bento.cdn.pbs.org · web viewwhen president lyndon b. johnson signed the public broadcasting act...

Teacher Name _____________________________________ Date________________

1

SARAH & ADDIEWORKBOOK

Developed by Valrica Bryson Director DVICE

TeacherStudyGuide

Handbook

2



MESSAGE FROM THE CHIEF EXECUTIVE OFFICER

As CEO, there are few things I enjoy more than receiving proposals from organized, talented individuals who want to document our culture and way of life. When Valrica Bryson approached me about the Sarah & Addie project, I was immediately all in. It was a joy for my staff to work with the natural abilities of the actors in recreating the market scenes. Markets are places where we made our living, where we interacted, where we dished “melee” …it was one of our cultural bastions.

Of course, over the years, our economy has diversified, and our markets are not as bustling as they once were. While you can still pick up some fresh vegetables (if you wake up early enough to beat others to it) and you can still get some juicy gossip, it’s certainly not the same social center it was.

While change is constant, we must always keep touch with how we developed as a people, and, as such, it is necessary that we tell our stories. We have immigrants from the Caribbean, who share similar cultural experiences, as well as people who have relocated, who make the Virgin Islands their home. These individuals do not have the inherent, unique experiences of Virgin Islands customs and lore to pass on to their children who are born here. This creates a disconnect in traditions and we need first generation Virgin Islanders to have a semblance of the cultural connection of multi-generational Virgin Islanders. This area is where WTJX can make an impact.

When President Lyndon B. Johnson signed the Public Broadcasting Act of 1967 that birthed PBS, NPR, and of course WTJX, he remarked, “…our Nation wants more than just material wealth; our Nation wants more than a “chicken in every pot.” We in America have an appetite for excellence, too. While we work every day to produce new goods and to create new wealth, we want most of all to enrich man’s spirit.”

WTJX seeks to honor President Johnson’s vision. Our efforts are on the frontline of preserving our history and culture through our media platforms. We want to be your resource to enrich all generations and visitors about our home and the special pride we take in being Virgin Islanders.

I look forward to partnering with the Virgin Islands Department of Education on more projects and creating content that reflect our community.

Sincerely,

Tanya-Marie Singh3



Chief Executive Office

The Virgin Islands is comprised of four main islands and many small surrounding islands and cays. The main in four are St. Croix, St. Thomas, St. John and Water island. The journey of public education in the Virgin Islands began in 1787. The legacy of Education in the Virgin Islands is very important to our teaching and learning experiences. Public school education was introduced for some locals in 1787 (Cook, 1934).

The abolition of slavery by Britain in 1833 prompted Governor Peter von Scholten to move immediately toward amelioration ad gradual emancipation of those enslaved in the Danish Colony (Boyer, 1983). He sought through his ambition to prepare slaves for freedom through education, von Scholten was convinced that the schools should be under Moravian direction, permission for which he obtained from Moravian authorities in Herrnhut, Germany during his visit there in 1838 (Boyer, 1983). The Country School Ordinance of June 4, 1838 provided for free and compulsory education in the Danish Virgin Islands for the unfree as well as free and authorized the erection of eight schools in St. Croix and five St. Thomas and four in St. John (Boyer, 1983). Instruction was to be in English under the direction of the Moravians. It also noted that they then moved to the Lutheran Church. Those who had the opportunity to learn didn’t get it until 1839 when they became freed slaves (Cook, 1934). Although von Scholten was a determined man who had the kings support and by January 1842 all eight schools in St. Croix were functioning. Construction of public elementary schools in St. Thomas and St. John was to be much delayed (Boyer, 1983).

The United States sought to purchase the Virgin Islands several times but was unsuccessful. The islands weren’t economically strong thus it was difficult for the colonizers (Lane, 1934). Consequently, it was necessary for them to meet the needs of the people of the islands by educating them. According to Blauch (1946) in all of the outlying areas education through a system of public schools was a significant feature of the program for promoting the happiness and prosperity of the residents. In 1933, Paul M. Pearson governor of the islands, instituted the Progressive Education Association which undertook to direct a summer institute because it was to make it possible for teachers in St. Thomas and some from other islands to study the principles of progressive education and to observe them put it into practice in the classrooms (Cook, 1934). Congress left educational policies in these areas largely to the people of the area and to administrative positions. According to Dejnozka (1972) the first ten to twelve years of United States rule may be viewed as among the most significant. Total expenditures for the public schools were increased by more than 500 percent. Greater number of children received instructions and remained in school for longer periods. By the time compulsory attendance had been extended to the close of the school year after (the child)

4



Education in the Virgin Islands……….

fifteenth birthday (Dejnozka, 1972 ). The positive impact of these early educational reforms is perhaps best observed in respect to holding power. Between 1919 and 1930 the islands total population decreased by some 4,000 people. In spite of the decline, however the total public school enrollment increased from 2,267 in 1919 to 3,061 in 1930 (Dejnozka, 1972 ). The curriculum of the schools was changed during the 1920’s to conform with the U.S. Mainland offerings (Dejnozka, 1972 ).

Interestingly, teachers were being trained in a new program known as the Hampton program which was established by a native born Crucian Mr. Alonzo G. Moron. The program was for both graduate and undergraduate scholarships for teachers. This provided teachers with training outside of Puerto Rico. In 1954, President Eisenhower signed Public Law 517 a measure which revised the Organic Act creating an Insular Department of Education, superseding the former Departments (Dejnozka, 1972). In the same manner the first Commissioner of Education was instituted. Ralph M. Paiewonsky, who was appointed Governor by President John F. Kennedy and Dr. Pedro C. Sanchez whom Paiewonksy selected as his first Commissioner of Education. In 1964 Commissioner Sanchez, made strides with education as two of the high schools were accredited by Middle State Association. Paiewonsky was also instrumental in July of 1963 when the two-year College of the Virgin Islands first opened its doors to approximately forty full-time students seeking post high school training. On March 16, 1962, as the College of the Virgin Islands — a publicly funded, coeducational, liberal arts institution — by Act No. 852 of the Fourth Legislature of the U.S. Virgin Islands. The College of the Virgin Island became then became the University of the Virgin Island became in 1986.

Ralph M. Paiewonsky was known as the education Governor. Over the years the Department of Education went through many changes. There was a time when there were 15 public schools on St. Croix, 15 on St. Thomas and two on St. John. Today the University of the Virgin Islands has two campuses. It continues to train education majors with the Bachelor of Arts, Master of Arts and Doctoral program in education.

The need for students to be self-aware and also be in various environments that are completely inclusive of and most importantly identifies their culture and cultural experiences is significant. It is necessary to ensure that there is a collaboration with other entities to provide several perspectives and individual experiences to learn about their culture. The implementation of a real and true cultural approach to teaching and learning should be most deliberate but more importantly one that entails a long-term process of learning. Thus, within these realms we must also ensure that our students are cognizant of being inclusive, being empathetic and mostly being able to comprehend that we live in a diverse society.

5



Teacher Introduction

“Everybody is a genius. But if you judge a fish by its ability to climb a tree, it will live its whole life believing that it is stupid.” Let us have this conversation with our students to include everyone always. It is necessary to ensure that teachers provide students with culturally responsive modes of learning. When this application is made we see ongoing learning and discussion that will only give our students more than a fortuitous experience. Cultural Arts education encompasses a range of activities in the visual arts, in music, in drama, in dance and in literature. These activities and experiences help the child to make sense of the world; to question, to speculate and to find solutions; to deal with feelings and to respond to creative experience. The Cultural arts education curriculum provides for a balance between expression and the child’s need to experience and respond to the visual arts, to music and to drama.

AimsThe aims of arts education are:

to enable the child to explore, clarify and express ideas, feelings and experiences through a range of arts activitiesto teach inclusion, diversity, and empathy to provide for aesthetic experiences and to develop aesthetic awareness in the visual arts, in music, in drama, in dance and in literatureto develop the child’s awareness of, sensitivity to and enjoyment of visual, aural, tactile and spatial environmentsto enable the child to develop natural abilities and potential to acquire techniques, and to practice the skills necessary for creative expression and for joyful participation in different art formsto enable the child to see and to solve problems creatively through imaginative thinking and so encourage individuality and enterprise to value the child’s confidence and self-esteem through valuing self-expressionto foster a sense of excellence in and appreciation of the arts in local, regional, national and global contexts, both past and presentto foster a critical appreciation of the arts for personal fulfilment and enjoyment.

