as
they are called. Teacher uses the freeze to deepen the meaning of the activity.
The activity is repeated until a level of competency is achieved. Students are
asked to focus on their bodies and exhibit the level of control as it relates to
movement and stillness.
INTRODUCTORY ACTIVITY: Snake-tag
Students are warmed up using some simple stretching exercises. They are then told that they
are going to form a giant snake. However in order to form the snake they have to catch the
various parts and put them together. Someone is asked to volunteer to be the head of the snake.
This person also has to catch the first body part, while students are moving around in the
space. This body-part attaches itself to the head and then must continue to catch another body
part. This continues until all students are caught to form the whole snake. The teacher side-
coaches offering advice that encourages the students to cooperate to accomplish the task. If the
task remains difficult, the teacher can suggest the formation of a second snake to make the task
easier to accomplish.

14. 14
CLOSURE OF SESSION
MIME ACTIVITY: Magic Box
Arrange the classroom space so that students have space to move around. Tell the students that they are
going to play an “improv” (improvisation) game called “the magic box”. Teacher walks around the
“box” and behind it to define its space, then shows the height of the lid by touching it with her hands.
She leans on it by bending her elbows, demonstrating the illusionary mime technique of leaning.
To teacher: Open the lid as you would open a large suitcase, and let the lid rest in an open position
toward the students. Look through several objects before bringing one out of the box to demonstrate. A
telescope, like a sea captain of old would have had, is a great example. Go around the box and
demonstrate the movement of the ship's deck, and then the size and shape of the telescope. Set it up to
show its moving parts, and then look through it, still indicating the movement of the ship on the waves.
When you finish, put the telescope back in the box, and close the lid. Invite the students to raise their
hands and tell you what illusion you were creating.
Explain to students that this type of silent acting is called mime. Tell them that mime is a way to
communicate without using words. Instead, you use your face and your body to help show actions,
thoughts, or feelings. Tell the students that they will now each pantomime an object. They will get up
one at a time and select an object from the “magic box.” Before they begin, discuss the need to learn
the technique of demonstrating the size of the object they are pantomiming, the weight of the object,
and the shape of the object. They will need to show whether it has movable parts, whether it is alive or
inanimate, etc. This helps the students when they are thinking of an object they might choose, makes
the game easier for all students to understand, and makes the mime technique clearer. Reflection.
COOL DOWN: Pass the Clap
Students and teacher stand in circle. Teacher introduces her clap. She says she wants to share the clap by
passing it around the circle. The student to her left receives it with his right hand and passes it on with
the left to the next person. The clap should pass around the circle in a seamless rhythm. Students are told
that if the rhythm is broken they would have to start from the beginning again.

15. 15
SESSION THREE
WARM-UP: Weaving - Directions / Greetings
Students are shown the marked space and are advised to perform the activity within it.
They are also instructed to exercise care in moving and try to avoid ‘crashing’ into
anyone. They are asked to focus on the teacher’s voice. Through side-coaching, teacher
calls out instructions for students to follow:
 move in the space avoiding touching anyone
 change direction
 use non-verbal communication to greet others – first eyes, then mouth, then
hands etc.
 freeze
Teacher side coaches students encouraging them to follow the directions as they are
called. Teacher uses the freeze to deepen the meaning of the activity. The activity is
repeated until a level of competency is achieved. Students are asked to focus on their
bodies and exhibit the level of control and swiftness asked for by the teacher.
INTRODUCTORY ACTIVITY: Transformations
Students are side-coached: with your hands, create a beach ball. With great effort, gradually
squeeze it to the size of a tennis ball. Feel the change of size and shape with your whole
hand. Your entire body feels the exertion. Your face expresses it too. Stretch the tennis ball
into a long cylinder. Tense and hold to maintain the two ends of the cylinder. Roll the
cylinder between your hands, narrowing it into a long piece of rope. Swing the rope, wiggle
it, gather it into a mass, smooth it into a flat disk, roll it, sail it like a Frisbee, fold the disk in
half again and again until it is a speck in your hand. Blow it away!
This exercise can be done with various sizes of round objects only, with attention paid to the
textures – beach ball – basketball – cricket ball – table-tennis ball – marble – bird’s egg -
speck of dust.

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CLOSURE OF SESSION
MIME ACTIVITY: Facial Expressions and Gestures
Students are asked to move around in the working space. As a whole-class activity teacher
side-coaches students in some or all of the following emotions encouraging them to use
their faces and arms to demonstrate the range of emotions: lazy, happy, bored, tired,
nervous, angry, calm, old, young. As an extension, students may be guided to silently
interact with another student for each of the emotions. Students are encouraged to use as
many facial parts and hand and arm gestures as possible, emphasising tension. Reflections.
COOL DOWN: Body Parts
Students are told to find comfortable working room in the space. The teacher side-coaches
students into isolation of body parts, starting with the right side of the body for each part. Move
only the right toes – wiggle, stretch, flex, stretch toes, then stop. Then move to the left toes.
Continue with ankles, heels, knees, legs, hips, fingers, wrists, elbows, arms, shoulders, neck,
facial features. This ends. Then the process starts all over again, this time movement of the body
parts does not stop after each part. Students move about while being side-coached. Teacher
guides students to move all parts - imagine they hear music, create a dance, meet a friend and
communicate through dance. Teacher calls instructions: ‘faster’, ‘slower’, ‘change direction’
then ‘freeze’. They hold ‘freeze’ for a moment then are told to ‘unfreeze’ and relax. Reflection
through discussion.

