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The Educative Matrix of Folklore
Clearly, folklore is alive and well. It constitutes a basic and important educative and expressive setting in which individuals learn how to see, act, respond, and express themselves by the empirical observation of close human interactions and expressions in their immediate society (that is, the family, occupational or religious group, ethnic or regional community). Folklore structures the worldview through which a person is educated into the language and logic systems of these close societies. It provides ready formulas for the expression of cultural norms.
–The Dynamics of Folklore, by Barre Toelken
Utah State University Press, 1996
General Traits of Folklore
- Folklore involves a tradition that passes over time and through space and is not necessarily old; in fact, it is often contemporary and dynamic.
- The learning process is usually by word of mouth, observation and imitation.
- There are conservative elements that stay the same through many transmissions. For example, the plot of the ballad “Barbara Allen” remains the same: A woman forsakes a man and he dies.
- On the other hand, folklore is also dynamic, changing in transmission (versions), while keeping a storehouse of conservative elements such as motifs, metaphors, characters that belong to the collective and get reworked again and again. Thus, each singer of “Barbara Allen” might accidentally or purposefully change the lyrics.
- The source is often anonymous.
Folk groups can be any groups of people who share special language, customs, traditions and can be based upon factors such as nationality, age, gender, ethnicity, religion, region, neighborhood, social class, social clubs, family, occupation, school, classroom. All of us belong to many different, sometimes overlapping, folk groups that change throughout our lives.
Functions of Folklore
- Education and instruction
- Relief of cultural tension
- Validation of a culture (paradoxically, folklore can also violate cultural norms)
Basic Types of Folklore
Oral Narratives–tales, legends, proverbs, jokes, riddles, anecdotes, oral poetry, toasts, sermons, personal experience narratives
Music–lullabies to highly polished song styles
Material Culture–the “stuff” of traditional culture, which includes, for example, the following:
Architecture–barns, fences, outbuildings, houses Crafts and Decorative Arts–baskets, quilts, coverlets, carvings, pottery, weaving, tool-making, furniture-making, needlework, home or yard decoration
Foodways–preserving food, recipes, ritual meals, who does what
Beliefs–folk wisdom, superstitions, weatherlore, remedies, prejudice, spirituality
Customs–group celebrations, holidays, calendar traditions, rituals, birthdays
Body Communications–greetings, handshakes, dance, games, gestures
Traditional, Popular and Elite Culture
Traditional knowledge and culture are learned and transmitted by word of mouth and observation within our many overlapping folk groups. Elite or academic knowledge is learned and transmitted formally in a society’s institutions such as schools, universities, museums and concert halls. Popular culture is learned and transmitted through mass media. The boundaries between these kinds of knowledge and culture blur interestingly, and often traditional knowledge and culture are overlooked or dismissed as quaint or untrue.
Content and Methodology
Folklore’s relevance to K-12 educators is interdisciplinary and twofold. Young people respond not only to the content of folklore–sharing their own and discovering others’ traditions–but to collecting folklore through various fieldwork methods, which can include observation, notetaking, mapping, interviewing, audio or video recording, archiving and presenting findings in any variety of ways.
Many of these resources for educators will appeal to older students as well.
Bowman, Paddy, and Lynne Hamer. Through the Schoolhouse Door: Folklore,
Community, Curriculum. Logan: Utah State University Press, 2011, 286 p. This anthology of
folklorists’ experiences in K-12 education is useful for educators as well as folklorists.
Bronner, Simon. American Children’s Folklore. Little Rock: August House, 1988. 281 p. This examination of how children create culture includes many examples of genres such as
parodies, games, jump rope rhymes, and instructions for simple toys that remind readers of their own childhood culture.
Brunvand, Jan Harold, editor. American Folklore: An Encyclopedia. New York: Garland, 1996. 794 p. Although the over 200 entries in this comprehensive encyclopedia (ranging in length from a single paragraph to several pages) are scholarly in nature, the scope of coverage (rodeo, Appalachia, theoretical approaches to folklore, the tooth fairy, Internet urban legends) and the credentials of the varied contributors make this entry an invaluable browsing tool as well as a respected reference.
Burton, Bryan. Moving Within the Circle: Contemporary Native American Music and Dance. Danbury: World Music Press, 1993. 167 p. plus cassette or CD. Photographs, songs, and dances from many North American tribes.
Campbell, Patricia Shehan. Songs in Their Heads: Music and Its Meaning in Children’s Lives. New York: Oxford University Press, 1998, 246 p. Music educators will appreciate Campbell’s attention to children’s creativity and imagination in this ethnographic exploration of how children relate to music outside the classroom.
Campbell, Patricia Shehan, Ellen McCullough-Brabson, and Judith Cook Tucker. Roots and Branches: A Legacy of Multicultural Music for Children. Danbury: World Music Press, 1994. 153 p. Teacher resource for all grades, this book and CD set shares musical memories of people from 23 cultures.
Gillis, Candida. The Community as Classroom. Portsmouth: Boynton/Cook, 1992. 186 p. Good K-12 resource on expanding curriculum to include people and places in students’ lives.
Jones, Bessie, and Bess Lomax Hawes. Step It Down: Games, Plays, Songs, and Stories from the Afro-American Heritage. Athens: University of Georgia Press, 1987. 233 p. A classic collection of games, hand-clapping rhymes, songs, and stories plus 70 activities. Cassette features Bessie Jones, one of the Georgia Sea Island Singers.
Lomax, Alan. The Folk Songs of North America. New York: Doubleday, 1975. 623 p. Although out of print, many libraries have this collection of lyrics, tunes, and notes on over 250 songs.
Long, Larry. Here I Stand: Elders’ Wisdom, Children’s Song. Washington, DC: Smithsonian Folkways Recordings, 1996. Working with young people who interviewed community members, a singer songwriter helped them write and perform songs based on their fieldwork. A guidebook accompanies this CD and describes how to recreate such a project.
Lornell, Kip. Introducing American Folk Music. Dubuque: Brown and Benchmark, 1993. 251 p. plus cassette. A good resource offering lots of photos, some curriculum ideas, and thorough overview of traditional American music and its influence on pop music. Helpful to K-12 classroom and music teachers and grades 7-12.
Lornell, Kip, and Anne Rasmussen. Musics of Multicultural America: A Study of Twelve Musical Communities. New York: Schirmer Books, 1997. 348 p. The interdisciplinary text and CD examine several diverse American music communities from closely.
MacDowell, Marsha, and LuAnne Kozma, eds. Folk Arts in Education: A Resource Handbook II. East Lansing: Michigan State University Museum, 2008. 350 p. A sampler of folklore in education lesson plans from around the country and lots of ideas and resources for all grades. Order or download at www.folkartsineducation.org.
Pryor, Anne, and Nancy B. Blake, eds. Quilting Circles ~ Learning Communities: Arts, Community, and Curriculum Guide, University of Wisconsin School of Education and Wisconsin Arts Board, 2007, 92 p. This beautiful spiral-bound book comes with a CD-Rom that includes quilt slideshows and video demos.
Reagon, Bernice Johnson. Wade in the Water: African American Sacred Music Traditions. Washington, DC: Smithsonian Folkways Recordings, 1994. 4-CD set or order individual CDs. These rich recordings from the public radio series of the same name chronicles African American history and culture as well as sacred music and include extensive liner notes.
Rodseth, Lars, Sally Howell, and Andrew Shryrock. Arab World Mosaic: A Curriculum Supplement for Elementary Teachers. Illus. by Michelle Gallagher. Detroit: Arab Community Center for Economic and Social Services, 1994. 209 p. Written by anthropologists, this guide offers many activities relating to the traditions of Arabs in different countries as well as Arab Americans.
Sam, Sam-Ang, and Patricia Shehan Campbell. Silent Temples, Soulful Hearts: Traditional Music of Cambodia. World Music Press, 1998, 144 p. This book and companion CD present traditional music and culture of Cambodia, particularly how it is thriving today in communities outside Cambodia.
Santelli, Robert, Holly Warren-George, and Jim Brown, editors. American Roots Music New York: Harry N. Abrams, 2001. 140 p. This companion to the PBS series explores the traditional roots of American popular music.
Schafer, Andrea. My Harvest Home: A Celebration of Polish Songs, Dances, Games, and Customs. Illus. by Peter Schafer. Danbury, Conn.: World Music Press, 1996. 76 p. plus cassette or CD. Explore traditions and music of several regions of Poland as well as Polish American communities. Features Polish and English lyrics, recipes, and folk arts projects.
Simons, Elizabeth Radin. Student Worlds, Student Words: Teaching Writing Through Folklore. Portsmouth: Heinemann, 1990. 232 p. A teacher and folklorist, Simons offers background on contemporary folklore and detailed lesson plans for writing and folklore studies.
Sobel, David. Mapmaking with Children: Sense of Place Education for the Elementary Years. Portsmouth: Heinemann, 1998. 164 p. Find highly creative and developmentally appropriate mapping lessons for K-8.
Thompson, Paul. The Voice of the Past: Oral History. New York: Oxford University Press, 3rd edition, 2000. 260 p. Oral historians regard this as an invaluable teacher resource.
Toelken, Barre. The Dynamics of Folklore. Logan: Utah State University Press, rev. ed., 1996. 439 p. A good basic textbook on folklore and cultural process useful for teachers and older students.
Wagler, Mark, Ruth Olson, and Anne Pryor. Teacher’s Guide to Local Culture and Kids’ Guide to Local Culture. Madison: Madison Children’s Museum and Center for the Study of Upper Midwestern Culture, 2004, 70 p. and 139 p. Download free at http://csumc.wisc.edu/wtlc/?q=resources.
Zeitlin, Steven J., et al. A Celebration of American Family Folklore. Cambridge: Yellow Moon Press, 1982. 291 p. A full selection of family stories, customs, and photos for K-12 teachers to help students start family writing, oral history, and folklore projects.
Alliance for American Quilts www.quiltalliance.org recognizes quilts as works of art and pieces of history with stories to be documented and preserved. Find interviews with quilters and resources for preserving quilts and collecting stories.