DramaWe meet drama most frequently in the theatre, on television or in the cinema, and we associate it with performance, costumes, setting and stages. Similarly, in school we often associate drama with script, rehearsal, voice production and the display of acting talent. This type of drama has certain benefits in that it increases children’s self-confidence, gives them the opportunity to express themselves in public and allows them the opportunity of appearing stage. However, it represents only a part of the rich learning and developmental experience that dram

BIOGRAPHY OF ANTON TEYTAUAnton C. Teytaud was born abt. 1911 in St. Thomas to Anton Henrik Valdemar Teytaud (Crucians) and Emma Eudoka van Beverhoudt (Thomian) (Carter & Jensen, 2019 ).

A wedding notice for his parents in the newspaper reads as below:St. Croix Bulletin, Christiansted, Monday 18. January 1909

A pretty little wedding took place last evening in All Saints [St. Thomas] when Mr. Anton H. V. Teytaud, telegraphist, of the W I. & P. Tel. Co., was married to Miss Emma Eudoka van Beverhoudt. The bride was led to the altar by her brother- in-law, Consul David O. Bornn, and Mr. J.A. Ridgway, a fellow clerk, was best man. The bride was accompanied by a single maid of honor, Miss Alice Vance, and two pages, her little nephews. She was attired in taffetta silk. The ceremony was performed by the Archdeacon Hutson, M. A., K. D., British Chaplain. Afterwards there was a reception at Consul and Mrs. D O. Bornn's residence at which the relatives and a few intimate

6



friends were present. The presents were many and useful and the bouquets all beautiful. The health of the couple was proposed by Archdeacon Petersen who join their numerous friends in wishing them a long and happy union. By Mail Notes January 13.

Anton C. Teytaud’s father, Anton Henrik Valdemar Teytaud, was born in Christiansted in 1885 to Anton Henrik Teytaud (Daneman) and Sophia Camilla Teytaud (Crucian) and was baptized in St. John Anglican Church.

Anton C. Teytaud’s grandfather, Anton Henrik Teytaud arrived on St. Croix from Denmark in 1870. He lived and worked as a policeman in Christiansted most of his life. He married Crucian seamstress Sophia Camilla Lammers in 1876. From this marriage seven known children were born in Christiansted and all baptized in St. John Anglican Church, viz:

Emilie Elizabeth b. 1876August Peter b. 1878Agnes Eliza b. 1879Caroline Mathilde 1881Maud de Olivia b. 1803Anton Henrik Valdemar b. 1885 (the father of Anton C. Teytaud)Harold Victor Emanuel b. 1888

In 1890 the entire Teytaud family lived at Church St. 06-07, Christiansted. Other addresses include Company St. 49 and Prince St. 05. Anton C. Teytaud’s paternal grandmother, Sophia Camilla Teytaud (born Lammers) died a widow in 1910 at the age of 57. She was buried in Christiansted.

A sympathy notice printed in the newspaper to Anton Henrik Valdemar Teytaud [a devout Anglican] on the death of his mother reads as below:

Lightbourn’s Mail Notes. ST. THOMAS, FRIDAY, NOVEMBER 11, 1910

We tender our sympathy to Mr. A. Teytaud on the loss he has sustained through the death of his mother, which sad event took place on Wednesday afternoon in St. Croix; this is a quick following on her husband, who only died a short time since, which makes the affliction in the Teytaud family all the more painful.

Sophia Camilla, sometimes called Sophy, was born to Christiana Clendinen on Estate Jerusalem in May 1852 four years after emancipation. She was baptized the same year having three sponsors, viz.: David Michael, a saddler of Jerusalem (1855); Jessie Jackson, a seamstress of Jerusalem (1850); and C. Johnson, a medical doctor living on Jerusalem.

According to the census record of 1855, Christiana and Sophia were living together on Jerusalem; Christiane was a cook to Miss Golden, a renter of the estate dwelling house.

By 1860 Sophia, only seven years old, was living in town at Company St. 42 working as a house servant for Doctor Johnson and family – one of the sponsors at her baptism. Also living in the same household was 23-year-old Amelia Wilson, a cook, and 16 -year- old Maria Danielsen, a house servant.

By 1870 she was again living with her mother, Christiana Clendinen, a servant, and younger sister, Maud Delphine [Adelphine] Pelton at Company St. 38.

7



Six years later - in 1876 - Sophia Camilla Lammers married Anton Henrik Teytaud, the Daneman.

Anton C. Teytaud’s paternal great-grandmother, Christiana Clendinen, was born enslaved abt. 1828 on Estate Jerusalem. She appeared on Jerusalem’s inventories between 1831-1840; at age 12 she was valued at 200 Danish West Indian currencies.

In 1841 Christiana was a fieldworker on Jerusalem; by 1846 she was working as a house servant on the estate.

She moved to Christiansted sometime after emancipation where her second daughter, Maud Adelphine, was born in 1858.

Christiana Clendinen died in 1900 from heart disease. Her last address was Queen St. 14, Christiansted. She was 73 years old.

Objective(s): The students will create original folk stories and write a storytelling. 1. Define and give examples of storytelling.2. In small groups, have the students come up with one line a story topic. 3. Share the ideas with the class and brain storm to write the imaginary

content of the story and a skit.

Objective(s): Students will be able to read Sarah & drama scripts in English1. understand main ideas and details in different kinds of dramatic script 2. improve listening comprehension of different types of spoken texts – for main ideas, details and speakers’ attitudes and emotions3. speak on a given topic for an extended period of time in an improvisation4. speak clearly enough (pronunciation, stress, intonation) to be understood by classmates and audience5. write dramatic scripts for different purposes and audience6. formulate, express and defend individual ideas and opinions in an improvisation7. develop and use language learning strategies for all language skills

Objective(s): The students will demonstrate their understanding of Calypso by explaining how it is different from other music. (Cariso, Quelbe, and reggae)1. Listen to examples of Calypso music. (Website:

http://caribya.com/caribbean/culture/music/calypso/) 2. Use a word wall for defining words. Have the students write the words in

their notebook.3. Ask the students to write a 4-line poem to be used in a Calypso song.

Objective: The students will compare and contrast Calypso music and Quelbe music. 8



OBJECTIVE(S)The students

will experience culturethrough the arts, storytelling and song.

` 1. Listen to examples of Quelbe music.2. Use a word wall for defining words.3. Have the students discuss the differences and similarities of Calypso music and Quelbe music.

Objective: The students will create original folk stories and write a skit. 1. Define and give examples of storytelling.2. In small groups, have the students come up with one line a story topic. 3. Share the ideas with the class and brain storm to write the imaginary

content of the story and a skit.Objective: The students will discuss the origin and significance of the Griot and

Storyteller.1. Define Griot & Storyteller and tell the origin.2. Use a word wall for defining terms.3. Ask the students to draw a Griot and storyteller to represent their own

personalities. Share with the class. Objective: The students will discuss diversity, empathy, and inclusion.

1. To promote inclusion 2. To define and understand diversity and empathy

STUDENT STANDARD PERFORMANCE INDICATORS

CS.S.A. –Culturally knowledgeable students are well-grounded in the cultural heritage and traditions of their U.S. Virgin Islands

CS.S.A.1. Demonstrate an understanding of Virgin Islands Culture; CS.S.A.2. Assume responsibility for their role in relation to the well-being of the U.S. Virgin Islands cultural community and their life long obligation as a community member; CS.S.A.3. Demonstrate the ability to search or retract their own genealogy and family history; CS.S.A.4. Acquire and pass on the traditions of their U.S. Virgin Islands community through oral and written history;CS.S.A.5. Engage in traditional activities with the responsibilities to the surrounding environments;CS.S.A.6. Engage in activities to preserve, promote, protect and archive the history & cultural customs of the U.S. Virgin Islands. CS.S.A.7. Reflect through their own actions the critical role that the U.S. Virgin Islands heritage language plays in fostering a sense of who they are and how they understand the world around them CS.S.A.8. Live a life in accordance with values and traditions of the U.S. Virgin Islands community and integrate them into their everyday behavior;CS.S.A.9. Understand the place of their U.S. Virgin Islands cultural community regional, state, national and international political economic systems:

CS.S.B. -Culturally knowledgeable students are able to build on the knowledge and skills of the U.S. Virgin Islands cultural community as a foundation from which to achieve personal, academic, and economic success throughout life.

CS.S.B.1. Acquire insights from other cultures without diminishing the integrity of their own; CS.S.B.2. Make effective use of the knowledge, skills and ways of knowing from their own cultural traditions to learn about the larger world in which they live. CS.S.B.3. Identify appropriate forms of technology and anticipate the consequences of their use for improving the quality of life in the community. CS.S.B.4. Making appropriate choices regarding the long-term consequences of their actions.