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SESSION FOUR
WARM UP: Weaving - Levels / Patterns
Students take note of the marked space and are advised to perform the activity within it.
They are also instructed to exercise care in moving and try to avoid ‘crashing’ into
anyone. They are asked to focus on the teacher’s voice. Through side-coaching, teacher
calls out instructions for students to follow:
 move in the space avoiding touching anyone
 change directions
 form different patterns as you walk
 find different levels at which to move eg, stooping, hopping, creeping, rolling,
stretching upwards, bending sideways.
 move faster leading up to fast-forward
 move slower – leading to slow-motion
 freeze
Teacher uses the “freeze” to deepen the meaning of the activity. The activity is repeated
until a level of focus and competency is achieved.
INTRODUCTORY ACTIVITY: The Atom Game
Students are asked to walk around in the space. They are reminded of the previous lesson where they
moved in different ways. They are given directions on how to move. After their warm up, the teacher
brings them together and asks: What is an Atom? What is an Atom made up of?
The teacher then explains that atoms form molecules. He/she explains that students are to become
‘molecules’ by attracting each other. The teacher explains that while they are walking around the room he
will call out some numbers and they will have to form groups of that number. He/she also instructs that
anyone not forming a part of the group will be ‘out’. Students then walk around while the teacher calls
out several numbers in turn, to which they respond.
Continued …

18. 18
CLOSURE OF SESSION
MIME ACTIVITY: Tableau/ Magic Camera
Teacher divides students into large groups of eight or more. Each member takes on a number,
eg. one (1) to eight (8). When teacher calls out a number randomly that student becomes the
leader. The groups move into their workspace. At any time the teacher may call out a word eg
‘school’. The members of each group move about in the ‘word’. When teacher calls “freeze”
and all must freeze, forming a tableau that illustrates the word. After 5 seconds, the teacher
dissolves all but one group. Students observe the remaining tableau for about 10 seconds.
Teachers dissolves the tableau and a short discussion is encouraged about the ‘picture’ or ‘freeze
frame’. The teacher introduces these terms to the students. The process is repeated with new
words as stimuli, and until each group gets a turn to be critiqued.
COOL DOWN: Pass the Energy
Standing or sitting in a circle, the students hold hands and close their eyes.
Teacher tells the students that when their right hand is squeezed, they must
squeeze their left hand. Teacher starts the activity by squeezing her left hand
which passes a pulse around the circle. Try to make the pulse pass round as fast
as possible. Also, a second pulse could be passed in the opposite direction.
The Atom Game continued
After the exercise the teacher brings them together to listen to their responses and ‘in the moment’
deepens the meaning of their reactions. Students next walk around the space while focusing on the
teacher’s voice. The teacher tells them a story to which they are to respond in a similar manner as before:
“There was once a family of FIVE…two parents… and three children…two girls…one boy. They lived
on seventh street on lot number nine… (Teacher can continue the story.)

19. 19
SESSION FIVE
WARM-UP: Weaving - Speed (Fast /Slow)
Students take note of the marked space and are advised to perform the activity within it.
They are also instructed to exercise care in moving and try to avoid ‘crashing’ into anyone.
They are asked to focus on the teacher’s voice. Through side-coaching, teacher calls out
instructions for students to follow:
 move in the space avoiding touching anyone
 change direction
 change levels
 walk in patterns
 move faster/slower. Walk in fast-forward and slow-motion.
 freeze
Teacher side-coaches students to use the “freeze” to deepen the meaning of the activity.
The activity is repeated until a level of focus and competency is achieved.
INTRODUCTORY ACTIVITY: Sharks
The teacher places several pieces of newspaper on the floor of the working space. At first, enough of it is
placed to accommodate all the students. Teacher informs class that the newspaper represents ‘islands’
and that the open area is the sea. He invites them to swim or wade in the water by creating an image of
the beach in their minds. He endows himself as the ‘lifeguard’ who will oversee their safety in the water.
He informs them that there are sometimes sharks close to the shore but that they are not to worry since he
would alert them of any shark that poses a threat to them. The teacher advises that when he shouts out
‘Shark!’ they are to immediately move to ‘dry land’. The ‘lifeguard’ tells them that every time a ‘shark’
appears, he would have to remove one of the ‘islands’ to create more space for them to swim. Students
are invited to swim around ‘in the water’ and prompted to use different swimming strokes and show that
they are having fun. When they have been lulled into the activity, the teacher shouts ‘Shark!’ and they all
move to the ‘island’.
Continued

20. 20
CLOSURE OF SESSION
MIME ACTIVITY - Using the Senses
The Teacher engages students in particular activities that require that they emphasise focus
on the five senses - sight, hearing, touch, taste and smell. Gestures and expressions
demonstrate this focus. The following is an example: you are walking the dog when you
suddenly smell something wonderful, something terrible, can hear a harsh, loud noise, can
see something hideous on the sidewalk. Sensory development can enhance the students'
interpretation of mood, and can accentuate the type of movement they do. Teacher can
create a story including sensory expressions.
Sharks continued
The teacher removes one of the ‘islands’ and restarts the activity. The activity is repeated, increasing
the difficulty by removing the newspaper on each occasion. The teacher observes the children’s
reactions. As the game develops some students become eaten by ‘sharks’ and are out of the activity
as the others continue to reach ‘land’ in time not to be eaten. The activity ends only when enough
students fit comfortably on the last ‘island’ .The reflection includes the following questions: Some
students pushed their way to safety. How do you feel about that? Do you think more students could
have survived the sharks? How?
COOL DOWN: Magic Chairs
Each student places a chair in a space and moves away to the side of the
room. The teacher explains what sort of chair it is and the pupils move to it
and sit in it appropriately, staying silent and concentrating on their mime.
The chairs might be: In a restaurant, highchairs, dentists chairs, in a church,
in a plane etc.

21. 21
SESSION SIX
WARM UP: Sounds in the Environment
Teacher guides students in walk, side-coaching them to fill the space. Teacher calls ‘Stop’, and guides
students to stand in a comfortable working space, close their eyes and become quiet. They are asked to
remember sounds from their surroundings. Each student is asked to identify one sound (may be their
favourite) – think about loudness or softness, how it makes you feel etc. The teacher side-coaches that when
she touches a student’s shoulder, that they try to reproduce the sound. In discussion afterwards, students
discuss feelings about the sounds, and others try to understand the sound.
INTRODUCTORY ACTIVITY: Sound-scape
Teacher guides students in a brief walk. She asks them to stop and move closer to each other. She introduces
a theme eg. animals. Students close their eyes and imagine a sound related to the theme. As teacher touches
the shoulder of each student, they reproduce their sound. The teacher side-coaches student to create a
rhythmic harmonious blend of sound. The teacher then touches shoulder of student so they can add
movement. Teacher then calls ‘Freeze’ at which all movement and sound stop. Reflections.
MIME ACTIVITY: Machines
Have students stand in a circle and the teacher or a chosen leader begins by going into the centre of the
circle and making a movement and a sound (for example, a swinging arm and a "whoosh!" sound). One by
one, volunteers go to the "machine" and add to it by creating a different movement and sound. Eventually,
all of the students will form a "machine" composed of a large number of movements and sounds. Recreate
without sounds. Reflections.
COOL DOWN: Tropical Rainstorm
Everyone stands in a circle. Teacher goes through with students the following different actions which make sounds:
rubbing hands together; clicking fingers; slapping thighs; stamping feet. Ask the group to close their eyes and to
repeat the sound they hear once the person directly on their left starts making it and continue the sound until it
changes to a new sound. The teacher begins by making the first sound – rubbing hands together. When it builds and
everyone is doing it, change to clicking the fingers, then slapping the ties, then stamping the feet. Now reverse the
sounds from stamping feet to rubbing hands and finally silence. When this works, it creates a calming effect.