American Folklife Center at the Library of Congress www.loc.gov/folklife has many digital collections useful in the classroom plus Folklife Resources for Educators, a portal to many free online curriculum guides.
American Folklore Society (AFS) Folklore and Education Section at www.afsnet.org publishes an annual newsletter for members, who may sign up for ten dollars without having to join AFS. The AFS Children’s Section awards the annual Aesop Prize and Aesop Accolades for English language books for children and young adults in which folklore is central and presented authentically. Find a list of past recipients at www.afsnet.org/?page=Aesop
Bullfrog Jumped in the Classroom www.alabamafolklife.org/content/bullfrog-classroom provides audio excerpts of children’s songs recorded in 1947 in an online guide for young children by Paddy Bowman and Marsha Weiner.
American Memory Learning Page http://memory.loc.gov/ammem/ndlpedu Teachers have designed lesson plans as part of their participation in an annual summer institute at the Library of Congress using the large online collections of the American Memory Project, which digitizes thousands of photographs, documents, and recordings.
American Routes http://amroutes.cc.emory.edu Folklorist Nick Spitzer, often an emcee for annual concerts honoring NEA Heritage Fellows, hosts this weekly public radio show on the traditional roots and routes of American pop music. Find an archive of past shows featuring interviews with noted roots musicians, including many National Heritage Fellows.
Center for the Study of Upper Midwestern Culture http://csumc.wisc.edu supports the Network for Teachers of Local Culture and projects that show how deeply students can reflect about culture and themselves. See the Dane County Cultural Tour and Hmong Cultural Tour, which includes the free downloadable Teacher’s Guide to Local Culture and Kids’ Guide to Local Culture.
Crossroads of the Heart: Creativity and Tradition in Mississippi www.arts.state.ms.us/crossroads Find streaming audio, photographs of traditional music and crafts, a useful teacher’s guide, and an overview of the state’s traditional culture.
Culture in Context: A Tapestry in Expression www.njn.net/artsculture/cultureincontext features New Jersey folk artists and art forms organized in the themes of Home, Work, and Community.
Davenport Films www.davenportfilms.com Filmmaker Tom Davenport has produced and directed award-winning American adaptations of Grimm Brothers fairytales and folk arts documentaries useful for the classroom. Order films online, find teaching resources, and download a student guide to video production of fairytale adaptations.
Digital Traditions www.digitaltraditions.net offers South Carolina folk artist profiles from the McKissick Museum collection and online education guides such as Jubilation! African American Celebrations and Row Upon Row: Sea Grass Basketry.
Documentary Arts www.docarts.com Producer of Masters of Traditional Arts, this Dallas-based organization collects, presents and preserves historically and culturally significant people and places and provides educational resources and programming.
From Cambodia to Greensboro
www.greensborohistory.org/exhibits/cambodia/tour/tour.html is an online exhibit that traces the journey of Cambodians to Greensboro, North Carolina (see Suggested Student Readings for an accompanying book for grades 3-6).
Folkstreams www.folkstreams.net is a video-streaming site built as a national preserve of American folk culture documentaries and offers users extensive background materials for each film. A number of films feature Heritage Fellows. See especially the Educators Portal for lessons for higher grades.
Folkvine www.folkvine.org gives users video, audio, and text options to explore folk artists of Florida, including bobble-head dolls representing real-life scholars of the state’s traditional culture.
Iowa Folklife: Our People, Communities, and Traditions www.uni.edu/iowaonline/folklife is an award-winning online multimedia learning guide for all ages with excellent interviewing strategies. A new volume is at www.uni.edu/iowaonline/folklife_v2.
Louisiana Voices: An Educator’s Guide to Exploring Our Communities and Traditions www.louisianavoices.org Although written for Louisiana classrooms, this extensive guide is adaptable for any region and includes rational, evaluation strategies, student worksheets, fieldwork guidelines, and dozens of lessons in public domain.
Local Learning: The National Network for Folk Arts in Education
www.LocalLearningNetwork.org advocates for inclusion of folk arts and artists nationwide. See especially the multimedia virtual artist residencies with five National Heritage Fellows. Also find a library of useful articles for teachers, including the 2009 CARTS Newsletter on the Art of Interviewing, plus links to regional resources and tools for engaging young people in fieldwork and folklore.
National Endowment for the Arts http://nea.gov/honors/heritage/index.html publishes National Heritage Fellows’ bios on the web site. Find ordering information for the National Heritage Fellows DVD-ROM and Masters of Traditional Arts Education Guide here.
National Museum of the American Indian at www.nmai.si.edu features virtual exhibits and education guides on its Web site.
Public Broadcasting System www.pbs.org Find useful education guides related to traditional culture for teachers and students. Examples include several featuring Heritage Fellows: Mississippi River of Song, where students can investigate music and musicians from Minnesota to the Gulf of Mexico; Accordion Dreams which chronicles Tex-Mex conjunto music; and American Roots, a series on 20th century American traditional music.
Smithsonian Center for Folklife and Cultural Heritage www.folklife.si.edu has online exhibits, education guides, and interview tools such as Discovering Our Delta and the Smithsonian Folklife and Oral History Interviewing Guide. Find lesson plans for music from around the world found in Smithsonian Folkways Recordings www.folkways.si.edu under Tools for Teaching and many recordings by Heritage Fellows.
Vermont Folklife Center www.vermontfolklifecenter.org supports education through Discovering Community www.discoveringcommunity.org, which provides training and resources to educators, and a series of award-winning children’s books based on stories in the Center’s extensive archive (see suggested student readings).
Western Folklife Center www.westernfolklife.org is home of the annual National Cowboy Poetry Gathering and the site features many audio and video segments of the top cowboy poets and musicians and exhibits on western ranching life.
Wisconsin Folks www.wisconsinfolks.org teaches students about folk arts and artists of that state and provides examples of many genres and artists, from fish decoys to dance.
Folkstreams (www.folkstreams.net) is a web site dedicated to preserving folklore documentaries, offering a free video on-demand service. Among the films on the site are the following that feature National Heritage Fellows.
Nicholas Benson (2007), son of John “Fud” Benson, the stone carver featured in Final Marks.
Joe Thompson (2007) in Alan Lomax’s Appalachian Journey.
Alphonse “Bois Sec” Ardoin (1986) in Cajun Country and Dry Wood
Dewey Balfa (1982) in Cajun Country, Cajun Visits, Homemade American Music, and Les Blues de Balfa
Sister Mildred Barker (1983) in The Shakers
Jerry Brown (1992) in Unbroken Tradition
Joseph Cormier (1984) in New England Fiddles
Elizabeth Cotten (1985) in Homemade American Music
Michael Doucet (2005), in Cajun Country
Conray Fontenot (1986) in Cajun Country, Cajun Visits, and Dry Wood
Ray Hicks (1983) in Appalachian Journey
Stanley Hicks (1983) in Appalachian Journey and Talking Feet
John Dee Holeman (1988) in Appalachian Journey and Talking Feet
Tommy Jarrell (1982) in Appalachian Journey, Dreams and Songs of the Noble Old and
Homemade American Music
Riley “B.B.” King (1991 ) in Give My Poor Heart Ease
Lily May Ledford (1985) in Homemade American Music
Alex Moore (1987) in Black on White, White and Black
Jack Owens (1993), in Dreams and Songs of the Noble Old and The Land Where the Blues Began
Irvan Perez (1991) in Mosquitoes and High Water
Adam Popovich (1982) in The Popovich Brothers
Almeda Riddle (1983) in Almeda Riddle: Now Let’s Talk about Singing
Saunders “Sonny” Terry (1982) in Sonny Terry: Shoutin’ the Blues and Sonny Terry: Whoopin’ the Blues
Othar Turner (1992) in Gravel Springs Fife and Drum, Made in Mississippi, and The Land Where the Blues Began
Cleofes Vigil (1984) in The Grand Generation
Nimrod Workman (1986) in The Grand Generation
Mike Seeger (2009) in Homemade American Music and Talking Feet (director)
Johnny Gimble (1994) in Gimble’s Swing
John Jackson (1986) in Blues Houseparty
Bill Monroe (1982) in Bill Monroe, Father of Blue Grass Music
Nikitas Tsimouris (1991) in Every Island Has Its Own Songs: The Tsimouris Family of Tarpon Springs
This bibliography suggests leisure reading and supplementary trade books for students in grades 4 through 12 to complement the Masters of Traditional Arts Education Guide. The titles below offer many possibilities for making connections to material outlined in the guide. Suggested age levels (indicated following imprint information) are broad and may be extended upward or downward depending on particular school situations. In addition, several resources from the Folklore in Education Bibliography, such as Jan Harold Brunvand’s American Folklore: An Encyclopedia, are also appropriate for high school students. Librarians and teachers should add books from their own collections, using this list as a beginning point for recommendations rather than a finite product. Every effort has been made to ensure that the titles are still in print, although those that may not be available for purchase should be housed in many school and public libraries. The original dates of publication and imprint information are given. Many of these books are available in other editions.
Abelove, Joan. Go and Come Back. New York: DK Inc./Richard Jackson, 1998. 176 p. Middle School, High School
Akin, S. Beth. Voices from the Fields: Children of Migrant Farmworkers Tell Their Stories. Illus. with photographs by the author. Boston: Little Brown, 1993. 96 p. Intermediate, Middle School
Appelt, Kathi and Jeanne Cannella Schmitzer. Down Cut Shin Creek: The Pack Horse Librarians of Kentucky. New York: HarperCollins, 2001. 58 p. Intermediate, Middle School
Ashbranner, Brent K. and Paul Conklin. To Live in Two Worlds: American Indian Youth Today. Illus. with photographs by Paul Conklin. New York: Dutton, 1984. 149 p. Intermediate, Middle School, High School
Astroth, Kirk A. Spurrin’ the Words: 4-H Cowboy Poetry Youth Guide (78 p.) and Leader’s Guide (66 p.). Montana 4-H Center for Youth Development, 2004. Order with accompanying CD from www.montana4h.org. All grades.