9



Cultural Standards

CS.S.C. -Culturally-Knowledgeable students are able to actively participate in various cultural environment

CS.S.C.1. Perform livelihood activities in ways that are appropriate to the U. S. Virgin Islands cultural traditions CS.S.C.2. Make constructive contributions to the governance of their community and the well-being of their family; CS.S.C.3. Attain a healthy lifestyle through which they are able to maintain their own social, emotional, physical, intellectual and spiritual well-being; CS.S.C.4. Enter into and function effectively in a variety of cultural settings.

CS.S.D.-Culturally knowledgeable students are able to engage effectively in learning activities that are based on traditional ways of knowing and learning in the U.S. Virgin Islands.

CS.S.D.1. Acquire in-depth cultural knowledge of the U.S. Virgin Islands through active participation and meaningful interaction with elders, cultural bearers and other knowledgeable adults in the community. CS.S.D.2. Participate in and make constructive contributions to the learning activities associated with a traditional camp environment; CS.S.D.3. Interact with elders in a loving and respectful way that demonstrates an appreciation of their role as culture-bearers and educators in the U.S. Virgin Islands community CS.S.D.4. Gather oral and written history information from the U. S. Virgin Islands community and provide an appropriate and accurate interpretation of its cultural meaning and significance CS.S.D.5. Identify and utilize appropriate sources of cultural knowledge to find solutions to everyday problemsCS.S.D.6. Engage in realistic self-assessment to identify strengths and needs and make appropriate decisions to enhance life skills.

CS.S.E. Culturally-knowledgeable students demonstrate an awareness and appreciation of the relationships and processes of interaction of all elements in the world.

CS.S.E.1. Recognize and build upon the inter-relationships that exist among the spiritual, natural and human realms in the world around them, as reflected in their own cultural traditions and beliefs as well as those others; CS.S.E.2. Understand the ecology and geography of the bioregion they inhabit. CS.S.E.3. Demonstrate an understanding of the relationship between worldview and the way knowledge is formed and used. CS.S.E.4. Determine how ideas and concepts from one knowledge system relate to those derived from other knowledge systems. CS.S.E.5. Recognize how and why cultures change over time. CS.S.E.6. Anticipate the changes that occur when different cultural systems come in contact with another. CS.S.E.7. Determine how cultural values and beliefs influence the interaction of people from different cultural backgrounds. CS.S.E.8. Identify and appreciate who they are and their place in the world.

(Also refer to the Crossing Paths Framework)

10



Reading Anchor Standard Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.

RL.4.1 Refer to details and examples in a text when explaining what the text says explicitly and when drawing inferences from the text.

RL.6.1Cite textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

Anchor Standard Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.RL.4.2 Determine a theme of a story, drama, or poem from details in the text; summarize the text.RL.6.2 Determine a theme or central idea of a text and how it is conveyed through particular details; provide a summary of the text distinct from personal opinions or judgments.

WRITING Anchor StandardWrite narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.W.4.3

11



Common Core

Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences.

W.6.3

Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well-structured event sequences.

b. Use narrative techniques, such as dialogue, pacing, and description, to develop experiences, events, and/ or characters.

Speaking and Listening Anchor StandardPrepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.SL.4.1Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 4 topics and texts, building on others' ideas and expressing their own clearly.

a. Come to discussions prepared, having read or studied required material; explicitly draw on that preparation and other information known about the topic to explore ideas under discussion.

b. Follow agreed-upon rules for discussions and carry out assigned roles.c. Pose and respond to specific questions to clarify or follow up on information, and

make comments that contribute to the discussion and link to the remarks of others.d. Review the key ideas expressed and explain their own ideas and understanding in

light of the discussion

SL.6.1 Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 6 topics, texts, and issues, building on others’ ideas and expressing their own clearly.

a. Come to discussions prepared, having read or studied required material; explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe and reflect on ideas under discussion.

b. Follow rules for collegial discussions, set specific goals and deadlines, and define individual roles as needed.

c. Pose and respond to specific questions with elaboration and detail by making comments that contribute to the topic, text, or issue under discussion.

d. Review the key ideas expressed and demonstrate understanding of multiple perspectives through reflection and paraphrasing

Anchor StandardPresent information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.

12



SL.4.4 Report on a topic or text, tell a story, or recount an experience in an organized manner, using appropriate facts and relevant, descriptive details to support main ideas or themes; speak clearly at an understandable pace.

SL.6.4Present claims and findings (e.g., argument, narrative, informative, response to literature presentations), and sequencing ideas logically and using pertinent descriptions, facts, and details and nonverbal elements to accentuate main ideas or themes; use appropriate eye contact, adequate volume, and clear pronunciation.

a. Plan and deliver an informative/explanatory presentation that: develops a topic with relevant facts, definitions, and concrete details; uses appropriate transitions to clarify relationship; uses precise language and domain specific vocabulary; and provides a strong conclusion

Reading Literary Text

CCSS.ELA-LITERACY.RL.9-10.1Cite strong and thorough textual evidence to support analysis of what the text says explicitly, as well as inferences drawn from the text.

CCSS.ELA-LITERACY.RL.9-10.2Determine the theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped or refined by specific details; provide an objective summary of the text.

CCSS.ELA-LITERACY.RL.9-10.3Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

WRITING

CCSS.ELA-LITERACY.W.9-10.3Write narratives to develop real or imagined experiences or events using effective techniques, well-chosen details, and well-structured event sequences.

CCSS.ELA-LITERACY.W.9-10.3.AEngage and orient the reader by setting out a problem, situation, or observation, establishing one or multiple point(s) of view, and introducing a narrator and/or characters; create a smooth progression of experiences or events.

CCSS.ELA-LITERACY.W.9-10.3.BUse narrative techniques, such as dialogue, pacing, description, reflection, and multiple plot lines, to develop experiences, events, and/or characters.

CCSS.ELA-LITERACY.W.9-10.3.CUse a variety of techniques to sequence events so that they build on one another to create a coherent whole.

13



http://www.corestandards.org/ELA-Literacy/W/9-10/3/c/

http://www.corestandards.org/ELA-Literacy/W/9-10/3/b/

http://www.corestandards.org/ELA-Literacy/W/9-10/3/a/

http://www.corestandards.org/ELA-Literacy/W/9-10/3/

http://www.corestandards.org/ELA-Literacy/RL/9-10/3/



CCSS.ELA-LITERACY.W.9-10.3.DUse precise words and phrases, telling details, and sensory language to convey a vivid picture of the experiences, events, setting, and/or characters.

Language

CCSS.ELA-LITERACY.L.9-10.4.BIdentify and correctly use patterns of word changes that indicate different meanings or parts of speech (e.g., analyze, analysis, analytical; advocate, advocacy).

CCSS.ELA-LITERACY.L.9-10.4.CConsult general and specialized reference materials (e.g., dictionaries, glossaries, thesauruses), both print and digital, to find the pronunciation of a word or to determine or clarify its precise meaning, its part of speech, or its etymology.

CCSS.ELA-LITERACY.L.9-10.4.DVerify the preliminary determination of the meaning of a word or phrase (e.g., by checking the inferred meaning in context or in a dictionary).

CCSS.ELA-LITERACY.L.9-10.5Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.

CCSS.ELA-LITERACY.L.9-10.5.AInterpret figures of speech (e.g., euphemism, oxymoron) in context and analyze their role in the text.

CCSS.ELA-LITERACY.L.9-10.5.BAnalyze nuances in the meaning of words with similar denotation

14



http://www.corestandards.org/ELA-Literacy/L/9-10/5/b/

http://www.corestandards.org/ELA-Literacy/L/9-10/5/a/

http://www.corestandards.org/ELA-Literacy/L/9-10/5/

http://www.corestandards.org/ELA-Literacy/L/9-10/4/d/

http://www.corestandards.org/ELA-Literacy/L/9-10/4/c/

http://www.corestandards.org/ELA-Literacy/L/9-10/4/b/

http://www.corestandards.org/ELA-Literacy/W/9-10/3/d/

What is cultural education?

Cultural education consists of the capacity for reflection. Cultural education affords you as a child the opportunity to learn and to reflect upon your own culture, culture of others and culture in general. You can learn culture through various mediums, such as through journalism, or through history but also through the arts. The arts are one of the main forms of self-consciousness, cultural self-consciousness but also philosophy, science and also lessons of example of citizenship (merriam-webster, 2019).

Each of these forms of reflection together form what cultural education is and in the United States Cultural Education is diverse. We have a melting pot of people of various ethnic backgrounds from all over the world. We have to embrace these. You will learn about diversity (merriam-webster, 2019).

What is inclusion?