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SESSION SEVEN
WARM UP: Fruit Salad
Teacher and students sit in circle. Teacher asks students for 4 or 5 of their favourite fruits and go round the
circle giving each person the name of a fruit in order, e.g. orange, apple, banana, pomerac … . Teacher
chooses someone to stand in the middle and then takes away their chair. This person then calls out the name
of a fruit. Students who are named that fruit must change their seat while the person in the middle tries to
find a seat too. Whoever is left over becomes the person in the middle. Carry on using different
combinations of fruit and even saying ‘fruit salad’ which means everybody must swap places at once.
INTRODUCTORY ACTIVITY: Tug of War
Students to walk in the space. Teacher calls ‘Stop’. She then divides them into two groups with the
exception of one student, naming them Group A and B, and placing each group at two ends or corners of
the space. She places the one student in the middle. She instructs all students to look at her actions. She
goes to a table, bends down and mimes lifting a heavy rope from under the table and takes it to ‘referee’
in the centre. She then lifts one end of the rope and takes it to Group A, and the other end to Group B.
Teacher asks if they know what is happening. The teacher then side-coaches the game of Tug of War.
MIME ACTIVITY: Sculpting
Students are warmed up by using the basic elements of the ‘weaving’ activity. They are then asked to
find a partner and decide who is ‘A’ and who is ‘B’. The teacher then calls all students who are ‘A’
together and performs a simple ritual that endows them as sculptors. He calls all the ‘B’ together and
performs another ritual that transforms all of them to pieces of clay. He assures them that the roles will
be reversed. All the ‘A’ use the bodies of ‘B’ to create a piece of sculpture. They are given a theme and a
time limit eg. 2 minutes. Minimal touching is allowed. They are constantly being side-coached by the
teacher. The teacher counts down the time and all pieces of sculpture are asked to ‘freeze’. All the ‘A’
conduct a critique of the ‘art work’ on display as if in an exhibition. All the ‘B’ unfreeze and the roles
are reversed. The theme may change but the method remains the same. Reflections.
COOL DOWN: Texan Yell
The group crouches down in a circle holding hands. Starting with a low hum, they gradually rise up, getting
louder, until they jump in the air and yell loudly.

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SESSION EIGHT
WARM UP: Follow the Leader
All sit or stand in a circle. To teacher: Begin the game when everybody is sitting in the
same position as you. Lead the circle through a series of moves for the first practice
run. The class must follow each move you make as smoothly and as accurately as
possible. Example: Stand up. Cross your legs. Put your hands on your lap etc. Once
they have got the hang of it choose a volunteer to be the detective. They should leave
the room while you choose another leader. When the detective returns he or she stands
in the centre of the circle and is allowed three guesses at who is leading the moves.
INTRODUCTORY ACTIVITY: Song/ Movement
(The melody for this song Tony Chestnut is taught in the Teacher Training Workshop.
Tony Chestnut Knows I Love You. Tony knows, yes he knows
Tony Chestnut Knows I Love You. That’s what Tony knows.
Through demonstration, the teacher teaches the song and movement.
MIME ACTIVITY: What's my Job?
Students are asked to perform simple mimes clearly depicting the following jobs. Mimes should last
about one (1) minute: artist, baker, carpenter, cashier, cook, dancer, TV host, fireman, garbage
collector, guitarist, lifeguard, lion tamer, mailman, mechanic, model, musician, nurse, police
officer, secretary, singer, soldier, teacher, truck driver, waiter/waitress, plumber, photographer,
computer repairman. Reflections.
COOL DOWN: Bubble the Pot
Students and teacher stand in circle. Teacher tells students to imagine a huge
pot in the middle of the circle in which they must add their thoughts about the
session. They must walk to the pot, throw in their word, stir it in the pot and
walk back into position. No word must be repeated.

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SESSION NINE
WARM-UP: Weaving/ Character Walk
Students take note of the marked space and are advised to perform the
activity within it. They are also instructed to exercise care in moving and
try to avoid ‘crashing’ into anyone. They are asked to focus on the teacher’s
voice. Through side-coaching, teacher calls out instructions for students to
follow:
 move in the space avoiding touching anyone
 change direction
 change level
 move faster/slower
 freeze
Teacher side-coaches students encouraging them to follow the directions as
they are called. Teacher uses the “freeze” to deepen the meaning of the
activity. After about one minute of walking, teacher calls ‘Stop’. She
instructs students to close their eyes and think about someone they know or
can imagine who is totally different to them – their age, gender, height etc.
INTRODUCTORY ACTIVITY: What’s the stick!
This activity will use a stick, possibly about three feet long. Teacher and students sit on the
floor in a circle. Teacher will begin the activity, using the stick in an activity or as an object
like playing the guitar, walking on stilts, or looking in binoculars, without using words.
Students will then guess what teacher is doing and what the stick has become. Go around
the circle, continuing in this manner until everyone has a turn. The teacher may choose to
go around again suggesting that this time two or more people may work together to create a
depiction.