Belton, Sandra. From Miss Ida’s Porch. Illus. by Floyd Cooper. New York: Four Winds, 1993. 40 p. Intermediate
Bial, Raymond. Cajun Home. Illus. with photographs by the author. Boston: Houghton Mifflin, 1998. 48 p. Intermediate, Middle School
Blum, Joshua, Bob Holman, and Mark Pellington, compilers. The United States of Poetry. New York: Abrams, 1996. 176 p. High School
Branch, Muriel Miller. Juneteenth: Freedom Day. Photographs by Willis Branch. New York: Cobblehill/Dutton, 1998. 54 p. Intermediate, Middle School
Bridgers, Sue Ellen. Home Before Dark: A Novel. New York: Knopf, 1976. 192 p. Middle School, High School
Calhoun, Dia. Aria of the Sea. New York: Winslow, 2000. 264 p. Middle School, High School
Carmi, Daniella. Samir and Yonatan. New York: Scholastic, 2000. 183 p. Middle School
Chapman, Richard. The Complete Guitarist. New York: Dorling Kindersley, 1993. 92 p. High School
Cheung, Shu Pui, Shuyuan Li, Aaron Chau, and Deborah Wei. 2004. Walking on Solid Ground. Philadelphia: Philadelphia Folklore Project, 2004. 64 p. In English and Chinese. Elementary, Intermediate
Congdon, Kristin. Uncle Monday and Other Florida Tales. Kitty Kitson Petterson, illus. University of Mississippi Press, 2001. 195 p. Intermediate, Middle School, High School
Cormier, Robert. The Chocolate War. New York: Knopf, 1974. 272p. Middle School, High School
Cuyler, Margery. From Here to There. Illus. by Yu Cha Pak. New York: Holt, 1999. 32 p. Intermediate
Doney, Meryl. Baskets. New York: Watts, 1997. 32 p. Intermediate, Middle School
Doucet, Sharon Arms. Fiddle Fever. New York: Clarion, 2000. 164 p. Middle School
Dyson, Michael Eric. Between God and Gangsta Rap: Bearing Witness to Black Culture. New York: Oxford University Press, 1996. 218 p. High School
Erdrich, Louise. The Birchbark House. Illus. by the author. New York: Hyperion, 1999. 244 p. Intermediate
Ellis, Rex M. With a Banjo on My Knee: A Musical Journey from Slavery to Freedom. New York: Franklin Watts, 2001. 160 p. Middle School, High School
England, Linda. The Old Cotton Blues. Illus. by Teresa Flavin. New York: Margaret K. McElderry, 1998. 32 p. Intermediate
Garza, Carmen Lomas. Family Pictures. Illus. by the author. San Francisco: Children’s Book Press, 1990. 32 p. Intermediate
Glover, Savion, and Bruce Weber. Savion: My Life in Tap. New York: Morrow, 2000. 79 p. Intermediate, Middle School, High School
Gordon, Ruth, selector. Pierced by a Ray of Sun: Poems About the Times We Feel Alone. New York: HarperCollins, 1995. 105 p. Middle School, High School
Goss, Linda, and Clay Goss, editors. Jump Up and Say! A Collection of Black Storytelling. New York: Simon and Schuster, 1995. 301 p. High School
Govenar, Alan. African American Frontiers: Slave Narratives and Oral Histories. Santa Barbara: ABC-CLIO, 2000. 551 p. Middle School, High School
Govenar, Alan. Extraordinary Ordinary People: Five American Masters of Traditional Arts. Cambridge, MA: Candlewick Press, 2006, 86 p. Intermediate, Middle School
Govenar, Alan, editor. Osceola: Memories of a Sharecropper’s Daughter. Illus. by Shane W. Evans. New York: Hyperion, 2000. 64 p. Intermediate, Middle School
Govenar, Alan, ed. Stompin’ at the Savoy: The Story of Norma Miller. Illus. by Martin French. Cambridge, MA: Candlewick Press, 2006, 56 p.Intermediate, Middle School
Granfield, Linda. 97 Orchard Street, New York. Illus. with photographs by Arlene Alda. Toronto: Tundra Books, 2001. 56 p. Intermediate, Middle School, High School
Grimes, Nikki. Aneesa Lee and the Weaver’s Gift. Illus. by Ashley Bryan. New York: Lothrop, 1999. Unpaged. Intermediate
Haas. Jessie. Will You, Won’t You? New York: Greenwillow, 2000. 167 p. Middle School
Hamill, Pete. Snow in August. Boston: Little, Brown, 1997. 327 p. High School
Hart, Elva Trevion. Barefoot Heart: Stories of a Migrant Child. Tempe, Arizona: Bilingual Press/Editorial Bilingue, 1999. 236 p. High School
Haskins, James Black Dance in America: A History Through Its People. New York: Crowell, 1990. 232 p. Middle School, High School
Hicks, Ray, as told to Lynn Salsi. The Jack Tales. Illus. by Owen Smith. New York: Calloway, 2000. 40 p. Intermediate
Hinton, S. E. The Outsiders. New York: Viking, 1967. 188 p. Middle School, High School
Hurmence, Belinda, editor. Slavery Time When I Was Chillun. New York: Putnam, 1997. 96 p. Middle School, High School
Jabar, Cynthia, selector. Shimmy Shake Earthquake: Don’t Forget to Dance Poems. Illus. by the selector. Boston: Little Brown, 1992. Unpaged. Intermediate
Jiménez, Francisco. The Circuit: Stories from the Life of a Migrant Child. Albuquerque: University of New Mexico Press, 1997. 134 p. Middle School, High School
Jones, Bill T. Dance. Illus. with photographs by Susan Kuklin. New York: Hyperion, 1998. 32 p. Intermediate, Middle School, High School
Landau, Elaine. Slave Narratives: The Journey to Freedom. Illus. with archival photographs. New York: Franklin Watts, 2001. 96 p. Intermediate, Middle School, High School
Lau, Barbara. From Cambodia to Greensboro: Tracing the Journeys of New North Carolinians. Greensboro: Greensboro Historical Museum, 2004. 36 p. Intermediate
Left Hand Bull, Jacqueline. Lakota Hoop Dancer. Illus. with photographs by Suzanne Haldane. New York: Dutton, 1999. 32 p. Intermediate
Lester, Julius. The Blues Singers: Ten Who Rocked the World. Illus. by Lisa Cohen. New York: Jump at the Sun/Hyperion, 2001. 48 p. Intermediate
Lord, Bette Bao. In the Year of the Boar and Jackie Robinson. Illus. by Marc Simont. New York: Harper Trophy, 1986. 169 p. Intermediate
Lyon, George Ella. Basket. Illus. by Mary Szilagyi. New York: Orchard, 1990. 32 p. Intermediate
Lyons, Mary E. Catching the Fire: Philip Simmons, Blacksmith. Illus. with photographs by Mannie Garcia. Boston: Houghton, 1997. 48 p. Intermediate, Middle School
Lyons, Mary E. Painting Dreams: Minnie Evans, Visionary Artist. Boston: Houghton, 1996. 84 p. Intermediate, Middle School
Lyons, Mary E. Starting Home: The Story of Horace Pippin, Painter. New York: Scribners, 1993. 42 p. Intermediate, Middle School
Lyons, Mary E. Stitching Stars: The Story Quilts of Harriet Powers. New York: Scribners, 1993. 42 p. Intermediate, Middle School
Lyons, Mary E. Talking with Tebé: Clementine Hunter, Memory Artist. Boston: Houghton, 1998. 48 p. Intermediate, Middle School
MacLachlan, Patricia. All the Places to Love. Illus. by Mike Wimmer. New York: HarperCollins, 1994. 32 p. Intermediate
Medearis, Angela Shelf and Michael Medaris. Dance. New York: Twenty-First Century Books, 1997. 80 p. Intermediate, Middle School
Meyer, Carolyn. White Lilacs. New York: Gulliver/Harcourt, 1993. 242 p. Intermediate, Middle School
Meyer, Carolyn. Where the Broken Heart Still Beats. New York: Gulliver/Harcourt, 1992. 197 p. Middle School, High School
Myers, Walter Dean. Monster. New York: HarperCollins, 1999. 281 p. Middle School, High School
Nance, Susanna. Sights. New York: Delacorte Press, 2001. 216 p. Middle School, High School
Oates, Eddie Herschel. Making Music: Six Instruments You Can Create. Illus. by Michael Koelsch. New York: HarperCollins, 1995. 32 p. Intermediate, Middle School
Orgill, Roxane. Shout, Sister, Shout! Ten Girl Singers Who Shaped a Century. New York: Atheneum, 2001. 144 p. Middle School, High School
Paker, Josephine. Beating the Drum. Brookfield, Conn.: Millbrook Press, 1992. 48 p. Intermediate, Middle School
Paterson, Katherine. Jacob Have I Loved. New York: HarperCollins, 1980. 216 p. Intermediate, Middle School
Peck, Richard. Long Way from Chicago. New York: Dial, 1998. 148 p. Middle School, High School
Pellowski, Anne. Hidden Stories in Plants. Illus. by Lynn Sweat. New York: Macmillan, 1990. 93 p. Intermediate, Middle School, High School
Press, David Paul. A Multicultural Portrait of America’s Music. Boston: Marshall Cavendish, 1994. 80 p. High School
Ray, Mary Lyn. Basket Moon. Illus. by Barbara Cooney. Boston: Little Brown, 1999. 32 p. Intermediate
Reagon, Bernice Johnson. We’ll Understand It Better By and By: Pioneering African American Gospel Composers. Washington: Smithsonian, 1992. 84 p. High School
Salisbury, Graham. Blue Skin of the Sea. New York: Delacorte, 1992. 215 p. Middle School, High School
Santiago, Esmeralda. Almost a Woman. Reading, Mass.: Perseus/Merloyd Lawrence, 1998. 313 p. High School
Shusterman, Neal. The Dark Side of Nowhere. Boston: Little Brown, 1997. 185 p. Middle School, High School
Slatta, Richard W. The Cowboy Encyclopedia. Santa Barbara, California: ABC-CLIO, 1994. 474 p. Middle School, High School
Stewart, Sarah. The Gardener. Illus. by David Small. New York: Farrar, 1997. 32 p. Intermediate
Sullivan, Missy, Deborah Schwartz, Dawn Weiss, and Barbara Zaffran. The Native American Look Book: Art and Activities from the Brooklyn Museum. New York: The New Press, 1996. 46 p. Intermediate, Middle School, High School
Tamar, Erika. Blues for Silk Garcia. New York: Knopf, 1983. 155 p. Middle School, High School
Trice, Dawn Turner. Only Twice I’ve Wished for Heaven. New York: Crown, 1997. 304 p. High School
Voigt, Cynthia. Seventeen Against the Dealer. New York: Atheneum, 1989. 181 p. Middle School, High School
Waldman, Carl, and Molly Braun. Word Dance: The Language of Native American Culture. New York: Facts on File, 1994. 290 p. High School
Wells, Ken. Meely LaBauve: A Novel. New York: Random House, 2000. 244 p. High School
Williams, Sherley Anne. Working Cotton. Illus. by Carole M. Byard. San Diego: Harcourt, 1992. 32 p. Intermediate
Yee, Paul. Tales from Gold Mountain: Stories of the Chinese in the New World. Illus. by Simon Ng. New York: Macmillan, 1999. 64 p. Intermediate, Middle School
Yep. Laurence. Dragonwings. New York: HarperCollins, 1975. 248 p. Intermediate
Yin, Chamroeun. In My Heart, I Am a Dancer. Illus b René J. Marquez. Philadelphia: Philadelphia Folklore Project, 1996, 32 p. Find the online Teacher’s Guide at www.folkloreproject.org/programs/education/dancer. Elementary, Intermediate
Vermont Folklife Center Children’s Book Series
For more than twenty years, the mission of the Vermont Folklife Center has been to gather and record the voices and stories of Vermonters. An archive of more than 4,000 oral tales inspired the Vermont Folklife Center Children’s Book Series, which captures the color and spontaneity of the most unforgettable stories and preserves them for learning and enjoyment. Regional in origin, universal in nature, these true stories feature real people and real places, create history readiness for ages 6 to12, stimulate discussion with background information and learning activities, offer intergenerational appeal and encourage families to pass on their own stories.