Inclusion is the educational practice of educating children with disabilities in classrooms with children without disabilities. There are generally two models for inclusion: push in or full inclusion. You will often hear the word “differentiation’ from teachers. This signifies that they are required to make learning a possibility for all students (merriam-webster, 2019).

What is diversity?

Diversity means that there are a lot of different kinds of things or people. The concept of diversity encompasses acceptance and respect. It means understanding that each individual is unique. It is also about recognizing our individual differences. Some things that make us different is race, ethnicity, sexual orientation, socio-economic status, gender, physical abilities, religious beliefs, ideologies and age (merriam-webster, 2019).

What is empathy?

It is the action of understanding, being aware of, being sensitive to, and vicariously experiencing the feelings, thoughts, and experience of another of either the past or present without having the feelings, thoughts, and experience fully communicated in an objectively explicit manner (merriam-webster, 2019).

Addie & Sarah Meet the Tourist – In this skit Anton Teytaud has set the scene of a tourist who had an interest of taking the picture of Sarah & Addie in the market

15



A Summary of Five Skits

Bag of Cultural Education, Inclusion, Diversity and Empathy

https://www.merriam-webster.com/dictionary/explicit

(Teytaud, 1978). Sarah & Addie has a thorough conversation about people visiting St. Croix and taking it for granted that they can describe the persons of the Virgin Islands (Moorehead, 2019 ). The manner in which people speak and talk in the Virgin Islands. It is almost as if Sarah felt that she was being mimicked (Lynch, 2019).

Of Divorce and Other Matters - The discussion with Sarah and Addie pertains to the act of getting married and being married for a period of time. The two persons were married but things changed after the marriage. The wife became more possessive of the items in the home and the home itself. They spoke to the invasion of a person’s privacy. The trials and tribulations that accompanies married (Lynch, 2019 ). It is about town gossip (Lynch, 2019 ). A lot of time is spent on the dynamics of dealing with market customers whether ‘Local’ or tourist (Lynch, 2019 ).

Getting Married is Risky Business - Anton Teytaud paid close attention to the women in the market and their talk about marriage but mainly about the risk of getting married. The title speaks for itself. The women can give advice about being married while both women are single themselves. They speak somewhat about domestic violence which at the time wasn’t recognized as it is today as a terrible act.

Muu Muu’s & Politics – The purpose of this skit was to bring light to what was going on politically in the Virgin Islands. It gave an acknowledgement how important your voice is in relations to the voting process (Lynch, 2019 ). Each person had a voice to get out and vote. This skit encourages persons to use that ability to go out and vote. Although it is mimicry it brought a great sense of commitment to voting here in the VI and the ability to have the democracy right to vote (Lynch, 2019 ). The discussion of fashion that’s what’s meant for tourists versus normal island attire(Moorehead, 2019 ). The change in the economy with progress (Supermarkets taking over and hurting the market women business) (Moorehead, 2019 ). Lastly, the pros and cons of voting (Moorehead, 2019 ).

Travelers Return- When a person leaves the Virgin Islands it was said that they came back with an attitude that they were superior and were now Americanized (Lynch, 2019 ). They forgot all about their heritage and foods that they ate. We see this often even today, when people come back from the Continental United States they are speaking properly and have a slight accent (Moorehead, 2019 ).

16



WORD WALL

PLOTMarket

1. Character_____________________________________________________

17



Music

Inclusi

Diversity

Setting

Characters

skiTS

Empathy

CalypsoGriot

Synopsis

Culture

Tourist

History

Vocabulary Terms

2. Setting_______________________________________________________

3. Plays_________________________________________________________

4. Skit ________________________________________________________

5. History ______________________________________________________

6. Tourist________________________________________________________

7. Storyteller ____________________________________________________

8. Plot__________________________________________________________

10.Town ________________________________________________________

11.Griot ________________________________________________________

12. Market_______________________________________________________

13. Music ________________________________________________________

14. Culture_______________________________________________________

15. Theater box __________________________________________________

16. Amelioration ___________________________________________________

17. Prosody __________________________________________________

Tell us a little bit about your family. We see that Anton Teytaud has a long history of family in the Virgin Islands.

18



Great Grandparent

s

Great Grandparent

sGreat

Grandparents

Great Grandparen

ts

Family Tree

Parents

Instructions: Answer the questions about the skit the group is working on together in class

using the map below.

19



Character

Story Elements Web

What effect does the setting have on the

plot?

STORY ELEMENTS

Grandparents Grandparents

Climax

Rising Falling Action Action

Activity: “Bag of Inclusion, Diversity, and Empathy”Instructions/Activity

Prep/Pre-Activity Instructions:I. Read the entire instructions for the facilitator and materials list

II. Purchase and organize supplies Note: each bag should be for a group of 3-6 people. These materials below are the for “complete/privilege” bag as it has all the materials and instructions in English, there should

20



Setting

Plot

How are theCharacters developed

What Characters

Say and does

How other characters react to him or her

What the author /narrator tells us

What is the plot?

Is there any conflict or resolution?

The main characters

theme

How is it developed

Why is it important and how does it affect the? Characters

mood?

Describe the setting in the boxes below

Where When

What is the sequence of

events? Include the exposition,

climax, the rising, and

falling action and resolution

Curricula & Drama

only be about 1-2 of the completed bags in the activity and the rest should have a few things missing to simulate inequity

o 1 Gallon Size Freezer Bago 1 Set of instructions (see instructions sheet)o 1 Safety scissors (Teytaud, 1978)o ½ sheet of blue construction papero ¼ sheet of yellow construction paper o 1 Glue stick or adhesiveo Sharpie marker or peno Optional: Smarties (to represent positive messages people

receive in life about their identities)o Optional: Dum Dums (to represent negative messages people

receive in life about their identities)

Activity Instructions: Divide participants into groups and pass out bags with materials to each group.

Facilitator: Please do not open the bag until I say when. The goal for this activity is to complete this task under 5 minutes using the instructions provided. I will not have any helping role in this activity so please do not ask me any questions.

Facilitator: Now, open your box and read the instructions first before touching anything. Again, you will not be given any additional instructions beyond what is on this paper. After you read the instructions, you can begin the activity

Note: (some groups may express that it’s not fair. Allow them to vent, but do not help them or provide any additional information/instructions)

Facilitator: If you have a limitation follow through with it until your team completes the task. The timer begins now! *start timer for 5 minutes

Note: After a few minutes the team with no limitations usually finishes first and the facilitator needs to enthusiastically ask for the class to give that group a round of applause. Say things like-you are so smart to shine like this. Usually, other groups will speak up about the obvious that some groups had it harder and with limitations. Allow them to talk about the limitations. The facilitator’s goal in this activity is to get the participants to realize that while all groups were given the same instructions there were many differences that make it more challenging for them to achieve the goal.

Facilitator’s Discussion Questions (15-20+ minutes) What came up for you during the activity?

21



How does this activity relate to people who have limitations? Was the winning group the best group? Why or why not? For those who won or who had an advantage, why did you not assist

those who did not have the same advantages? (Good discussion question that is meant to empower us to consider being more inclusive and promote ally ship to those who do not have the same advantages/privileges as we do)

For those who did not have an advantage, why did you not ask those who had an advantage for help? (Good discussion question that frames a common theme that historically underrepresented students tend to not ask for help and that we must help each other to be better)

How has this activity influenced you going forward?

Facilitator: In our organizations and in our workplaces we come in many different sizes, races and ability levels but we have a great task ahead of us to honor our and each other’s identities, affirm each other’s successes, and to be more mindful and inclusive as we go forward together.

Art

Art can be used as a way of reflecting on drama activity alongside, or as an alternative to, writing and discussion. Drama can help to spark children’s creativity and lead them into imaginative and vibrant artwork. Incorporate art into drama by doing collective drawing in groups alongside the drama activities to develop storylines or explore characters and situations.

Geography

Cultural and environmental issues linked to geography can easily be explored through drama. Teacher in role and role on the wall can be used to present a character from a particular locality and to examine an issue from their perspective. This can lead on to role-play with pupils working in pairs or small groups to deepen their understanding. Still images, tableaux and soundscapes can be used to create the atmosphere of different locations and environments.

History

Characters from any historical period can be examined through hot seating, role-play and role on the wall. Tableaux, improvisation and thought tracking can help to bring historical accounts, illustrations and artwork to life. Key decision-making moments for historical characters can be explored using conscience alley.

22



Mathematics

Math makes a lot more sense when it is applied to real (or fictional) situations. For younger children, this can be through role-play in shop or restaurant situations. Journeys across the sea, through space or around the world offer potential for acting and storytelling which can include mathematical activities such as calculating journey times and duration, quantities of food and fuel and recording of temperature. Mathematical patterns can be demonstrated and explored through physical movement and dance. Pupils are more likely to remember geometric shapes if they have made them with their own bodies in ten second objects. When forming groups, ask pupils to get into even or odd-numbers. Children can even become human bar graphs.