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CLOSURE OF SESSION
COOL DOWN: Rainstorm Massage
Gather group in a circle, each person facing the back of the other person with
hands at arms length on his shoulder. Boys should be in one line and girls in
another. Guide the group through a shoulder massage, which everyone gives to
the person in front of them at the same time. Ensure that people are not too
rough. Instruct that the students turn and now the massages flow the other way.
MIME ACTIVITY: Chinese Mime
All sit in a circle. Choose a pupil to begin the mime. They should choose a short mime of a
simple action, such as tying their shoe-laces or brushing their teeth. Everybody sits with
their eyes closed (it helps if they are facing outwards to avoid the temptation of peeking!).
The first person taps the person on their right and shows them the mime, once. The second
person taps the person to their right and shows them the mime. Once they have shown
their mime they should close their eyes again! Continue around the circle until the mime
has reached the last person, seated to the left of the first person. They show the final mime
to the whole class, followed by the first person who shows the original mime. There
should be a discussion of the process.

26. 26
SESSION TEN
WARM-UP: Weaving – Tension
Students take note of the marked space and are advised to perform the activity within it.
They are also instructed to exercise care in moving and try to avoid ‘crashing’ into anyone.
They are asked to focus on the teacher’s voice. Through side-coaching, teacher calls out
instructions for students to follow:
move in the space avoiding touching anyone change direction
change level move faster/slower freeze
Next, students move around in the following ways:
 walking on rocks without shoes
 walking carefully and painfully on a sprained ankle
 dribble a soccer ball around a field and around obstacles
 cross a river on stepping stones
 try on several pairs of sneakers to find the right pair
 wade through water
 walk on hot coals
INTRODUCTORY ACTIVITY: Numbers Game – 1, 2, 3
Students are warmed up by doing a ‘sound off’. They stand in a circle and call numbers in sequence, starting with
one until they all have said a number. The process is repeated until a rhythm is developed. If the rhythm is broken
they must start over. After this exercise students are paired. They decide who is ‘A’ and who is ‘B’. They are told
that they are going to count to three in turns. ‘A’ says 1, ‘B’ says 2 and ‘A’ says 3. ‘B’ then says 1 and they continue
counting until they develop a rhythm in the counting. When they have developed a rhythm, the teacher stops them.
Each group is asked to decide on a number from 1-3 they would like to throw away. After each group decides the
teacher instructs them to replace that number with a sound that they make with their mouth. They are instructed to
count again. The students now have to count two numbers and make a sound. When they have again developed a
rhythm, the teacher stops them. Each group is asked to throw away one of the two numbers and replace it with an
action. They are then asked to resume by counting one number, making one sound and performing one action. The
teacher walks around the class on each occasion giving assistance and side-coaching when necessary.

27. 27
MIME ACTIVITY: Grow a Tree
Students are instructed to find a comfortable working space and sit on the floor. They are asked to identify their
favourite fruit with a seed. They are instructed that as teacher side-coaches they would respond with their bodies
what the teacher’s story tells them to. They are told to think about the fruit as they close their eyes. The teacher
begins the story (The teacher may adapt the story, being careful not to make it too long.) Accompanying soft
music may be played:
You are a seed, snuggling under some soft moist leaves in the moist earth feeling very cosy and comfortable. You
hear the soft drizzle falling and you feel the warmth of the sun through your cover. Suddenly you feel as if your
skin is getting tight and soon is about to burst. You start to feel something shooting up from your head, and then
something else fixing you to the ground. You feel yourself growing upwards and suddenly the sunshine is on you.
You look up and you see tiny leaves growing out of your head. You feel nice in the sunshine and the soft rain as
soon you begin to see branches and more leaves. You grow tall enough to look around and see others like
yourself. Your feet are now sturdy in the ground as you grow tall and strong, blowing about in the breeze. The
story continues:
 birds live in your branches
 then a storm comes – branches broken, friends uprooted
 storm passes – you are still alive and you grow strong again
 flowers appear, then fruits
 fruits ripen – you are happy
 schoolboys pelt fruits – you are frightened and injured
 You recover. You share fruits with birds and people who picnic under tree.
 Last fruit falls to the ground. You become that seed – gets covered up with leaves, settles into the cosy
ground and goes to sleep.
Students are guided slowly out of this activity, to come back to classroom mode. Reflection.
COOLDOWN: Go-rounds
Teacher gathers the group together, sitting in a circle. To teacher: Give the group a theme and if
they wish, a structure in which to respond to that theme, for example, one word on how you feel, a
sentence on best/worst moment of the day, one thing you have learned today; one time you were
angry Go around the circle listening to student’s responses

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ASSESSMENT
Summative assessment - 20 marks
The rubrics and checklist below will be used to assess the following MIME scenario.
Activity: What am I doing?
Students work in pairs if the class comprises 20 or fewer students, or groups of 3 if the size of
the class exceeds 20. They are given ten (10) minutes preparation time and two (2) minutes for
their presentations. Each group is given a paper with an idea for a scenario written on it.
Examples of possible scenarios: opening an umbrella during a rainstorm, picking fruits from the
fruit-tree, peeling oranges, doing chores on a farm, playing cricket, playing a game, rowing a
boat, getting a haircut, washing dishes, opening a cupboard and putting away
clothes/dishes/groceries, putting on socks and shoes, setting up and decorating a Christmas tree,
making and eating a sandwich, giving the dog a bath, making your bed, etc.
The teacher may add activities that would accommodate groups of 2 or 3 students.
(Rubrics and Marksheet – next 2 pages)

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Rubrics - Mime Scenario
Learning
Domains
Mime Element (Accomplished)
4 - 5 marks
(Developing)
2- 3 marks
(Emerging)
0 - 1 mark
Cognitive
Devising &
Development of
Concept
Student
composes
scenario that
- conforms to time
requirement (2
minutes long)
- shows alignment to
theme at all times
- includes at least 4
actions
- shows sequence of
actions
- is less than time
requirement (2
minutes long)
- shows partial
alignment to theme
- includes fewer than
4 actions but more
than 2
- shows sequence of
actions
- is less than 1 minute
long,
shows little alignment
to theme
- includes less than 2
actions
- shows sequence of
actions
Psycho-
motor
Gestures, facial
expressions and
freezes
Student clearly
demonstrates at least
- 2 facial
expressions,
- 2 gestures,
- 1 freeze.
Student clearly
demonstrates at least
- 1 facial
expression,
-1 gesture,
- 1 freeze.
Student clearly
demonstrates only one
of the following:
1 facial expression,
1 gesture,
1 freeze.
Manipulation
of Imaginary
Objects
Student is able to
create the size, shape
and weight of 4 – 5
imaginary objects.
Student is able to
create the size, shape
and weight of 2 – 3
imaginary objects.
Student is able to
create the size, shape
and weight of 0 – 1
imaginary objects.
Affective
Relationship
with Peers
Student clearly
demonstrates
interaction with
members of group
on 4 – 5 occasions.
Student clearly
demonstrates
interaction with
members of group
on 2 - 3 occasions.
Student clearly
demonstrates
interaction with
members of group on
0 - 1 occasion.