Bruchac, Marge. 2005. Malian’s Song. Illus. William Maughan. August House.
Jaspersohn, William. 2002. The Scrimshaw Ring. Illus. Vernon Thornblad. August House.
Jaspersohn, William. 2000. The Two Brothers. Illus. Michael A. Donato. August House. NCSS Notable Book.
Lange, Willem. 2001. John and Tom. Illus. Bert Dodson. August House. Storytelling World Honor Book.
Medearis, Michael. 2000. Daisy and the Doll. Illus. Larry Johnson. University Press of New England. AFS Aesop Accolade.
Milord, Susan. 2003. The Ghost on the Hearth. Illus. Lydia Dabcovich. August House.
Walter, Mildred Pitts. 2004. Alec’s Primer. Illus. Larry Johnson. August House. NCSS Carter G. Woodson Honor Book.


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Self acceptance is a springboard for all our successes and failures. It is a particularly difficult task for the adolescent. The familiar and comfortable self we knew in childhood is in a state of change. All the changes in his body (i.e. sexual development, physical size, and muscular development) and changes in his cognitive development necessitate a modification of his childhood self. He is constantly told by others that he is growing up, and with this growth comes new responsibilities, certain rights and advantages, and expected behaviors. Added to the changes and expectations is the conflict that arises between the internalization of values accepted by society and the need to reject those values in favor of what his conscience tells him is right or wrong. Consequently, he begins to ask questions such as: “Who am I?” “What do I believe in?” “Would others like me if they knew what kind of person I am?”
These changes and new attitudes of mind are a source of anxiety for the adolescent, partly because he does not have a clearly defined sense of self and cannot instantaneously become an adult, and he has to learn to accept his particular person. Until he can get through these obstacles, he is apt to have low self-esteem.
This unit has as its major focus: raising the self-esteem of early adolescents. My interest in this topic derives from a three-year observation of incoming sixth grade classes. There are three groups of students that stand apart from the others. They are the low-achievers, the socially disadvantaged, and the students who are discipline problems. One personality factor that is common to most students in these three groups is their low self esteem. Efforts to bolster their self-esteem have generally failed because they are unable to recognize any worthwhile accomplishment they’ve made.
A familiar technique used with low-achievers is based on the success factor. Most teachers realize that success is an important factor in improving the self-image. In their goal to provide successful experiences, teachers sometimes only call on the low-achiever to respond to questions when they are likely to know the answers. Another example of this misuse of success is assigning activities which aren’t challenging and provide no opportunity for the student to practice a higher level of thinking. Students can “see through” this sham. They know that the praise they received does not measure up to the praise another student might receive for completing a more difficult activity. The problem is further complicated by the teasing and disparaging remarks made by other students. Thus, the word “can’t” is engraved on the minds of these students.
This curriculum unit is intended for teachers of early adolescents. It is divided into three sections. The first section provides an overview of traits that are characteristic of adolescents seeking identity. If teachers are familiar with adolescent problems, they can guide them toward understanding that their struggles are not unique but are a normal part of human development.
The second section includes a discussion of selected readings. Books are a main source of information for the adolescent reader. Through these readings, he can discover people who are much like himself. He can also discover how they solved their problems.
The final section includes additional activities teachers can use to raise the self-esteem of their students.
The act of searching for oneself is a complex and difficult process. It is further complicated by some confusion as to what the self is. Luella Cole says a definition of self should recognize the presence of unconscious elements in the motivations and needs of an individual; as well as recognize the conscious efforts to make adjustments within the world and derive an identity which has continuity, consistency, and adaptability.
In reworking his identity there are several traits that are characteristic of the early adolescent:
Given this picture of the internal problems the adolescent has to contend with, we can now examine the effect they have on his self-esteem.
- 1. He is critical of others yet sensitive to their criticisms. He feels their criticisms are unjust because they don’t really understand him.
- 2. He values his solitude for it allows him to think without distraction. At home he might seek refuge in his room. In school he might find a quiet corner.
- 3. He is preoccupied with his body and self. The changes which take place at the onset of pubescence in size, body proportions, and secondary sexual characteristics generally occur rapidly. Understandably, the body attains a new value. When physical changes are not concurrent with sexual development, the adolescent is likely to perceive this imbalance as evidence of sexual inadequacy.
- 4. He experiences swings in mood from elation to depression. These moods are usually the result of successes or failures in personal relationships or school work.
- 5. He rebels against adults and their values. This derives from his fear of losing his individuality. Conflicts may arise because of dress styles, dating privileges, or eating habitats.
- 6. He gravitates toward his peer group. The group provides him with a sense of belonging. But in seeking admission into the group, he must comply with the dictates of the group.
- 7. He reevaluates his stand on issues such as: religion, drugs, sex, and world affairs. He wants to feel certain his moral standards reflect his values and not those of his parents.
Esteem refers to an individual’s satisfaction with his identity; his over-all judgment of himself. It may range from high to low.
The way in which an individual perceives himself is of real importance to the character of his behavior. People tend to act as they perceive themselves to be. When youngsters have feelings of unworthiness, weakness, or inferiority, they might display delinquent behaviors to mask their real feelings. Sometimes this behavior is a way of communicating to others that they feel lonely, unloved, ignored, inadequate, or less than a person.
Other behaviors that might occur as a result of low self-esteem are belligerence, passivity, defiance of authority figures, and alienation.
There is no easy recipe for raising the esteem, but parents, peers, and teachers have considerable effect on how children perceive themselves.
Individuals sometimes evaluate themselves on the basis of information conveyed within the family. In some families the criteria for acceptability might be beauty, athletic prowess, or intelligence. Children live up to the expectations of their parents. When they fail to meet these expectations, they are likely to have poor self-images. Therefore, it is important that parental expectations be realistic and reasonable. The child who has parents that take pride in him for being what he is will have higher self-esteem than one whose parents are never satisfied.
Family attitudes toward body image also affect self-esteem. Our culture has preconceived standards of the ideal body. It is slim, well-proportioned, unblemished, and lacking any defects. When parents overemphasize these standards, youngsters who are obese, extremely thin, physically disabled, or suffering from skin disorders are destined to fall short of those standards and have low self-esteem.
Another component of family life affecting the level of self-esteem in adolescents is the attitude and character of parents. Janice Gibson cites Stanley Coppersmith’s experimental findings of self-esteem in boys. His findings revealed that children are likely to have high self-esteem when their parents have a clear definition of their roles, are well adjusted, are aware of their children’s needs and interested in nurturing those needs, and are accepting of them.
The need to belong and be approved of by his peers is another of the adolescent’s deepest needs. In Adolescence Today, Dacey cites these purposes of the peer group as summarized by Rogers:
Rejection by one’s peers can very often cause low self-esteem because youngsters are not self-reliant enough to stand alone. Social rejection might stem from personality factors such as shyness, selfishness, dependence, and prudery; or superficial matters of dress, manners, attitudes, and appearance. Any trait that deviates from the norm might relegate the adolescent to social limbo.
- 1. The “radar” function. Adolescents use their peers to test out ideas and behaviors. The feedback they get is used to change the behaviors as needed.
- 2. Replacement for father. Most teenagers seek independence from parental control and judgment, but the need for a father figure remains. The group leader often serves as surrogate father.
- 3. Support for independence. In seeking their emancipation from their parents, adolescents often feel guilty and fear that their parents will reject them. The peer group provides the needed support because its members share similar problems.
- 4. Ego building. The peer group makes one feel good about himself at a time when his self-esteem is low.
- 5. Psychic attachment. Peers fill the need for companionship and security.
- 6. Values orientation. The peer group is used as a means of solving problems. Adolescents can test various value systems, discuss them, and choose from a number of options.
- 7. Status setting. The group lets the adolescent know how important or unimportant he is; there by giving him a more realistic image of how others perceive him.