Science and Technology

Science learning can be extended through activities using dance, mime, movement and ten second objects to explore physical forces such as gravity, friction or magnetism, or to represent the action of molecules, planets, geological phenomena or electrical circuits. A journey through the body gives great potential for storytelling and drama. Pupils can model food chains or create human bar graphs to display living representations of scientific results.

The human aspect of science is particularly suitable for exploration through drama. Where do you stand? helps to dissect moral dilemmas. Role play, improvisation and teacher in role can explore how human activity affects living things and the environment, highlighting controversial ethical issues. This can lead on to improvised drama such as the enacting of documentary TV programs, debates and discussions. Technology can help to extend and develop drama activities through the use of multimedia, such as photography, video, animation and sound recording.

Music The ability to explore with guidance and to experiment and take risks with sound combinations is an essential aspect of musical growth in drama. It involves learning in the major domains of knowledge, skills, attitudes and feelings, and the senses. Music learning can be extended into Songs that permit the examination of lyrics and vocabulary comprehension. Provides other purely linguistic elements such as prosody, semantics, etc. Speech and listening are related. Stress, volume, speed, and tempo all give the listener a clear concept of the emotion being spoken (prosody). These are relative to

23



https://dramaresource.com/teacher-in-role/

https://dramaresource.com/bring-freeze-frames-to-life/

https://dramaresource.com/role-play/

https://dramaresource.com/storytelling/

https://dramaresource.com/ten-second-objects/

commercials, use of multimedia songs, and animations. It can also include recordings or videography. Facilitates the distinguishing of sounds. Role play, improvisation and teacher in role can explore how human activity affects living things and the environment, highlighting controversial ethical issues. Positive influence on memory and retention of terms. Creates an environment in which children are emotionally and socially stimulated. Rhythm, tempo, and stress improve pronunciation. Encourage improvisation and various genres of music.

English/Language Arts Drama can be an invaluable teaching method, since it supports every aspect of literacy development. From developing their decoding knowledge, fluency, vocabulary, syntactic knowledge, discourse knowledge, and metacognitive knowledge to comprehension of extended texts, drama and theatre in many ways educate children as a whole, and they offer children a freer and flexible space in which to grow and to learn. Through this integration the students will develop and strengthen their communication and literacy skills and Improve their critical thinking and social-emotional skills.

Foreign Language Drama is an effective way of helping students to learn languages including English as a Foreign Language (EFL), as it uses active teaching and learning styles likely to motivate and sustain the attention of a wide cross section of pupils. Activities can include role-play, drama games, improvisation, group discussion and individual or pair work.

Vocational Education Vocational basic education qualifies the student for a particular vocation. Therefore, the training is very practically-oriented. Students can become engrossed in learning various facets of drama. Truly vocational schools in both the drama and dance sector to identify the essential characteristics of a vocational training can occur.

24



Teacher in Role

The teacher is able to directly participate in the dramatic process and influence it from the inside. This makes it possible to present challenging and controversial points of view and to stimulate thought, discussion and action by pupils. Teacher in role validates and supports the children’s involvement in a make-believe situation by enabling the teacher to work and ‘play’ alongside them. It is an instant way of setting a scene and directly involving the pupils. Children are used to stepping into and out of role in everyday play and are likely to be keen to participate.

How to do it

Teacher in Role does not require great acting skills. It can be seen as an extension of the ever-changing role-play that we all experience – whether as parent, child, teacher, student, colleague and so on. The strategy simply involves ‘stepping into somebody else’s shoes’ for a while to put forward their point of view. This can be done by subtly changing your tone of voice and body language to communicate key attitudes, emotions and viewpoints. If you can use different voices for characters when you tell a story, then you are certainly able to carry out teacher in role.

A role can be adopted quite simply to communicate the key attitudes and emotions of a particular character. It won’t take much for most children to believe in your character although the use of a token prop or piece of costume will clarify when you are stepping in and out of role: “When I put on this scarf I will be Anne Frank”, or “When I sit in this chair I will be the King”. Although not essential, you may wish to place furniture and props to represent a different place – but keep it simple.

If you are unsure how to begin, try hot-seating first. This will give you valuable experience of assuming a role in relation to the students and responding to their comments and questions. You can progress to teacher in role by encouraging the students to participate and becoming more active as the character. Reply to their

25



DRAMA GAME SECTION

https://dramaresource.com/hot-seating/

questions as though they are also in role and encourage them to become involved in occupational mime activities.

Teacher in role can easily be used right across the curriculum. In Art, you can take the role of a character from a painting; Geography provides opportunities as an aid worker or explorer; History lessons can be livened up by a Roman centurion, an Ancient Egyptian child, a workhouse overseer or an archaeologist; in Literacy, stories provide the greatest source of characters – ranging from the Gruffalo to the Minotaur, from Red Riding Hood to Oliver Twist, from Anansi to Cyclops.

Ten Second Objects

This is a very popular drama game and a useful technique which can be developed easily towards improvisation or physical theatre. It’s also highly accessible and great fun! Divide everyone into small groups (4-6). Call out the name of an object and all the groups have to make the shape of that object out of their own bodies, joining together in different ways while you count down slowly from ten to zero. Usually every group will find a different way of forming the object. Examples could be: a car, a fried breakfast, a clock, a washing machine, a fire.

Learning Objectives: To encourage creativity To develop physical awareness To develop cooperation in group work

Age Group: 6+Participants: Small groupsRecommended time for activity: 10-20 minutesDevelop the Activity:

Encourage groups to think about using different levels with their body shapes, eg high, medium and low.

You could choose objects from a play you are rehearsing or a theme you are exploring.

Groups can also be given a couple of minutes to devise an object of their own which the rest of the class try to guess.

You could make it a rule that after 10 seconds they must be completely frozen in position.

On the other hand, it can be fun if they are able to make objects that use movement.

You can use the shapes created as a quick way into creating ideas for physical theatre.

1-2-3

This is a fun introductory warm-up and concentration game. You can begin sitting down or standing up. In pairs, face each other. Start counting from one to three between yourselves, over and over. Once you get the hang of that part you are

26



ready for the next stage. Instead of saying the number “one”, you should clap your hands – but you would still say “two” and “three” aloud. Once everyone has mastered that, the next step is that instead of saying “three”, that person should bend their knees. You should still clap your hands for the number “one”. This is a bit like trying to pat your head and rub your stomach at the same time – in fact, you could try that afterwards!A: “One” (Claps hands)B: “Two”A: “Three” (Bends knees)B: “One” (Claps hands)A: “Two”B: “Three” (Bends knees)Tip: Make sure you allow time to encourage pairs to show everybody else how they are doing after each step. It’s fun watching people trying to concentrate, especially if it goes a bit wrong!

If you have extra time, pairs can make up their own movement and/or sound for the number “two”

For language teaching, ask players to make up a word or phrase plus an action to replace the number two, for example ‘cup of tea’, ‘umbrella’ or ‘smile’

Learning Objectives:To encourage concentrationTo develop partner working

Age Group: 5+

Participants: Pairs

Recommended time for activity: 5-10 minutes

Hot Seating

What is Hot Seating?

A character is questioned by the group about his or her background, behavior0 and motivation. The method may be used for developing a role in the drama lesson or rehearsals, or analyzing a play post-performance. Even done without preparation, it is an excellent way of fleshing out a character. Characters may be hot-seated individually, in pairs or small groups. The

27



technique is additionally useful for developing questioning skills with the rest of the group.

How do you do hot seating?

The traditional approach is for the pupil playing the character to sit on a chair in front of the group (arranged in a semi-circle), although characters may be hot-seated in pairs or groups. It is helpful if the teacher takes on the role of facilitator to guide the questioning in constructive directions. To help students begin you can try hot-seating children in pairs (e.g. a pair of street urchins) or in groups (e.g. environmental protesters, refugees).

If the background of the character is familiar to the pupils, then it may not be necessary for those playing the characters to do much preparation. Although some roles obviously require research you may be surprised at how much detail students can add from their own imaginations. It is important that the rest of the group are primed to ask pertinent questions. Don’t get bogged down in facts during hot seating, but concentrate on personal feelings and observations instead.

Examples

Characters to hot seat include famous people such as Florence Nightingale, President Kennedy or Tutankhamen as well as ordinary people like a chimney sweep, a Roman soldier or a Saxon farmer. Students can be asked to research historical characters with opposing points of view and then be hot-seated by the class as part of a debate.