30. 30
Assessment Scoresheet - Mime Scenario
No Name of Students
Cognitive Psycho-motor Affective Total
Devising and
Development
of Concept
5 marks
Gestures and
Facial
Expressions
5 marks
Manipulation
of Imaginary
Objects
5 marks
Relationship
with Peers
5 marks
20marks

31. 31

32. 32
INTRODUCTION TO STORYTELLING
Stories are entertaining to hear and tell. The first ones we hear as children are usually told to us
by a parent or grandparent. Children come to know and love these tales before they are able to
read and write. All the earliest stories of our civilisation were passed down orally, from
generation to generation. Today, with television and movies, children learn new stories and
revisit old ones through new media. Hearing a story without pictures allows us to use our
imagination. Storytelling is one of the earliest forms of theatre. Actors can learn a great deal by
practicing this ancient tradition. This unit on Storytelling will give students experience in using
their voice effectively. It will help them to organise details in memorisation, and use movement
and gesture to reinforce meaning. At the same time, it would provide pleasure to their audience.
Storytelling and drama share a number of features which make it natural to integrate them during
lessons. Both build on children’s innate capacity for fantasy and imaginative play, and even very
young children can differentiate between the conventions of a story or drama and real life.
Through stories and drama, children develop understanding of themselves and the world around
them. The distance afforded by characters and events which are not real also helps children to
explore significant issues which are relevant to their daily lives, in a way that is safe and
enjoyable. In storytelling and drama, the usual norms of time, place and identity are temporarily
suspended as, for example, in a story which spans a hundred years yet takes three minutes to tell,
or a drama activity which transforms the classroom into a ‘jungle’ and all the children in it to
‘hungry lions’. Storytelling and drama are above all shared, communal classroom events which
engage children’s interest, attention and imagination and develop their language skills in a
holistic way. They also appeal to children with different intelligences and learning styles and
provide a framework for fostering social skills and attitudes, such as active listening,
collaborating, turn taking and respect for others.
Stories help young children to develop concentration skills. They also develop emotional
intelligence, such as empathy and relating to other people. Stories provide a springboard for a
wide range of activities which develop language, thinking skills, positive attitudes and
citizenship, as well as appreciation of other cultures. As children increasingly develop their
ability to understand, retell, act out and/or create their own stories in English, this also has a
positive effect on their motivation, confidence and self-esteem.

33. 33
The Teacher must emphasise the following important considerations.
In devising or analysing the story, students must pay attention to:
Elements
of a
Story
HOW
How do the events
unfold? How are the
issues resolved
(worked out)?
WHO
The characters in the
story ‐ the main and
minor characters. How
are they dressed? How
do they behave? How
do they make you
feel?
WHAT
What are the main
issues in the story?
What is the story all
about?
WHERE
The place (setting)
where the events in
the story take place.
WHEN
The time (setting) –
time of the day,
festivals, celebrations,
decade, century, era,
close to a significant
event.
WHY
The reasons
(justification) for
certain things
happening in the story.
Why certain persons
behave the way they
do.

34. 34
SCHEDULE OF ACTIVITIES – STORYTELLING
SESSION WARM‐UP STORYTELLING
ACTIVITY
COOL‐DOWN
TERM 11
1 One word Story Magic Story Bag Tropical Rainstorm
2 Sounds Like … Story Circle Fruit Bowl
3 Stories in Songs 1001 Nights Festival The Wind Blows
4 1001 Nights Festival Spinning Yarn Go Rounds
5 Atom Game Tongue Twisters Affirmation Pyramid
6 Snake Tag The Imagination Game Magic Chairs
7 Word Tennis Picture Worth 1000 Words Change the Action
8 Give a Gift Puzzle Tale Treasure Box
TERM 111
1 Personal Fables The Story Basket Pass the Clap
2 Autobio. of Anything Nouns from a Hat Treasure Box
3 Bag of Tricks Best/Worst Magic Chairs
4 Catch a Story Tall Tale The Wind Blows
5 Led by the Nose Show & Tell Chief Ape
6 Storm Psst – Pass it On Guided Mimes
7 Chain Sentences The Other Side Pass the Energy
8
PRESENTATIONS
The following pages describe the activities for each session in more detail.

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SESSION ONE
CLOSURE OF SESSION
WARM UP: One Word Story
Students are in a circle as the teacher gives the basic instructions that each person will
contribute one word to the making of a story. The first person to start a sentence should
start with words such as ‘One’, ‘I’, ‘Once’ or ‘The’ and going around in sequence, each
child will contribute one word that makes grammatical sense and follows on from the
first, until the story is completed. It may take a group a few attempts to understand the
process. Saying the first word that comes to mind enables sentences and stories to be
generated quickly. If persons are trying too hard to find the original or funny word,
they will slow the rhythm. It may be helpful to start with short sentences. The teacher
may have to add punctuation or the sentences will continue without proper endings.
When the skill of creating sentences has been mastered, then one sentence can be
developed into a short story. Some of the stories will work, some will be nonsensical.
Often they will be very amusing.
STORYTELLING ACTIVITY: The Magic Story Bag
The teacher should have a large assortment of objects, one for each student. The objects
could be ordinary objects such as a toothbrush, a rock, a feather, a hat etc. The objects are
placed into a cloth bag (one you cannot see through) and each student, without looking into
the bag, pulls out an object at random. The object is "magic" and is integral to the story.
The student is then given a couple of minutes to familiarize herself with the object. The
student will then tell a story around the object. Reflections.
COOL DOWN: Tropical Rainstorm
See page 20

36. 36
SESSION TWO
.
CLOSURE OF SESSION
WARM UP: Sounds Like …
Objective: To explore how sounds affect a story.
Teacher reads some onomatopoeia (words that sound like the sound they describe)
such as gurgling, babbling, whoosh!, boom!, etc. Explain onomatopoeia. What kinds
of words would they use to describe different sounds? Make sounds with various
objects or with the body i.e., slapping hands against the thigh. Then encourage them
to create a sound filled paragraph using their words or sound effects. Discuss how
sounds can add dimension to a story.
STORYTELLING ACTIVITIES: Story Circle
Sitting in a circle each person tells a short part of a story eg. The Three Little Pigs, and then
passes the story on to the next person to continue. When a token (shell, beads etc.) is passed to
the next child this indicates who is now in charge of taking the story forward. If a child
struggles with his/her section of the story the teacher can freeze the game and ask another to
help them out. This technique can be used to retell a story that children know well. Reflection.
COOL DOWN: Fruit Bowl
Everyone stands in circle. They are all endowed as their favourite fruit e.g.
apple, plum, banana. Each fruit must have at least two students. When teacher
calls call a fruit eg orange, all students who are oranges exchange places with
each other. Call ‘Fruit Bowl’ for all to change.