- 8. Negative identity. Sometimes the adolescent joins the group to rebel or prove a point to someone else and not because the group’s members share the same preoccupations and problems as he.
- 9. The avoidance of adult requirements. When adult attitudes and values conflict with those of the peer group, the latter often wins out.
Self-esteem is also affected by the experiences children have in school. Many educational programs are competitive and provide numerous opportunities for children to measure themselves against others in terms of intelligence, physical skills, and popularity. This measurement can have both positive and negative effects on self-image.
As teachers, we can help adolescents by setting expectations that are appropriate for the age level and intelligence ability, stressing positive activities and playing down negative ones, and explaining what is happening to them.
It we understand the point of view of this age group, we know that they need opportunities to act independently, but at the same time, feel a sense of belonging; they need opportunities to verbalize their conflicts, frustrations, and other emotional difficulties; and they need to know we are genuinely interested in them.
It is important that adolescents know that the road they’re traveling has been traveled by countless numbers of teenagers and is being traveled by many now. The feeling of aloneness can best be eradicated through reading and group discussions. This section includes discussions of readings which highlight problems faced by adolescents today. Sample lesson plans and activities planned around the readings are an addendum to this section of the unit.
These selections can be used for enrichment in reading, to teach social skills in social studies, and to reinforce creative and written expression in language arts.
We are living in a period of change. This is evidenced by the increase in violent crimes, drug abuse, and premarital sex; high rate of unemployment; discord on moral and religious issues; and the break-down in family structure. Every individual’s life is directly or indirectly affected by these changes. In order to cope with these problems, students must learn to make effective decisions. Paula Danziger’s novel, The Cat Ate My Gymsuit, provides an opportunity for students to observe how a contemporary makes decisions. While the problems and changes are not as profound as the ones stated herein, the skills can be transferred to any dilemma the child might encounter.
Sixth graders might especially enjoy reading this novel because it describes a teenager with a negative self-image. She is conscious of her body image and invents one hundred excuses for not dressing for gym. They should relate to the character’s feelings because many of them are self-conscious about wearing shorts, undressing in the locker room, and taking showers. This would be a prime time to discuss the reasons they feel as they do and guide them toward discovering ways in which to change these negative feelings into positive ones.
The Trouble With Thirteen, by Betty Miles, is included in the required reading because it gives recognition to feelings about divorce, jealousy, separation, and puberty. The story tells of two friends’ struggle to maintain their friendship despite one friend’s move to another city. Class discussions about friendship will allow students to discern those qualities that ensure and destroy friendships. Discussing feelings about divorce, jealousy, separation, and puberty allows students to compare and contrast their feelings with those of their classmates.
Psychosomatic illness and adolescent conflict in the form of rebellion are the underlying themes of Judy Blume’s novel, Then Again, Maybe I Won’t. The story is told by Tony, a sensitive thirteen year old with problems. His problems begin after his father invents a new product and makes the family rich. His anxiety is caused by his friend’s thievery; the shabby manner in which his mother treats his grandmother and her obsession with the family’s new lifestyle and rise to social prominence; and his preoccupation with sex. Whenever he encounters a problem he can’t handle, he experiences severe stomach cramps. This theme provides an opportunity for teachers to introduce students to the various support systems within the home, school, and community. Youngsters need to know that they are not alone; but there are people who can help them in crisis situations.
In discussing Joel, Tony’s friend, students may not be able to initially determine the cause of his stealing, but they should note that it is not out of necessity. By delving into his character (listing character traits); studying his behavior patterns (attitude and actions); and evaluating comments he makes about his parents, students might arrive at logical explanations for his stealing.
The final selection is a poem entitled “My Friend, Leona” from People I’d Like to Keep by Mary O’Neill. In the poem the speaker describes her friend. Leona is a very imaginative girl. She uses her imagination to mask her true feelings about poverty, her absent father, her mother’s need to work, her appearance, and her living conditions. This poem paints a vivid picture of some one with low self-esteem.
The task of raising one’s self-esteem cannot be accomplished in a short time. Individuals must realize that it is on-going and that one’s esteem may fluctuate with each experience that yields success or failure. However, when they have a more realistic image of themselves; understand the nature of the many changes they’re experiencing; discover contemporaries who share similar conflicts; and realize that parents and teachers share a sincere interest in their well-being, they are likely to have a higher opinion of themselves.
The success of this unit will be determined by the content and tone of a personal essay written by each student entitled “Everything You Wanted to Know About Me, But Didn’t Ask.”
OBJECTIVE: To familiarize students with the basic concepts of effective decision making.
MATERIALS: Copy of decision making guide, copy of decision dilemma
____Sample activity sheet
- 1. Introduction and motivation
- ____Introduce the lesson by discussing the numerous decisions boys and girls make daily: big decisions; little decisions; easy decisions; difficult decisions; right decisions; and wrong decisions. Explain that in making decisions we sometimes consider the good and bad things that might happen as a result of our choice. Identify these possible outcomes of a decision as consequences.
- 2. Development of concepts
- ____a. write the following questions on the board, and discuss the answers.
- ________What was Marcy’s problem?
- ________How did she attempt to solve it?
- ________Did she make a good decision?
- ____b. Ask students to think of two alternative solutions Marcy might have chosen.
- ____c. Copy the decision making guide on the board. Write the alternatives in the guide.
- ____d. Ask students to name the positive consequences (good things) and negative consequences (bad things) for each alternative. Their responses are written on the board.
- ____e. Allow students to examine the advantages and disadvantages of both alternatives, and select the most appropriate alternative.
- 3. Individual practice
- ____a. Review the steps one should follow when making decisions.
- ____b. Distribute a copy of the activity sheet.
- ____c. Ask for a volunteer to read the decision dilemma out loud.
- d. Instruct students to use the steps they’ve learned to make a decision.
Your class is playing “Math Relay”. You have been chosen as one of the team captains. Your first task is to select members of your team. You need one more good math student for your team. Your best friend is one of those students waiting to be selected. She wants to be on your team, but you know she is not a very good math student. What do you do?
OBJECTIVES: To increase students’ ability to identity with characters
To provide opportunities for students to become active listeners
MATERIALS: Copy of the poem “New Friends and Old Friends” by Joseph Parry, format for interview
- 1. Introduction and motivation
- ____a. Introduce the lesson by reading the poem entitled “New Friends and Old Friends” by Joseph Parry from The Best Loved Poems of the American People.
- ____b. Lead the discussion of the poem by asking the following questions:
- ________Why does the poet think old friends are more valuable than new friends?
- ________How might you lose an old friend?
- ________What are your thoughts about true friends?
- 2. Development of concepts
- The following questions may be used for discussion of the story.
- ____What character traits do you think Rachel possessed? Find examples in the story to support your answers. What are the interests and anxieties shared by the characters?
- ____Do you feel Annie’s jealousy of Rachel’s new friends was a normal reaction? Describe an experience in which you were jealous of a friend. Why do you feel the girls were so concerned about menstruation? What meaning does menstruation have for you?
- ____What pubic development might boys be concerned about? Do you think Rachel will have any problems adjusting to her parents’ divorce? Explain your answer. Skim the story for a passage that parallels the theme of the poem “Old Friends and New Friends”.
- 3. Extending interpretations
- ____a. List the various topics discussed in the novel.
- ____b. Each student will select one topic to use as a subject of an interview. He will write five or more questions for that topic.
- ____c. Explain to students that questions should elicit the person’s feelings.
- ____d. Explain that an interview is a meeting at which a reporter obtains information from a person.
- ____e. Tell students to interview another person of their own age group, remind students to use pseudonyms in their reporting and to encourage the persons they interview to be honest about their answers.
- ____f. Give students a form to use for the interview.
- ____g. Have them write their questions on the form prior to the interview.
- ____h. Ask the reporters to share their findings.
- ____i. Discuss the findings.
Sample interview form (divorce)
Reporter. How old were you when your parents divorced?
Reporter: Did it come as a surprise to you, or were you expecting it?
Reporter: Who did you blame? Why?
Reporter: What changes did the divorce cause (i.e. moving, financial problems, your mother having to work)?
Reporter: How do you feel around friends who live with both parents?
Reporter: Do you wish your parents would get back together?
Reporter: What advice would you give a child whose parents are divorced or getting a divorce?
SPIN-OFF ACTIVITY: CREATIVE WRITING
Students will write paragraphs on the topic, “The Trouble With Age _____”. They will give personal views of the problems associated with their age.
OBJECTIVES: To familiarize students with support systems in the home, school, and community.
To aid students in diagramming their own support systems.
MATERIALS: Support personnel in school (i.e. social worker, psychologist, counselors, nurse, referral office staff, administrators, security guard); support personnel from Hill Health Center; copy of support system diagram
- 1. Invite the support personnel to visit the classroom and discuss their services.
- 2. Allow for a question and answer period.
- 3. Distribute a copy of the diagrams.
- 4. Have students list the names of those persons to whom they might turn to in crisis situations.
- 5. Extend the support system by writing the names of people the primary supporters might refer them to it they are unable to help.
- 6. Ask students to draw a heavy line on the diagram mapping the support route they took when they had a problem.
Sample activity sheet
SPIN-OFF ACTIVITY: CREATIVE WHITING
Begin by asking students to name traits they observed in Joel. Ask them to support their answers with examples from the story. Explain that the author dose not tell us what happened to Joel in military school, but we can draw conclusions based on things we know about him.
OBJECTIVE: To extend the thinking of students by having them assess the facts and draw conclusions.
MATERIALS: A copy of the poem, a copy of the case study format
- 1. Distribute a copy of the poem.
- 2. Use information in the poem to complete the form.
Personal History: (sex, age group, appearance, school achievement)
Social History: (family, occupation of parents, relationship with parents)
IDENTITY MAP SEARCH
Students must compare themselves to some mythical country, and answer the questions on the background about the self.
- 1. What is the name of this country?
- 2. Who discovered this country?
- 3. When was it discovered?
- 4. Where was it discovered?
- 5. If this country is one of many on a large continent, how many are there?