RIBBON OF SOUND

Sit in a circle. One person starts a sound. The next person picks it up and it travels around the circle so it becomes a ribbon of sound. Each person should pick it up and pass it on as quickly as possible. Transform it into another sound-with the person next to the one who started the first sound

COOPERATIVE STAND-UP

Choose partners. Sit back to back on the floor, legs straight out in front. Interlock arms. Try to stand up together as a unit by pushing against each other’s’ backs.

LED BY THE NOSE: DRAMA GAME

Children imagine that strings are attached to various parts of their bodies.They move about the room led by that part. Example: right thumb, nose, knees. Eyelashes etc.

28



Anansi

Another source of stories and games that can be played in the classroom is Anansi or Anansi as some may have called him.

The trickster Anansi, originally a West African spider-god, lives on in the form of stories and tales. Stories were retold as entertainment, to color conversation, to impart a moral lesson or to console grieving families. Why is this figure so universal? Why did so many African-American folk tales recount his exploits, under one name or another? Anansi is the spirit of rebellion; he is able to overturn the social order; he can marry the Kings’ daughter, create wealth out of thin air; baffle the Devil and cheat Death. Even if Anansi loses in one story, you know that he will overcome in the next.

Anansi the Spider

The story of Anansi (Ah-nan-see) begins in Ghana in West Africa many, many years ago. People believed that Anansi was the son of a great sky god named Nyame (Nye-AH-mee). Anansi was very powerful and could make it rain, or tell the oceans where they should be.

He was so powerful that he made the sun and the moon and put the stars into the night sky. Anansi even made the sun shine during the day. He also taught the people how to plant crops, build houses and live in groups. Anansi had one serious weakness: he was very mischievous, or troublesome. He couldn't help himself. He loved to play tricks on people.

One day, Anansi's father got so upset with his son that he turned him into a spider and took his powers away. But that didn't stop Anansi. He may have lost his powers, but he was very smart. Anansi used his intelligence to trick and fool other animals and to get out of trouble. Often these animals were much larger and stronger than he was, but Anansi didn't care. He tried to trick them anyway.

Three Things in Common

The point of this game is for students to not just talk to each other, but to go beyond surface connections. Great for the first week of the term!

The Marshmallow Challenge

It works because it’s so simple. Groups of four are given 18 minutes to build the tallest freestanding building they can with 20 sticks of uncooked spaghetti, one yard of masking tape, one yard of string, and one marshmallow.

The Human Knot

29



http://www.theatrefolk.com/blog/collaboration-games-the-human-knot/

http://www.theatrefolk.com/blog/collaboration-games-the-marshmallow-challenge/

http://www.theatrefolk.com/blog/collaboration-games-three-things-in-common/

Students must not only achieve the knot, but they must also work together to undo it. This game will challenge students to communicate with each other without resorting to commands. It will also boost their negotiation skills.

Music and the Orchestra

Use an orchestra layout on the PowerPoint, or on the board, and have students stand in certain sections. Use the melody you have devised earlier and orchestrate the group in the following way:(1) Percussion (claps, stamps) (2) Double bass (long, low notes) (3) Wind & brass section (high notes) (4) Strings (high, quick notes, main melody) Bring in each section one at a time, have the group ‘playing’ together for about 40 seconds, then spotlight one group and finally fade the piece out.

ArtTopic: Clothing as Storytelling

30



Lesson Plans and Ideas

Grade level: 7th/8th (but could be given to high school)Goal:To create an article of clothing for a particular individual (real or imagined) that tells a broad story and illustrates rules of effective composition, and story-telling. Objectives:

Students will understand how clothes are created using a pattern and "fabric paper."

Students will research imagery and history of person or character in order to have a rich resource.

Students will work within specific requirements: each piece needed to have painting, text, found object and a 3-D element.

Students will demonstrate a clarity of theme and craftsmanship. Students will think about proper process in putting together the article of

clothing and covering its surface. Students will have opportunity to explore many media and make many

decisions to create a very individual piece of art. Students will demonstrate an understanding of compositional rules of variety,

rhythm, balance, focal point, unity. Students will also think about and show how to tell an effective story - i.e.

how to evoke emotion in a subtler way rather than being too heavy handed, and how to use color emotionally.

Materials Needed: Tyvek paper/fabric Several basic clothes patterns, pin, Thread and needles.

Images of artistic clothing and websites that explain the history of clothing. Fabric Glue Rubber Cement Wooden hangers Fabric Paint and Brushes Computer for gathering and Printer for printing images.

Website blockposters.com to print images in large sizes. Cloud clay, found objects, anything!! Any kinds of images!!!! Lesson Description:

This took many hours and 'hits' to articulate to the students.I gathered many images of clothes that were more artistic. I also showed them Rauschenberg's work that displayed how he told visual stories. Students began to brainstorm in whose article of clothing they wished to create. As students started gathering imagery for their piece I again went over the ideas of effective composition. For instance, one image probably needed to be larger - a focal point, and also kids have a tendency to make every image the same size with the same negative space around them. (I call it polka dotting!). Also, they needed to go beyond just the surface or most obvious elements of a person or character. For

31



http://www.blockposters.com/create/

http://www.amazon.com/gp/product/B010UU5XSS/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B010UU5XSS&linkCode=as2&tag=incredibleart-20&linkId=OLMRXQ2NYTK7CV63

http://www.amazon.com/gp/product/B0027PA15A/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B0027PA15A&linkCode=as2&tag=incredibleart-20&linkId=BDNB2VE7JKEIMDH3

http://www.amazon.com/gp/product/B00TJUHG8Q/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00TJUHG8Q&linkCode=as2&tag=incredibleart-20&linkId=ACLXHQAUO657Y3S6

http://www.amazon.com/gp/product/B000EFQ2I0/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B000EFQ2I0&linkCode=as2&tag=incredibleart-20

http://www.amazon.com/gp/product/B0076IU36A/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B0076IU36A&linkCode=as2&tag=incredibleart-20&linkId=QVQUXVWGEDWQOWQ3

https://www.incredibleart.org/lessons/elem/elem16.html

http://www.amazon.com/gp/product/B002KASKRS/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B002KASKRS&linkCode=as2&tag=incredibleart-20

http://www.materialconcepts.com/products/tyvek/soft-structure/

instance, maps as background were often used. Images from history, signatures were also used.

As students chose their person and the article of clothing, I worked with each student posing questions of how their piece was working - that they used the tools of composition effectively. Also, they needed to think ahead as to what steps should come before others.

HistoryHistory is drama. It’s full of character and conflict. Have you ever read a chapter from a history textbook that talked about a peaceful group of people who just went about their lives without struggle or conflict or hunger or war for hundreds of years? I haven’t.

Portray historical figures from the time period you’re studying. Assign a different historical figure to each student and stage improvised conversations where they meet one another. How would Henry VIII speak to a butcher? What would a Confederate soldier say if he found out his best friend was fighting for the North?

Stage an historical event. Write and perform a short scene based on something you’re studying in history. Write and stage a spoof of that event.

Find a piece of theatre that was popular during the time period you’re studying. What do we think of this play now? Why was it popular in its day? What types of people would have been at the play? Royalty? Peasants? Both?

Geography In Geography students can create a complete dramatic piece based on the geographical area that is being studied. A theater box would be made and the students would create their own characters to their story. Materials

shoebox with lid 1 piece of cardboard, approximately A3 sized 1 sheet of white copy paper 2 sheets of dark and light blue A4-sized paper 5 or 6 wooden skewers 1 strand of LED Christmas lights (10 lights) Small wooden beads

Tools

Ruler Craft knife Cutting mat Scissors (kid-friendly) Felt-tip pens, black and colored

32



Pencil Scotch tape Glue Glue stick

Step 1Mark a frame on the bottom of the shoebox and cut it out as shown. Draw 3 or 4 lines on a long side of the shoebox. Cut the slots with your craft knife (make sure that they are wider than the wooden skewers).

Step 2To make a platform, mark and cut the same lines as before on a slightly smaller piece of cardboard that should fit inside the box as shown. Cut two smaller pieces to fit between the two floors, so that the platform aligns with the bottom of the frame.

Step 3Glue in the two separator pieces and the platform. Add glue to the holes of the beads and fit them on the sticks through the slots.Step 4Let’s decorate! Use the lid of the shoebox for the background. To create the your theme. Use paper, pictures from magazines and pictures from the internet to build your background.

Step 5It’s time to create your characters! Draw the characters you would like to portray (children’s drawings make nice puppets). Color and cut out the puppets. Tape them to the wooden skewers.