37. 37
SESSION THREE
CLOSURE OF SESSION
WARM UP: Stories in Songs
Find and learn songs which tell a story. Some folk ballads, calypsoes,
contemporary songs often suggest a larger tale. Listen to cds and then have
students retell the story in the song in their own words. Or have a "storysong"
concert. The teacher must emphasise the importance of the story-teller
interacting with the audience through the use of verbal, non-verbal
communication and the significance of eye contact. The teacher explains the
type of performance space being used and the location of the audience.
STORYTELLING ACTIVITY: 1001 Nights Festival
This is a continuing storytelling session in which a story is begun and then left open-
ended at a crucial point. The next session the story is completed and a new one begun and
left open-ended at an exciting moment. Stories could be selected from the various local
Folk Tales or other popular stories. Reflection.
COOL DOWN: The Wind Blows
This is a good game for mixing up cliques and a variation of fruit bowl. Put chairs in a
circle. Turn one chair to face out. Choose someone to stand in the middle. They (or
teacher) can call: “ The wind blows for… everyone who had breakfast today, everyone
who likes ice cream, everyone wearing a watch etc. If the statement applies to a pupil,
they must get up and change places. The caller finds a seat. The last pupil left standing
becomes the new caller. No one can change places with the person sitting next to them.

38. 38
SESSION FOUR
CLOSURE OF SESSION
WARM UP: 1001 Nights Festival
This is a continuing storytelling session of a story which began in the last
session and was left open-ended at a crucial point. In this session the story
is completed. Stories could be selected from the various local Folk Tales or
other popular stories.
STORYTELLING ACTIVITY: Spinning Yarn
Materials Needed: A large ball of yarn/twine with knots tied at 3 to 5 feet intervals.
Players should sit in a circle close to each other for easy access. The teacher will start the
story, unraveling the yarn as he tells. When he reaches the knot, the yarn is passed on
and the next person continues the story, unraveling the yarn as well. When the next knot
is reached, the yarn is passed on and so forth. The players should be instructed that they
are building the beginning of the story, developing the body, rising to a climax, and
closing the story with an appropriate ending. Teachers should focus on story starters that
tickle the imagination such as “I was walking along a deserted road when I saw a large
house to my right. It looked empty and since no one was around, I decided to go in.
Little did I know that....”
COOL DOWN: Go-rounds
Teacher gathers the group together, sitting in a circle. She gives the group a theme and if
they wish, a structure in which to respond to that theme, for example, one word on how
you feel, a sentence on best/worst moment of the day, one thing you have learned today;
one time you were angry. She goes around the circle listening to student’s responses.

39. 39
SESSION FIVE
WARM UP: The Atom Game
See page 16
STORYTELLING ACTIVITY: Tongue Twisters
Have the students say two of the following tongue twisters three times, fast:
Objective: To loosen the teller’s tongue; vocal exercises.
1. Jenny drew a joyful dragon.
2. Three fleas flew free.
3. We read what we write.
4. Did Chuck up chuck a chocolate chip and chick-a-cherry cola?
5. She slept on a slick and slippery sheet.
6. She tiptoed on tippy toes to tickle Tina's tiny nose.
7. Hubert heard Henry heartily hee-haw halfway home.
8. Suzy sneezed and wheezed when she saw fleas.
9. Three thick tree twigs.
In this session the teacher will help the students to concentrate on diction and projection in telling their
story. Reflections.
COOL DOWN: Affirmation Pyramid
The group stands in a circle. The teacher asks each group member to think about one thing about
the group that they enjoy, respect or value, eg. the support offered by the group. One by one, each
person places their hand, (palm down) in the centre of the circle, on top of the hand before and
say one thing they thought of, until there is a pyramid of hands in the centre. After the count of
three, everyone releases their hands in the air and remembers one thing that was said that they
will take home with them.

40. 40
SESSION SIX
CLOSURE OF SESSION
WARM UP: Snake-tag
Students are warmed up using some simple stretching exercises. They are then told that
they are going to form a giant snake. However in order to form the snake they have to
catch the various parts and put them together. Someone is asked to volunteer to be the
head of the snake. This person also has to catch the first body part, while students are
moving around in the space. This body-part attaches itself to the head and then must
continue to catch another body part. This continues until all students are caught to form
the whole snake. The teacher side-coaches offering advice that encourages the students
to cooperate to accomplish the task. If the task remains difficult, the teacher can
suggest the formation of a second snake to make the task easier to accomplish.
STORYTELLING ACTIVITY: The Imagination Game
Bring out a ‘prop’, which can be anything – a tube, a plastic plate, a basket or anything
that can be transformed into something else using the power of the imagination. Pass it
around the group (not a whole class) as they sit in a circle. Each child takes turns to come
up with an idea of what it can be by demonstrating it or by telling. Reflections.
COOL DOWN: Magic Chairs
Everyone puts a chair in a space and moves away to the side of the room. The
teacher explains what sort of chair it is and the pupils move to it and sit in it
appropriately staying silent and concentrating on their mime. The chairs might be:
In a restaurant, dentists chairs, couch, in a plane etc.