- 6. What are its physical features?
- 7. What is its racial make-up?
- 8. What is its principal means of communication?
- 9. What languages are spoken?
- 10. What is its climate?
- 11. How does it get along with other countries?
- 12. Who are its allies?
- 13. What religion is practiced here?
- 14. What are its principal resources?
- 15. What are some points of interest?
- 16. What are some recreational activities?
- 17. What are some historical events?
- 18. How is it governed?
- 19. What are some of its problems?
- 20. What battles have it been a part of?
- 21. What is its stand on education?
- 22. What is its attitude toward drugs and sex?
- 23. What does it think about children’s rights?
- 24. What is this country’s hope for the future?
SPIN-OFF ACTIVITY: AUTOBIOGRAPHY
The answers from the “Identity Map Search” can be used by students as a guide in writing their autobiographies.
ACTIVITY #2: MOCK COURT
Appoint a judge and five students to act as jurors. Two students present opposing views to the same problem. The opposing views are supported by witnesses who give testimony. The role of the jurors and judge is to come up with a viable solution.
ACTIVITY #3: ALL ABOUT ME
Students can assemble a bulletin board about themselves. Student autobiographies are placed in the center. Yarn is used to connect any pictures, certificates, awards, or drawings to the autobiographies.
If two large boards are used, the displays of two or three students can be shown. Each week the display can be changed to allow everyone an opportunity to mount his display.
ACTIVITY #4: CLASSROOM JOB APPLICATION
* This job is temporary and will last one month.
- 1. Check the job you are applying for:
- _____ washing boards
- _____ distributing and collecting papers
- _____ passing out and collecting books
- _____ messenger
- _____ cafeteria monitor
- _____ line leader
- _____ removing displays from bulletin boards
- 2. What are your reasons for applying for this job?
- 3. What are your qualifications?
- 4. List any previous jobs held.
- 5. List references.
ACTIVITY #5: PARENT INVOLVEMENT
Allow parents an opportunity to assist in raising their child’s self-esteem. Distribute a copy of the following letter to parents.
This year I would like to supplement the regular academic curriculum with a unit designed to raise self-esteem in children. The experiences your child will have in school should help him develop a sense of identity and acceptance, but I need your help, too.
Your influence on your child’s self-esteem is very important. He needs to feel that you are interested in him and recognize his achievements. At the same time, it you have interests or talents you are willing to share, it will allow your child to feel a sense of pride in you. No interest is too small or insignificant. For example, you might want to share your interest in music, poetry, ethnic foods, crafts, dance, sports, or your career. When possible, plan to use your child as your assistant.
Please complete the form below, and return it with your child.
I _______ work.
I am available for 45 minutes on _____ .
I am interested in _____ and would like to share it with the class.
I have no special interests, but I do want to see the kinds of things my child is doing in school._____
After the forms have been collected, make a schedule of the times and dates when parents are available to visit the class.
ACTIVITY #6: JOURNALS
Students record their personal feelings about the events of the day. If they had negative feelings, they should think of ways they can change them into positive feelings.
- 1. Luella Cole, Psychology of Adolescence (New York, 1964), p. 267.
- 2. Stanley Coopersmith, Antecedents of Self-Esteem, quoted in Janice Gibson, Psychology for the Classroom (Englewood Cliffs, New Jersey, 1976), pp. 89-90.
- 3. D. Rogers, The Psychology of Adolescence, quoted in John Stewart Dacey, Adolescents Today (Santa Monica, California, 1979), pp. 191-192.
This is a sensitive novel about a lonely rich kid who uses money to buy friends. He learns more about himself and others whom he discovers the journal of his father who left many years ago.
Bishop, Curtis. Fast Break. Philadelphia: J. B. Lippincott Company, 1967.
This novel focuses on the importance of team-play in basketball and the pitfalls of athletes “showboating”.
Blume, Judy. Are You There God? It’s Me Margaret. New York: Dell Publishing Company, 1970.
Confusion about religion and uncertainty about puberty are the themes of this novel.
Blume, Judy. Blubber. New York: Dell Publishing Company, 1974.
This book illustrates the cruelty groups can direct toward peers. It also demonstrates the power a group leader can wield over a victim.
Blume, Judy. Then Again, Maybe I Won’t. New York: Dell Publishing Company, 1971.
This novel gives insight into the conflicts adolescents face when they are unable to solve their problems and feel there is no one they can confide in.
Danziger, Paula. Can You Sue Your Parents for Malpractice? New York: Delacorte Press, 1979.
Family problems and confusion about being oneself are the themes of this novel.
Danziger, Paula. The Cat Ate My Gymsuit. New York: Delacorte Press, 1974.
A girl with a poor body image invents one hundred excuses for not dressing for gym.
Danziger, Paula. The Pistachio Prescription. New York: Delacorte Press. 1978.
A teenage girl eats red pistachio nuts to cure any problem. She feels unattractive amidst a family of beautiful people. Family problems, a poor relationship with her sister, and asthma attacks cause her additional problems. She develops a more positive self-image after her election as freshperson class president.
Lipsyte, Robert. One Fat Summer. New York. Harper & Row Publishers, 1977.
An overweight fourteen year-old boy is the brunt of cruelty, ridicule, and intimidation from a group of roughnecks. He sheds his excess weight and learns to stand up for himself.
Miles, Betty. The Real Me. New York: Knopf, 1974.
An eleven year-old girl takes a stand to end sex discrimination in her school’s physical education program and change the newspaper’s rule forbidding girls to deliver newspapers.
Miles, Betty. The Trouble With Thirteen. New York: Knopf, 1979.
Two friends try to maintain their friendship despite one friend’s move to another city and the unexpected changes that begin to pull them apart.
A handbook for parents on raising self-esteem in children. A checklist of the basic ideas discussed in the book is included.
Caplan, Gerald and Serge Lebovici. Adolescence: Psychosocial Perspectives. New York: Basic Books, Inc., 1969.
A collection of papers on adolescence. The William Schonfild paper is most helpful in explaining sexual development, physical growth, and body image in adolescents.
Cole, Luella. Psychology of Adolescence. New York: Holt, Rinehart, and Winston, Inc., 1964.
An excellent reference on the social and emotional growth of adolescents. Chapter 13 addresses the adolescent’s self-concept.
Committee on Adolescence Group for the Advancement of Psychiatry. Normal Adolescence. New York: Charles Scribner’s Sons, 1968.
A broad overview of the dynamics and impact of adolescence is presented.
Dacey, John Stewart. Adolescents Today. California: Goodyear Publishing Company, 1979.
An excellent reference for information on identity, puberty, moral judgment, and the influence of family, peers, and school on adolescents. Each chapter includes activities relevant to the topic of discussion.
Fellman, Hazel. The Best Loved Poems of the American People. New York: Doubleday & Company, 1936.
A collection of poems frequently requested by readers of the Queries and Answers page of the New York Times Book Review. It contains many poems teachers can use.
Gibson, Janice. Psychology for the Classroom. New Jersey: Prentice-Hall, Inc., 1976.
An excellent reference for teachers. Chapter 3 explains the adolescent’s search for identity. Peer, parent, and school influences on self-esteem are discussed. Practical suggestions for teachers are included.
Grinder, Robert E. Studies in Adolescence. New York: The Macmillan Company, 1955.
A book of readings concerning the nature of adolescence. The article by Mary Cover Jones and Paul Henry Mussen reports the findings of a study of self-concept in early and late maturing girls.
Josselyn, Irene M. Adolescence. New York: Harper & Row, Publishers, 1971.
The complications and confusion associated with adolescence are discussed. Case examples are cited.
Kizziar, Janet and Judy W. Hagedorn. Search for Acceptance. Chicago: Nelson-Hall, 1976.
Parents are given some background in understanding adolescent problems. The importance of effective, on-going communication between the parent and adolescent is emphasized. Case examples are cited.
McGough, Elizabeth. Who Are You? New York: William Morrow and Company, 1976.
This is a self-help guide for teenagers in understanding themselves. Physical changes, self-esteem, peer pressure, identity, and family relationships are some of the adolescent problems discussed.
O’Neill, Mary. People I’d Like to Keep. New York: Doubleday & Company, 1964.
A book of poetry for children.
Powell, Marvin and Allen H. Frerichs. Readings in Adolescent Psychology. Minnesota: Burgess Publishing Company, 1971.
A collection of studies. Section two includes readings on self-perception.
Early adolescent years are associated with changes in physical appearance, family and peer relationships, and attitude development.
“Getting Together” Color, cassette, automatic and manual.
This filmstrip deals with being a friend without losing one’s own identity and values.
“If You Are Changing ” Color, cassette, automatic and manual.
Physical development and modified family relationships are the themes.
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Drama need not be performed for an audience, although this is the ultimate goal of this unit. Instead, drama can be as simple as the exchanges made on a daily basis by students within any classroom anywhere. These exchanges are both humorous and natural, but may be disruptive. This unit begins with the premise that through examination of student behavior, the spontaneous acting out that occurs can be the beginning of a study of drama. While not actually a soap opera, the interaction of students is anything but dull.
The unit is primarily for seventh and eighth grade students. The major objective is to introduce students to the idea of drama in their own lives; and to then transfer that idea to the works of others. The time frame for the unit will vary according to available time, but one marking period is recommended.
Initially, it will be necessary for students to feel comfortable with one another and with themselves. Very often students have few opportunities to be in a play or to speak in front of a class, and therefore there will be inhibitions to overcome. While reading aloud from a script may be worthwhile to a point, it does not begin to address the creativity and energy which is present during spontaneous conversations between classmates. It is this natural energy and spontaneity which this unit hopes to capture. Indeed the language used and types of interaction may offer insights into student behavior and problems, an area of study known as psycho-drama.
Psycho-drama focuses on the use of the theatre to help students better understand themselves and the problems they face. It affords students the opportunity to discuss the question of identity.
Through improvisations based on everyday situations lines of communication will be opened. Students will gain a better understanding of themselves and their relationships with others. Students must first know who they are before they can hope to portray others. Developing a positive self image through values clarification activities (where difficult choices must be made) will help students deal with problems they must face in everyday life, and will assist in the enjoyment and understanding of theatre.