Step 6Make several holes in the background using a wooden skewer and fit in the LED. Tape the electric cord to the back of the lid.

It’s time to turn down the lights and start the play!

Now you have created your own geographical story!!!

Have fun!

MathematicsTo successfully enforce the importance of mathematical skills in the real world, and to ensure that students fully comprehend every concept, having the class write their own skit is an innovative tool to achieve these two goals. One entertaining idea is to have the class act out a grocery store check-out scene.

Perhaps lead the class in a warm-up game of the infamous “This is a…” Kids stand in a circle and pass mathematical objects around, such as shapes or flashcards. As

33



they pass an object, they chant the following to the beat and fill in the blank with the answer:

A: This is a ___.B: A what?A: A ___.B: A what?A: A ___.B: Oh, a ___.

This is a challenging game because eventually there are many items being passed around the circle simultaneously. When does the exercise break down? How many objects could the class handle when passing them around in the circle? Once you know that number, do the exercise again trying to break the record.

For older students, teachers can run a playwriting and performance activity. Tell them to write a mystery where the audience has to answer a certain number of math riddles and word problems to help the characters discover clues.

Overall BenefitsUsing theatrical activities to teach math will make learning more appealing and enjoyable for students, and at the same time, it will improve their creative thinking and innovation. It can also help introverted and insecure students come out of their shell. Most importantly, it allows students to observe how math relates to the real world

ScienceThe scene from WKRP in Cincinnati is a fantastic example of using drama to teach science. The key to teaching any subject through drama is to take whatever is being taught (e.g. magnetism, the parts of a cell, gravitational pull, nuclear fission) and translate those concepts into character and conflict. The beauty of science is that there is always something that can be translated into drama.

Let’s look at some examples.

Magnetism – This is a simplified version of Venus Flytrap’s presentation on the atom. This time, there are just two gangs – the Positive gang and the Negative gang. And this time, the Positive gang really likes the Negative gang. They want to join them in the worst way. The closer they get to the Negative gang, the more they want to join them.

But the Positive gang wants nothing to do with other chapters of the Positive gang (as it turns out, they’re a bit self-loathing). The closer the Positive gang is to the other chapter, the harder it is to bring them together.

The parts of the cell – Get everyone on their feet. Assign different cell parts to everyone in the class. Have one student play a virus – the common cold. Pretend

34



that it’s able to penetrate the defenses of the cell and infect it. How does the cell react?

Have other students play the roles of antibodies sent to fight the virus. How do the antibodies fight the virus? What happens when the antibodies win? What happens when the virus wins?

Gravitational pull – Here’s a way of dramatizing the orbits of the planets. Put a student in the middle of the room. Call him Joey Hollywood. Joey’s a big star and everybody wants to be close to Joey. Let’s create some fans for Joey. You need to know three things about fans – 1) They have no self-control. If they’re still, they can’t make themselves move. If they’re moving, they can’t speed up, slow down, or change direction, 2) Big Hollywood stars like Joey can draw them in, and 3) The closer the fan is to the star, the stronger the star’s pull.

Play out this scenario: Fan #1 is placed at a distance from Joey standing still. Fan #1 is pulled to

Joey right away until they’re stuck together. Fan #2 is placed at a distance from Joey but Fan #2 is in motion. Joey has an

effect on Fan #2 but, since Fan #2 is moving, Joey’s pull is only strong enough to change Fan #2’s course slightly. The combination of Fan #2’s movement and Joey’s pull makes Fan #2 circle round and round Joey forever.

Fan #2 is moving at the same speed as #2 but is closer to Joey, so they eventually get drawn into Joey like Fan #1.

Keep adding different fans with different speeds and starting distances to illustrate that some will orbit, some will crash into Joey, and others will barely be affected by Joey at all.

Nuclear fission – Spread the students about the room in pairs. Each group represents a gossip club who calls themselves “The You-Too’s.” Being gossipy, they often get very excited and want to run around and tell others about their gossip. Have students play this out. Each pair comes up with a piece of gossip, gets excited about it, and runs to another pair and share their gossip.

Pause the class. Choose one pair. Tell them to discuss their gossip, get very excited about it, and this time split up to spread the news. But when they do, they’re so excited they run very fast and pass by all the other groups without spreading their message. Allow a couple of groups to demonstrate this.

Pause the class. Explain that all the pairs are now in a pool filled with knee-deep water. This time when the first group shares their gossip, gets excited and then splits to share their gossip, the water slows them down. So when one reaches another “You-Too” pair they’re able to stop and share the gossip. These “You-Too’s” also get excited, split, and spread the message to other pairs, and so on and so on.

Very simply, this is how nuclear fission works. Uranium-235 is unstable. But normally when it splits, the particles move so quickly that they pass through the other atoms without bothering them. But when they have something to slow them

35



down (e.g. “heavy water”) they collide and split other Uranium-235 particles. A chain reaction occurs causing intense heat which is converted into electricity. I think that many students would have a much better time learning science if, instead of looking at a drawing of a nuclear reaction, they actually took part in one. How could you forget the principles of nuclear fission once you’ve played the role of a gossipy hunk of uranium?

English Language Arts Objectives Students will be able to...

Identify, define and correctly use key vocabulary. Demonstrate knowledge of key radio drama history Apply ELA and Humanities skills (reading and analyzing dramatic scripts,

speaking / presentation skills, & creating authentic works) Technology

Introduce students to one of the most famous radio dramas in history -- Orson Wells' War of the Worlds. Off-Site: https://www.youtube.com/watch?v=Xs0K4ApWl4g

1. Introduce this history of War of the Worlds (resource above). Then, have students listen to the first 15 - 30 minutes of the radio drama.

2. During this time, students should keep a log of things that they hear. Encourage students to note things beyond plot. Create a Padlet that students can add thoughts to as they listen.

o Plot (moreover the timing of the plot) is important in the drama, however, students should start to realize that various speaking tones, accents, sound effects and speech patterns (things like repetition of names) help to create something that sounds "real."

3. Review their notes / Padlet, focusing on the skills they will need to learn in order to create a radio drama.

o Focus on: Sound Effects, Tones, Dialogue, etc.

Student Instructions As we listen to War of the Worlds, add your observations about what you are hearing to a Padlet( https://padlet.com/) . Listen closely to the elements that make this drama sound realistic and important thing that happen within the plot. During direct instruction, students should take notes using a digital note taker (like Evernote) on the history of radio drama.

1. Utilize the presentation listed in the Off-Site Resources, or, create your own. Student Instructions As we review key concepts and events of radio dramas, take notes using a digital note taker. 3. Independent Practice - Key Vocabulary

36



https://padlet.com/

https://www.youtube.com/watch?v=Xs0K4ApWl4g

"Speaking the language" is a key skill that students need to have in order to apply concepts and speak strategically.

1. Students should use Quizlet or similar flash card app to create vocabulary cards that include: term, definition and image.

o Terms: Foley Artist, SFX (Sound Effects), On-Air, Dead-Air, Cold Read, Broadcast

2. Have students write authentic (original) sentences using the terms as a formative check.

o I suggest having students share their sentences in a Think-Pair-Share, or have students share one sentence, whole class.

Student Instructions Using the Quizlet app,( https://quizlet.com/) create flashcards for the terms listed below. Cards should include: Term, definition and image. When you are complete, you will use each term in an original (of your own creation) sentence. We will review your sentences in a Think-Pair-Share.4. Group Practice - Creating a Drama

Students will work together in small groups to create a radio drama based on "historical" radio dramas. Use these sites to create your radio version: (www.opinionpodcasting.com/) Generic Radio Workshop Library Series Listing(https://www.wooji-juice.com/products/hokusai/)

1. Visit the "Generic Radio Workshop Library Series" to choose a radio show for students to record.

o Assign a different show to each group. Recordings of entire shows can be lengthy -- consider recording 10 to 30 minutes.

2. Have students delegate parts and roles. Students should be prepared to play multiple roles.

o They will also need to find or create sound effects, nominate a sound engineer (someone to record) and a Foley artist.

3. Each group should practice reading their scripts (and avoid reading the stage directions) and decide when sounds need to be added to the drama during the recording (or where they should be placed during editing).

4. Finally, groups should record using Opinion + (free but limited to 10min) or another like app.

5. Assess students based on the student checklist.Student Instructions In a group, you will produce your own radio show. You may choose your own script -- your broadcast must run approximately 30 minutes.

Criteria37



https://www.wooji-juice.com/products/hokusai/

http://www.genericradio.com/library.php

https://quizlet.com/

All students must participate as "on-air" talent Students should pay attention to cadence, dynamic and enunciation

Broadcast must run approximately 30min Broadcast must incorporate sound effects (student made or canned) Broadcast avoids dead air

MUSIC

DESCRIPTION: To memorize a song in order to clarify the meaning of its text, to practice diction, to place emphasis on being present and preparing a set up, and to develop coordination of rhythm of text.