41. 41
SESSION SEVEN
COOL DOWN: Change the Action
The pupils must copy teacher’s PREVIOUS action at the command “Change”:
Teacher claps hands. Pupils sit still. Teacher shouts CHANGE and begins to pat her knees.
Pupils begin to clap their hands. Teacher shouts CHANGE again and begins to click her
fingers. Pupils now pat their knees etc.
STORYTELLING ACTIVITY: A Picture is Worth 1000 Words
The class is divided up into groups. The class selects an interesting painting with persons in it.
Looking at the painting for inspiration, the first group constructs the first few sentences of a story
through group discussion and suggestion. The paragraph is then sent on to another group which reads
the first paragraph and adds on another. The process is repeated until the story seems finished. The
groups then gather to hear the result of their group effort read out loud and to see the painting that
inspired the story. Reflections.
WARM UP: Word Tennis
In this word-association game, pupils have to keep thinking up words in a chosen category
and ‘bat’ them to each other. Whoever repeats a word or can’t think of one is out, and
somebody else takes his or her place. You can demonstrate with two students and then play it
in pairs or teams of four or five students. Each team should form a line facing another team.
The two students at the head of each line play each other until one of them can’t think of a
word – or repeats an earlier word. That person goes to the back of the line and the next
student takes their place. Categories can include colours, fruit, sea creatures, flavours of ice
cream, fairy tale characters, sports, capital cities, adverbs, adjectives and so on.
Change the categories as often as you need to maintain interest. Students will soon
come up with their own interesting suggestions for new categories.

42. 42
SESSION EIGHT
CLOSURE OF SESSION
WARM UP: Give a Gift
Have the students work in groups of four or five. This activity is much like
charades. Each player will mime giving a gift to another player in the group. The
gift-giver is to then act out the gift she is giving by describing it with only body
language. No words will be used. The other players then guess what the gift is. For
example, the gift could be a ring. But the ring could come in a big box filled with a
lot of paper. The player would then mime opening a big box, pulling out a lot of
paper, and finding the ring inside. Each gift recipient will then give a gift to another
player who has not received a gift until all the players have received gifts.
Encourage the players to use their imaginations with the gifts.
STORYTELLING ACTIVITY: Puzzle Tale: Putting the Pieces Together
Copy a folktale from a printed anthology and cut it up into sections or scenes. Paste each
section on a separate page. Give out the sheets to students who each prepare to retell their
small piece of the whole story. Assemble the story by having each student retell his or her part
in the plot's sequence. Have students keep the flow going as the story is told so that the
performance moves along as though one person were telling it. Do a second round by giving
students different sections to retell. Notice how differently students retell the same sections!
Reflections.
COOL DOWN: Treasure Box
See page 11

43. 43

44. 44
STORYTELLING (continued from Term 11)
Teachers are advised to use the Storytelling activities to help prepare students for a
storytelling presentation at the end of the term. This presentation would be solely for
aesthetic value and for enjoyment. Presentations may be done for classmates only. Sample
ideas for story presentations:
 The story of my scar
 The story of my name
 A story about my grandmother/great grandfather etc.
 The story of my village/town/community named ….. .
SESSION ONE
WARM UP: Personal Fables
Ask students to assign animal characters to represent people they know. This is a
private process and no one but the student needs to know which animal represents
the student's mother, teacher, brother, or, themselves, etc. Have students create a
story staring those animal characters.
STORYTELLING ACTIVITY: The Story Basket
Use a basket of props and have the children pick out one at a time and use it to add to the
next part of a made up story. You can pick the first prop to begin the story but ask the
children questions so that they first generate who it belongs to or where it might have been
found or indeed what it might be. This is something that can be alongside a theme. If you
wanted to create a circus story then you might pick related objects like a clown toy, a red
nose, an animal or a bit string or rope. Reflections.
COOL DOWN: Pass the Clap
See page 13

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SESSION TWO
WARM UP: Autobiography of Anything
Everything has a story! Everything comes, in its elemental origin, from the Earth. Collect an
assortment of "things": Piece of Paper, Pencil, Sneaker, Match, Rubber Band, Paper Clip,
Football Socks etc … . Imagine the life story of each of those "things." Describe their history
backwards through the personal use, purchase, manufacture, to original natural resources from
which it or its components were made. Personify the thing and tell its story like an
autobiography. Example:
Tell the tale of a piece of newspaper back to the tree in the forest.
STORYTELLING ACTIVITY: Nouns from a Hat
There are many improv games which involve slips of papers with random words, phrases or quotes
written on them. Usually, these phrases have been invented by audience members. "Nouns from a Hat"
is one of these types of games. Students write nouns on slips of paper. Proper nouns are acceptable. In
fact, the stranger the noun, the more interesting this improv will be. Once all of the nouns have been
collected into a hat (or some other container), a scene begins between two students. Every thirty seconds
or so, as they establish their storyline, the students will reach a point in their dialogue when they are
about to say an important noun. That's when they reach into the hat and grab a noun. The word is then
incorporated into the scene. The results can be wonderfully silly. For example:
BILL: I went to an interview today. They offered me a job as a ... (reads noun from the hat) "penguin."
SALLY: Well, that doesn't sound too promising. Does it pay well?
BILL: Two buckets of sardine a week.
SALLY: Maybe you could work for my uncle. He owns a... (reads nouns from the hat) "footprint."
Scene may continue for a while then reflections take place.
COOL DOWN: Treasure Box
See page 11

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SESSION THREE
CLOSURE OF SESSION
WARM UP: Bag of Tricks
Teacher demonstrates the use of items from her ‘Bag of Tricks’ to students.
Her bag contains scarves, ties, hats, jackets, small hand props, large jewellery
(chains, bangles, etc), spectacles, shades, handbags, wigs etc. She
demonstrates how quickly she could use a few items from her bag and
become a character eg, an old lady. Students are advised to search for items
to start their own ‘Bag of Tricks’. Items should be as dated and as peculiar as
possible. Teacher monitors this process for the rest of the term. Items can be
used in their final presentation.
STORYTELLING ACTIVITY: Best / Worst
In this improv activity one person creates an instant monologue, telling a story about an
experience (either based upon real-life or based upon pure imagination). The person begins
the story in a positive way, focusing on terrific events and circumstances. Then, someone
blows a whistle or rings a bell. Once the bell sounds, the storyteller continues the story, but
now only negative things occur in the plot. Each time the bell rings, the storyteller shifts the
narrative back and forth, from the best events to the worst events. As the story progresses, the
bell should ring more quickly. Reflections.
COOL DOWN: Magic Chairs
See page 19