The unit is divided into three main sections. Section I focuses on improvisational games and activities. The activities described in this section-serve two main functions. First, they are non-threatening and help to alleviate any anxiety students may feel about performing in front of their classmates. Second, they establish the fact that the things children say, and the way in which they are said, are important. Section I concludes with a shared improvisational writing activity. This activity assists in the transition to the written script by discussing the strengths and weaknesses of each scene developed.
Section II focuses on the study of existing drama. Three one act plays are discussed first and finally a full length drama. The activities in this section serve to identify the major elements of a play. The works discussed in this section all deal with problems faced by children. While written in styles very different from one another, they offer an opportunity to discuss values. The question of why certain choices were made by a particular character in a play may assist students in choices they must make in their own lives.
The final section of the unit builds upon the skills introduced in Section I and Section II and uses these skills to help write original scripts. Types of plays, the major components of a script, and the reasons for including certain scenes will all be discussed. While not a necessary outcome, the possible production of one or more original works is certainly a desired outcome.
In a variation of this game, each student tells the same story. The story being told happened to only one of the three students. That student has given the details of the incident to the other two contestants before they begin. Each tries to convince the class that the incident being described actually happened to them. Once again, the class votes for the person they feel in telling the truth. Tone of voice, details, and sincerity should be discussed following the presentations. Why did students choose correctly or incorrectly? How did they judge?
The second activity within this section deals with the language of the students. Within any classroom it is soon obvious that a great deal of the vocabulary used by the students is indeed unique. “To Tell the Truth” allowed students to share personal stories with one another. In this activity students are asked to share phrases used in conversations with friends. Not only is what children say important, but equally important is the choice of vocabulary. Later in developing written drama the vocabulary compiled in this activity will be incorporated in the scripts. Recently, a high school in Raleigh, North Carolina developed a test based on the street language used by the students at the school. The test was administered to employees of the McGraw-Hill Co., who prepared standardized tests, and none of the eight employees who took the test scored higher than a “C.” The differences in language are worth exploring.
Students, in this activity, are asked to describe current phrases used by students in talking with one another. These metaphors, or figures of speech, are usually analogies which take a literal meaning of one object and transfer it to another to suggest a likeness. The term “Home boy” for example is currently used to describe a best friend. Certainly the relationship to the home and the security of a best friend are analogous. As each metaphorical phrase is given it should be listed on the blackboard. The meaning of each term should be stated as well. Children should be questioned as to the origin of each phrase. What is their significance?
Having now compiled a current vocabulary, the students will find that the use of improvisation will help to answer these questions. Improvisation is, in simple terms, a play without a script. While later in this unit, various scripts will be studied, it is for the time being better to improvise. Improvisation does not depend on memorizing lines and it is spontaneous. Opportunities for discussion and insight into the areas of importance for students are readily available through this technique. At first, topics for improvisation should be related to the current vocabulary developed in the previous activity. Three or four members of the class are asked to act out the origin or meaning of a particular phrase. The objective of each group in this activity is to use the phrase within a skit to show its meaning. The participants may agree to play themselves in these performances or they may decide to assume the role of someone else and change the setting. Stories or scripts may later be compiled in Section III to further highlight the student vocabulary and to serve as a theme for student writing within this unit.
From this point the teacher will introduce the idea of personal conflict. The following may serve as an example. Imagine one student, Rick, who is angry with his friend, Jerry, for using his bike without asking. The situation escalates until Jerry and Rick along with other students are involved in a locker room fight. Could the situation have been avoided? A series of steps can be used to help frame the scene and to show the progression in action which will be necessary later in the development of student situations. The following diagram is a part of the unit Choices: A Unit on Conflict and Nuclear War printed by the National Education Association in 1982.
The final activity in Section I takes the unit in a different direction. Until now, the idea of a script has been non-existent. The emphasis has been on sharing experiences and on creating a positive atmosphere. Areas of concern for students have been discussed as well as student behavior and language. Students may feel that although they now feel comfortable in the area of improvisation they are in no way ready to write a script. To alleviate fears and to move into the study of existing drama the following group writing activity is proposed.
This activity is, in essence, another form of improvisation. The teacher may later find other uses for this activity, but initially its objectives are to have fun, begin to write, and to add new episodes in our continuing soap opera. Have the class select four characters at random. These characters should be familiar to everyone in the class. They may be fictional super heroes, famous characters in history, or members of the school community. Once having determined the characters, the class is divided into groups of four. Each group is told that they will, as a group, be developing a script to be performed before the other groups. What follows is a bit confusing at first, but will become much more familiar with practice. The results are worth the effort.
Each student is given a sheet of paper. On each sheet is written the following opening line.
_____ “Oh, no!”
Each student on their own sheet of paper then selects the Character from the four agreed upon by the class to say the opening line. It is possible for each of the four students to select a different character for the opening since all of this is done without the other members of the group being aware of what is being written. After writing the opening line of dialogue, the student aids a second line and the name of the new speaker. The following is a sample of what one student might have written.
Wonder Woman “Oh, no!”
Mickey Mouse “Yes, we must close Disney World.”
Each group will now have four entirely different beginnings from which to expand. On a pass signal, after about one minute, the group members each pass their sheet to the person on their right. The group member receiving the new sheet now adds a third line of dialogue as well as the name of the new speaker. The pass signal is repeated and the scripts are once again passed to the right. The process continues for about fifteen minutes with the four scripts for each group continuing to pass from one group member to another. The group is writing four completely different scenes at the same time. Each scene is being written by the entire group and is completely independent of the other three scripts. Once a sufficient number of passes have been made the teacher should allow a definite number of final passes necessary for students to conclude each scene.
After the scenes are complete, group members are asked to read individually the four scripts and to grade each script from one to four with four being the highest. They should record the scores on the reverse side of the sheet and pass the scripts around until each member of the group has read and graded the four scripts. Students should not look at the grades others have recorded until they have determined the score they feel is fair. This is to avoid being influenced by others in the group. The script with the highest total score will then be performed by the group after a sufficient amount of time to rehearse. The group will decide who will play each role.
Looking at the scenes developed by each group offers the opportunity to discuss the components of a good scene. Why was one particular piece chosen for performance over the others? What were the strengths and weaknesses of each selection? Also, what question did each of the scripts address—what was the conflict? Was the conflict resolved? This type of an activity may be repeated with a different opening line and a different set of characters. It serves three very important functions. First, students are writing and do not feel threatened. Second, the finished products offer examples to study and from which to expand. Finally, it’s fun.
Availability of plays will determine exactly what plays are studied. Any play dealing with childhood problems and/or social issues would be helpful. For this unit, I have selected three one-act plays for study as well as one full length drama. The choices are in no way fixed and the teacher should feel free to substitute as desired. What is important, now that interest has been sparked, is that this interest be kindled through the study of existing drama. The three one-act plays all deal with parent-child relationships. Each is contained in the Washington Square Press edition of the book 15 American One-Act Plays, which was edited by Paul Kozelka. The three plays are Red Carnations by Glenn Hughes, Feathertop adapted by Maurice Valency from a story by Nathaniel Hawthorne, and The Undercurrent by Fay Ehlert. The authors’ points of view are different and so are their intentions. The first play is a comedy, the second a satiric fantasy, and the third a serious drama.
As each selection is read, the teacher should point out each of the underlined components. The plays open with a description of the setting and an indication of the mood. Where does the story take place and what tone is established before the play begins? How is this achieved? The list of characters may include the way in which they are dressed or important physical characteristics. These notes can give the reader a great deal of insight into how a character thinks and the way in which they will act in a particular situation.
Once the audience is interested in the characters and the setting has been established, a dramatic situation is introduced. In Red Carnations, a 1925 play, we find that the action takes place in a city park. A boy has arranged to meet a girl he met earlier at a costume party. Both were wearing masks. The meeting will take place on a park bench and she will only know him if he is wearing a red carnation. Many complications or conflicts develop. A man is also at the park bench, and he too is wearing a red carnation. The man says he is waiting for a girl to meet him. Both the man and the boy have the same name. The girl is late in her arrival and this gives the author an opportunity to develop the scene.
When the girl finally arrives she stands off to the side. Neither the man nor the boy is sure of whom she is there to meet. Suspense is an important ingredient in any play. The man convinces the boy to approach the girl and to determine who, in fact, she is there to meet. This suspense leads to the climax. The boy does approach her and learns that she is the girl from the party that he was to meet. The man we learn has carried out this deceptive plan to protect the girl, his daughter. The man soon realizes he knows the boy’s family and the three characters leave the park arm in arm on their way to dinner. The resolution of the play is complete. There is no doubt that the future will be a happy one. This, as we will see, is not always the case.
In the second play, Feathertop, we see a scarecrow come to life through the magical powers of a witch. The newly created young man is sent forth with the advice, “Look wise, ask no questions, and tell no lies.” By doing this, Feathertop is told he can hold his own with anyone. His head is clear of corruption and he can change the world. The author in setting the stage with this dramatic situation has a motive. The young man is unspoiled. Why has this type of character been developed? What does the author want us to learn in this satiric fantasy? Feathertop is soon surprised at how quickly people want to tell him of the corruption of others. He is treated with a great deal of respect and honor by the people he meets simply because he says very little and is willing to listen to the problems of others.
As the play progresses, Feathertop falls in love with the daughter of a corrupt judge. While the judge insists the daughter marry Feathertop, she is in love with another. Feathertop knows she would be happier with her true love and return to the witch without having changed the world. The resolution of the play is not entirely unhappy, however. In allowing the young girl to marry her true love, Feathertop has, according to the author, done more good in a short time than many do in their entire lives. While this is not necessarily true, the teacher may wish to introduce the author’s point of view. What was he trying to say about people and about life? Fantasy allows the author to discuss serious questions in terms everyone can understand. Various levels of understanding may be introduced at this time, and comparisons may be made to other forms of literature in which this technique is used such as the novel Animal Farm.