MATERIALS - A piano is useful not necessary. - Part of a song from a musical or any song familiar to the students.

For the purpose of explaining, "Somewhere Over the Rainbow" is used: 1) Requires two people, one to perform and one to ask questions. Both must know the melody and lyrics to the refrain of "Somewhere Over the Rainbow".2) The performer (P) starts to sing the song. In between each line, the questioner (Q) asks questions that serve to provoke the next line of text. 3) P sings as if they are answering the questions. Therefore, the words must be stressed and inflected as a response to the precise nature of the question asked.

For Example:P: Somewhere over the rainbow Q: Where is that? P: Way up highQ: What's there?P: There's a land that I heard of once in a lullaby Q: Where is this place? P: Somewhere over the rainbow Q: What does it look like? P: Skies are blue Q: What happens there?P: And the dreams that you dare to dream really do come true ~

38



Name __________________________________________ Yes No CommentsSpoke with appropriate cadence Spoke with appropriate dynamic Enunciated words and phrases Cohesive Dialog (seems like a conversation) Dead Air (a period longer than 10 sec. without sound) Used SFX SFX were ‘realistic’

Q can adopt any tone he or she chooses. For example: whispering the questions. Notice how different tones of voice in question produce different responses from the performer in the way they treat the text. ~ Q can ask any question they like bearing in mind two things:1) Your partner must perform the song in time and so you must ask question short enough to fit in the gaps between lines. 2) The questions you ask should provoke the text in some way.

For example: Q: Where did you go on vacation?P: Somewhere over the rainbowQ: Which direction is that? P: Way up high Q: Why would you go there? P: There's a land that I heard of once in a lullaby.

FOREIGN LANGUAGE

Duration: Four 45-minute sessions Description: The students will decorate the classroom like a department store, including prices in pesos. Afterwards, the students will prepare skits of varying lengths using the department store they have just created.

Goals: A goal of this activity is for students to use the foreign language in a creative, but realistic way. Another goal is for students to work together in both decorating the room and presenting the skits. The students will also role-play various parts for the skit.

Objectives: The students will work in groups to decorate the classroom in order to create a department store. The students will present oral skits to go along with the department store theme, thereby practicing new vocabulary about a department store and reviewing already-taught vocabulary and structures.

Materials:

construction paper scissors tape glue markers

Procedure:1. Divide class into groups to decorate the room into a department store (which the students have already named). 2. Each group will be assigned a department for which they will make 10 items, along with labels in the foreign language and prices in its currency. For instance, there will be women’s wear, sporting goods, toys, and other departments. 3. Divide the students into groups now to present skits in the foreign language according to

39



teacher-made situations. For instance, newly-weds go shopping for furniture and end up having their first fight. The clerk in the furniture department needs to handle this matter and try to sell something too. 4. The students have one day to prepare their skits in class and may even come up with appropriate costumes. 5. The students present their skits for the class without notes.

Assessment:1. Students will receive a quiz grade for the decorating part of this activity. The grade includes the items made, labels, price tags, and placement around the room. 2. Students will receive a test grade for the skits to accompany their decoration grade. Teacher must make a rubric for grading both parts.

VOCATIONAL EDUCATION

Problem Solving Curriculum:

Asking open-ended questions – Sometimes we ask students open-ended questions and have them reflect and record their answers. Asking questions that do not have one right answer helps foster creativity and helps alleviate the fear of giving the wrong answer.

Categorizing and classifying – Having students categorize or classify examples helps them to identify the example according to a rule or set of rules. They have to think critically in order to apply the proper rules.

Make decisions – Scenarios are a huge way to foster critical thinking and problem solving. Placing students in a real-life scenario and asking them to make decisions is a great way to sharpen their critical thinking and problem-solving skills. This offers students a safe environment to make mistakes that they can learn from. It also affords students the opportunity to try a scenario over and over to experience all of the possibilities.

Find patterns – Finding patterns is about having the student assess what they are learning and finding similar opportunities for this information to apply in real life. Where have they seen or heard of a similar scenario? Where can they find this item in real life? Where would this rule apply in the real world?

https://wtjx.pbslearningmedia.org/resource/vtl07.la.rv.genre.lppourquois/identifying-characteristics-anansi-the-spider/#.XVauS3spAkE

40



ONLINE RESOURCES



https://www.instructables.com/id/Cardboard-box-puppet-theater/

https://www.aeseducation.com/blog/2014/05/problem-solving-curriculum

https://www.discoveryeducation.com

https://teachers.net/lessons/posts/4571.html

https://teachers.net/lessonplans/subjects/geography/

https://read.activelylearn.com/

https://wtjx.pbslearningmedia.org/collection/matharts

https://www.youtube.com/watch?time_continue=275&v=HT9dtDSRDFA

https://www.youtube.com/watch?v=e_Ne-J9oHTU

.

References

41



https://www.youtube.com/watch?v=e_Ne-J9oHTU

https://www.youtube.com/watch?time_continue=275&v=HT9dtDSRDFA

https://wtjx.pbslearningmedia.org/collection/matharts

https://read.activelylearn.com/?gclid=CjwKCAjw1_PqBRBIEiwA71rmtbQOlaGNzGc4AeXl4vtbAw8kZe0CetDuUsYYw57-bnb05btOEIfGchoCZgIQAvD_BwE#teacher/reader/authoring/preview/758857/notes/?gclid=CjwKCAjw1_PqBRBIEiwA71rmtbQOlaGNzGc4AeXl4vtbAw8kZe0CetDuUsYYw57-bnb05btOEIfGchoCZgIQAvD_BwE

https://teachers.net/lessonplans/subjects/geography/

https://teachers.net/lessons/posts/4571.html

https://www.discoveryeducation.com/

https://www.aeseducation.com/blog/2014/05/problem-solving-curriculum

https://www.instructables.com/id/Cardboard-box-puppet-theater/

Activities, K. (2019 , February 6). https://www.kidactivities.net . Retrieved from

https://www.kidactivities.net: https://www.kidactivities.net

Boyer, W. (1983). America's Virgin Islands: A history of human rights and wrongs. Durham: Carolina

Academic Press.

Carter, S., & Jensen, M. (2019 ). Biography and Life of Anton Teytaud. Christiansted, St. Croix :

Ancestral Biographical Information .

Cook, K. (1934). Education Among Native and Minority Groups. The Journal of Negro Education, 31-

39.

Dejnozka, E. (1972 ). American Educational Achievement in the Virgin Islands, 1917 -1963. The Journal

of Negro History, 385-394.

Farmer, D. (2019 , January 20 ). https://dramaresource.com. Retrieved from https://dramaresource.com:

https://dramaresource.com

Lane, B. (1934). Education in the Virgin Islands . The Journal of Negro Education, 42-49.

Lynch, C. (2019 , September 11). Sarah . (V. Bryson, Interviewer)

McGraw, S. (2019 ). Clothing as Story-telling. Incredible Art Department , 1-3 .

merriam-webster. (2019, October 28). merriam-webster.com. Retrieved from merriam-webster.com:

www.merriam-webster.com

Moorehead, J. (2019 , September 11). Sarah & Addie . (V. Bryson, Interviewer)

Price, L. (2015, December 10 ). https://www.theatrefolk.com. Retrieved from

https://www.theatrefolk.com: https://www.theatrefolk.com

42



Roberts, J. (Director). (2016). What is Diversity? [Motion Picture].

schools, I. (Director). (2017). What is inclusion in ediucation? [Motion Picture].

Shaw, S. (2016, October 8). https://www.gettingsmart.com/2016/10/student-activities-to-promote-

diversity-inclusion-and-empathy/. Retrieved from

https://www.gettingsmart.com/2016/10/student-activities-to-promote-diversity-inclusion-and-

empathy/: https://www.gettingsmart.com/2016/10/student-activities-to-promote-diversity-

inclusion-and-empathy/

Tanner, J. (2012). Using Dramatic Activities in an English-Language Arts ClassroomtoImprove Student

Comprehension ofLiterature. An Online Journal of Action Research, 1-20.

Teytaud, A. (1978). Sarah & Addie . Anton Teytaud.

Wynter, W. (2019, September 12). Book Review of Sarah and Addie . (V. Bryson, Interviewer)

43



NOTES

44



NOTES

45



SPONSORS

46



47



bento.cdn.pbs.org · web viewwhen president lyndon b. johnson signed the public broadcasting act...

Documents