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SESSION FOUR
CLOSURE OF SESSION
WARM UP: Catch a Story
Have a ball or (better) a beanbag. Begin a story. Throw it to the person who
must continue the story. This is better than dragging around the circle and shy
people can get rid of the story after only one word.
STORYTELLING ACTIVITY: Tall Tale
Read some tall tales such as stories by Roald Dahl or Lord Nelson’s calypso, “The Liar”.
Have players create tall tales of their own. The details of the story should be realistic
enough to believe but the story itself should be made up. Hold a contest to determine who
can tell the "tallest" tale with enough realism in the storytelling to make it believable.
Award prizes such as a fake long nose. Reflections.
COOL DOWN: The Wind Blows
This is a good game for mixing up cliques and a variation of Fruit Bowl. Put chairs in a
circle. Turn one chair to face out. Choose someone to stand in the middle. They (or teacher)
can call: “ The wind blows for… everyone who had breakfast today, everyone who likes ice
cream, everyone wearing glases etc… . If the statement applies to a pupil, they must get up
and change places. The caller finds a seat. The last pupil left standing becomes the new
caller. No one can change places with the person sitting next to them.

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SESSION FIVE
CLOSURE OF SESSION
WARM UP: Led By The Nose
Pupils must imagine that strings are attached to various parts of
their bodies. Move around the room led by that part e.g. right
thumb, nose, knees, eyelashes etc
STORYTELLING ACTIVITY: Show and Tell - Family Stories
Students would have been asked to bring an item that reflects some aspect of their
family. The teacher will give to the students a list of questions to assist the preparation
and collection of information from their relatives. Have students collect and tell true
tales about the "old days" by interviewing older relatives. Have students find out about
the history of their families as far back as anyone can tell them. Reflections.
COOL DOWN: Chief Ape
All players sit in a circle and then chose a person to be “it”. The “it” is to
leave so that “it” cannot see or hear. Teacher chooses one person to be the
chief and he will act out short movements. Examples are clapping hands three
times, stomping feet 4 times, etc. All other players must do what the Chief
does.
Have “it” return to the group to figure out who is the Big Chief. He can be
given him up to three guesses if there’s a large group.

49. 49
SESSION SIX
WARM UP: Storm
Pupils build up a storm by joining in teacher-led sound effects one by one. It
builds to a crescendo and dies down to silence. Scenario:
It was still and quiet. A gentle breeze was heard. (Teacher rubs hands
together. Children to her right gradually join in.)
The breeze grew louder. (Rub more vigorously). A patter of rain was heard.
(Tap hands on palms). It began to thunder. (Stamp feet).
STORYTELLING ACTIVITY: Psst – Pass It On
Players sit in a circle. The group leader will begin whispering a short paragraph
including names and details into the ear of the player next to him. At the end of the
story, the group leader says "Pass It On..." The next player then relays the story to the
person next to him and so forth. No one is allowed to repeat what was said. Each player
must speak clearly and each player must listen carefully to what was said. Encourage
players to repeat what they "heard". The last player stands up and relates the story,
ending with "Pass It On." The results are often hilarious. Following the activity, tell the
original story and discuss what changes occurred. Discuss the evolution of the story and
how stories change from teller to teller. Reflections.
COOL DOWN: Guided Mimes
Individual silent mimes, talked through in detail by teacher.
Examples:
Walking the dog Learning to juggle
At the beach Climbing a tree

50. 50
SESSION SEVEN
CLOSURE OF SESSION
SESSION EIGHT
WARM UP: Chain Sentences
Teams of two students orally construct sentences for an invented story. To orally
make the story, each says one word, trusting their ears to recognize conventional
grammar. Shape the improv by setting the tone of the story. Make sentences for: a
ghost story; pirate story; love story; mystery; any story, etc.
STORYTELLING ACTIVITY: The Other Side
Objective: Copies of classic fairy tales and stories such as Little Red Riding Hood, The
Three Bears, and The Three Little Pigs, paper and writing utensils.
Choose a classic story or several stories and have the students pick a character other than
the main character. Have them re-write the story from the other character's view point
such as Grandma's story or the woodcutter's story in Little Red Riding Hood. Be true to
the story line and maintain the characteristics of the characters as found in the original
stories. Explore their motivations. What was Grandma doing before the wolf came over?
How did she react when the wolf showed up at the door? Did the story turn out
differently? What was the woodcutter doing in that part of the woods? How did he react
when he saw Red Riding Hood and the wolf? Have the students read aloud or tell "The
Other Side" of the story. Discuss how the characters were developed and how their
participation changed or added to the story. Reflections.
COOL DOWN: Pass the Energy
See page 17
PRESENTATIONS.

51. 51
GLOSSARY
Character a person, animal or entity in a story, scene or play with distinguishing
physical, mental and attitudinal attributes
Critiquing the ‘art’ work: Discussing all aspects of the work created
Cue the signal for an actor to speak or perform an action, usually a or word
spoken by another actor
Dialogue the lines of the play spoken by the actors
Drama method using a drama activity to introduce or explore an idea
Endow to give the power of the skill or the profession to the participant
Freeze students become as still as statues
Gesture the movement of a body part or combination of parts with the emphasis on
the expressive aspects of the move
Improvisation/improv the spontaneous use of movement and speech to create a character
or object in a particular situation
Mime performance in non verbal language
Projection (voice) to cause one’s voice to be heard clearly at a distance
Props short for PROPERTIES; any article, except costume or scenery, used as
part of a dramatic production; any moveable object that appears on stage
during a performance
Script the written dialogue, description and directions provided by the playwright
Sculpting using ones partner’s body to create a piece of sculpture
Setting the time and place of a scene or a play
Sound effect any sound artificially produced or reproduced from a recording to create a
theatrical effect
Tableau A non-verbal, frozen picture that clearly expresses and communicates a
thought, feeling, idea or situation. Elements of tableau are: Space, Shape,
Time and Energy.

52. 52
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Framer, David. Learning Through Drama in Primary Years.
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Jennings C. (1991). Children as Storytellers. Australia : Oxford.
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Sherlock, P. (1995). Four Caribbean Folk Tales: The Illustrated Anansi. London: MacMillan.
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