The final one-act play, The Undercurrent, is a serious drama dealing with the problem of parental discipline. Written by a Chicago social worker, the play addresses the question of how to discipline children. The author stresses the importance of good communication between family members and the need for parents to be consistent in their ideas concerning the way in which they will raise their children. Students, in reading this play, should be encouraged to discuss the point of view of each character. Why is the father so strict? Is this a form of love? Should the mother be more vocal? Should Anne, the teenage daughter, be more understanding? Does the social worker have any right to become involved in this family problem?
In the play, Anne has run away because of her father’s very strict form of discipline. Her mother does not want Anne’s father to know that she has run away for fear he will become violent. She instead tells him that Anne is working for the social worker at her home. On a weekly visit to her home an angry neighbor tells the father that Anne was arrested for loitering. As the father is about to strike Anne, the social worker and Anne’s mother create a story to cover up the truth. The social worker at the end of this play takes Anne to live with her in the country realizing that the father will not change. Anne’s mother, while unhappy, realizes this is the best solution.
This play offers several topics for discussion and for study. What is good discipline? How much freedom should students have? Can you love your children and be strict at the same time? How important is it for members of the family to communicate and how is this communication established? The Undercurrent is a wonderful play in beginning to discuss these very important issues. The questions asked here may very well be transferred to the writing of one-act plays done in Section III of this unit. Each student, if writing this play should be asked if the resolution they would use to end the play would have been the same. If not, how would it have differed?
Having read a variety of one-act plays, the class will now read and analyze a full length drama, A Raisin in the Sun by Lorraine Hansberry. As with The Undercurrent, this too is a serious drama. Unlike The Undercurrent, however, which dealt only with parental discipline, A Raisin in the Sun looks at a great many social issues and themes. Among these topics discussed are poverty, crime, education, religion, race prejudice, pride, family responsibility, and love. The way in which these themes are introduced give the play a more complex dramatic structure than the one-act plays read previously.
Set in Chicago’s Southside sometime after World War II, the play takes place over a two week period. Unlike the plays studied earlier, this is a play in three acts. The main plot is soon evident. The Younger family, about whom this play is written is about to receive a ten thousand dollar insurance check. Mama, whose husband’s death is the reason for the check, and Walter, her son, disagree on what to do with the money. Walter would like to go into business. Mama wants to buy a house. Ruth, Walter’s wife, Beneatha, his sister and Travis, Walter’s son, are the other players. The interaction between each member of the family has great value in helping students deal with family problems they too may face.
Unlike one-act plays, several sub-plots develop within the play. One sub-plot involves Beneatha. She is dating two men. One, George, is very wealthy and would have her leave her worries for the finer things in life. The other boyfriend is an African nationalist, Asagai, who would have Beneatha move with him to Africa. How this question is introduced and if it is eventually resolved should be traced.
Another sub-plot involves the fact that the house Mama buys in Act II-Scene I is in a predominantly white neighborhood. When Lindner, a white businessman, is sent to buy the house back from the Youngers in Act II-Scene 3 Walter throws him out. Later in Act III, Walter calls him back to accept the offer. Once again, Walter changes his mind and throws him out. Why this progression? The questions of race prejudice as well as family pride are necessary to discuss; so too is the way in which themes such as prejudice, the need for education, and the question of religion are introduced. A vital activity would be to take each scene in the play and to decide why the author included it in the play. What is the purpose of each scene? In the lesson plans which conclude this unit, this activity and others relating to the study of A Raisin in the Sun will be provided.
Type of Play (Circle one) Comedy Fantasy Serious Drama
Setting (Include year, location, scenery notes)
Mood (The predominant emotion or feeling in the play; may include type of music or lighting to be used)
Characters (Include name, age, physical characteristics, type of dress, feelings about other characters, and any other helpful information such as type of personality or attitude)
Exposition—What is going to happen in the play? What is the cause of each event that happens and what is its effect? What is the eventual outcome of the play? (paragraph form)
Using the above paragraphs show the scenes your play will use to go from the initial conflict to the resolution. Additional notes should be written on a separate sheet of paper as to how you will go from one step to the next.
Once the setting has been described and the audience has the information it will need to understand the play, the dialogue should begin. Like a short story, a one-act play should concentrate on essential elements in understanding the story. The action presented in such plays is usually continuous and the plot relatively simple. Unlike full length plays there in not enough time to develop a complex plot. The one-act play is simply a “slice of life” and very straightforward. The dialogue should be written with the idea of telling the story in a clear manner and using language appropriate for each character.
The steps outlined in the scenario should be consulted in planning the major exchanges which will take place. The writer must determine beforehand what characters will be necessary to complete each exchange and how these characters will get on and off the stage. The words EXIT and ENTER should be used as needed. In addition, stage directions and notes on the way lines should be delivered must be given in parentheses after the name of the speaker and before the dialogue. It is important that the writer quickly introduce the characters, get the audience involved in the situation, and establish the mood of the play. Careful planning is the key to accomplishing these objectives.
As the play progresses, the audience should become aware of the problem or complication and the resulting suspense caused by this problem. Various alternatives and possible solutions should be offered within the dialogue. There are many choices which are possible when we are confronted with a problem and each of these choices has consequences which will differ. The writer should provide the audience with the various alternatives without revealing which choice is made and the result of that decision.
Reading the scripts aloud throughout the writing process will help to clear up awkward or unclear exchanges. It is also an excellent technique to use in showing students how they can help one another both in the writing process and in content. As we are dealing with social questions and attitudes, the situations presented in the various scripts are questions faced by a great number of students. Exchanges between students will help in understanding why the writer chose a particular point of view. There is a great need to discuss common problems as a means of coping with issues which all of the students face in their daily lives.
Once completed, the plays should once again be shared with one another. Discussions between members of the class may lead to final revisions. It also gives needed recognition to the students for the plays they have written and deserve to share. A title page should be written with the name of the play followed by the words, “A One-Act Play by.” Additional notes on the play’s format should be compiled through the study of other works. The final copy should be typed and bound if possible.
Many of the student plays will be suitable for performance. The teacher, together with the class, should make plans to present their work to other classes and parents. While not a necessary outcome of this unit, the presentation of one-act plays written by the students would be magnificent both for the students and for the audience. Too often students are spectators in education rather than active participants. Education is not a passive activity, and drama offers the opportunity to create and to share. It allows us to explore the questions of life which confront us all. Through psycho-drama, students are encouraged to discuss their concerns in a non-threatening environment. Drama may well be the “Guiding Light” in helping “The Young and the Restless.”
Objective The students will determine and list the ways in which author is able to get characters on and off the stage at each moment in Act 1—Scene 1. Second, the students will note the reasons why it is important for certain characters to be present or absent during a particular exchange.
- 1. Read through Act 1—Scene 1 a minimum of twice.
- 2. Answer the following questions:
- ____What character is on stage at all times during this scene?
- ____How does the author use the bathroom to add or remove characters within the scene?
- ____What purpose does the discussion over fifty cents for Travis play in this scene?
- ____List the major conflicts introduced in this scene. When is each problem introduced and by whom?
- 3. Using the information from the answers to the above questions, outline the major exchanges in the scene and the reason each is important.
Objective Students, using information implied within the play, will describe a conversation between a character from the cast and a person or group of people discussed but never shown. In completing this activity, students will stress the importance of such unseen action in helping to form a complete picture of each character by including personality characteristics which may not be present in what we see on stage.
Procedure Each student is asked to describe a meeting between one of the following pairs of characters:
This assignment may be completed in story form or using dialogue. Once completed, the students should be asked if this assignment changed the way they felt about a particular character. If so, how?
- 1. Walter and Willie
- 2. Walter and his boss
- 3. Mama and the realtor
- 4. Beneatha and her teacher
- 5. Travis and a friend
Objective Students will review many of the conflicts presented within the play and give predictions for the future based on available information and the personality of each character.
Procedure Complete the following chart. What will be the outcome of each conflict? Will it be resolved or will it continue to exist? If it is resolved, what will be the resolution? If it is not resolved, does the question go away, become more of a problem, or change in some other way? Discuss your answers with others in the class. How are your predictions different from those of your classmates. Upon what information is your prediction based?
Complete the following chart.
Future Reason for Characters Conflict Prediction Prediction Mama and Beneatha importance of religion Beneatha and Walter importance of education Walter and his boss over job pay and responsibility of being to work on time Beneatha and herself deciding between George, Asagri or neither Walter and Mama over decision making power within the family Walter and Bobo what to do in the future to escape poverty Ruth and Walter the loss of communication between the two The Younger family prejudice
- and their new
A serious drama dealing with the problems of a black family in Chicago after World War II.
Kozelka, Paul (editor). 15 American One-Act Plays. New York: Washington Square Press, 1961.
Good examples of storytelling in play form . Includes plays on a wide variety of subjects.
Offers insight into the use of drama as an important tool in therapy. Focuses on the areas of psycho-drama and the therapeutic method. Volume II deals with this topic for adults.
Durland, Frances. Creative Dramatics for Children. Ohio: Antioch Press, 1952.
A manual for teachers to use in working with beginning actors. Useful sections include notes of directing and rehearsal problems.
Johnstone, Keith. Improvisation and the Theatre. New York: Theatre Arts, 1979.
Valuable for teachers as a tool for helping children begin to relax.
Spolin, Viola. Improvisation for the Theatre. Evanston: Northwestern University Press, 1972.
A wide variety of improvisational games and ideas. Very useful sequence of activities to assist in the teaching of drama.
Walker, Pamela. Seven Steps to Creative Children’s Drama. New York: Hill and Wang, 1957.
Helpful in the production of a play. Offers activities for children to use in the sharpening of concentration skills and the use of the five senses.
Ward, Winifred. Theatre for Children. Kentucky: Children’s Theatre Press, 1950.
Especially helpful in discussing the major components for the writing and structure of a play.
National Education Association. Washington D.C. Choices: a unit on conflict and the nuclear war. 1982.
Contents of 1983 Volume V | Directory of Volumes | Index | Yale-New Haven Teachers Institute