Northern Exposure: History through Drama and Drama through History

The Cremation of Sam McGee by Robert W.

Service (with paintings by Ted

Harrison)

Dylan McCafferty & Robert Bryan

DRAMA EDUCATION: A MEDIUM FOR LEARNING

EDCI 305A

Story Drama Structure

The Cremation of Sam McGee by Robert W. Service (with paintings by Ted

Harrison)

“Nor shall this peace sleep with her; but as whenThe bird of wonder dies, the maiden phoenix,

Her ashes new-create another heirAs great in admiration as herself.”

― William Shakespeare, Henry VIII

“Drama is life with the dull parts left out.” ― Alfred Hitchcock

Acknowledgements

The format for this assignment - Story Drama Structure - is drawn from Holocaust Education Through Drama: Rose Blanche by Carole Miller & Juliana Saxton, 1998 and Process Drama: An Educational Tool for Process Drama and Developing Multiple Literacies by Heinemann, 2006. We would also like to acknowledge our drama class colleagues who graciously provided peer review of our story drama structure in preparation for submission for this course requirement: Steve North, Richard Watters, William Nicolls-Allison and Rachel Trebilco. The works of Jonothan Neelands, Tony Goode and Keith Johnson have been instrumental in developing the ideas.

Themes

The Cremation of Sam McGee is a retelling of Robert W. Service’s frontier ballad with wonderful full bodied accompanying paintings by Ted Harrison. The story vividly describes the hardships

of prospector life in the Yukon Territory of Canada’s North. Themes delivered in the story include the mysterious unknowns of the remote Arctic; man’s battle with harsh elements; the solemn business of honoring a friend’s last wish; and the eerie tricks that cold, isolation and fatigue can play on the body and mind.

Overview Synopsis

Sam McGee was a stranger to the Arctic lands. He left his home in Tennessee to find gold in the frigid Yukon Territory. Out of his element and unprepared for the harsh conditions, Sam begins to feel exhausted and “chilled clean through to the bone.” Fearing that death is imminent, he delivers a final request to his travel companion, Cap, who is also the narrator of the story. Instead of being buried in an icy grave, Sam wishes to be cremated. Sam dies shortly after, and Cap comes to regret his vow. Cold, alone and exhausted, he must carry Sam’s heavy body through the snow. Finally, he discovers an abandoned boat on an icy lake. Using the boat’s boiler as a crematorium, Cap fulfills his promise to Sam. However, when he gathers the courage to peek inside the boiler, he sees something he can scarcely believe.

Rationale

Dramatic poetry through oral language and drama methodologies designed to uncover Northern Canadian history, geography, art and literature.

Instructional Objectives

Greater understanding of Canada’s rich northern history through drama methodologies that will engage a variety of drama forms to:

Express thoughts, feelings, intentions and attitudes of particular characters Explore and convey various situations Interpreting the authors dramatic verbal and non-verbal messages

Interpreting the message of the dramatic poem through: Make connections between drama forms learned in class and drama forms in various

historical, cultural and societal contexts (ie. audience, purpose and situation) Describe the purpose and significance of dramatic visual paintings, drawings and

illustrations Analysis of dramatic syntax, diction and verbal cues to enhance the poem/story

Ensuring students perform drama to embrace the power, passion and significance of Northern Canadian cultures through:

Reflecting on a variety of historical cultures Exposing students to unfamiliar concepts and allowing them to take risks Dramatic poetry as a catalyst to move the reader to uncover more about the subject.

Learning Possibilities

Students will begin to develop, embrace and satisfy the following prescribed learning outcomes found in Grade 7 Middle School Drama curriculums:

Demonstrate active dramatic engagement in a variety of forms (Grade 7 - IRP – PLO – B2)

Analyze the role of drama in a variety of social, cultural and historical contexts (Grade 7 – IRP – PLO – C1))

Perform drama for specific purposes and audiences (Grade 7– IRP - PLO – D1)

Delivering the Content

The unique discipline of drama, while always addressing areas of content, offers ways of deepening understanding of content as students engage holistically with the meanings offered in the story (Miller and Saxton, 1998). It is essential in delivering this drama content for the students that they have previous knowledge of the historical context of what they are about to explore through many forms of drama strategies. Therefore, the following pre-drama concept and skills mini-exercise is proposed before students delve into the drama strategy methodologies themselves.

Prerequisite Concepts and Skills

Have students divide into groups of 3 to 4 in pods around the classroom (Think, Pair, Share) to discuss:

Their previous knowledge of dramatic history and geography from Grade 6 Social Science and Drama classes

Their previous personal knowledge of Canada’s North Their previous personal experiences living in northern or remote areas Their ideas about what it must have been like to live in Canada’s north at this time and

what has changed today

What roles in the dramatic poem would they see themselves performing and why? How dramatic poetry story telling acts as a powerful tool to uncover history Ask them to question the significance of this dramatic poetry today as opposed to when

it was written.

Timing and Materials

The times suggested in this story drama structure are approximate and will depend upon students, their interests and our overall teaching objectives. We have left the various sections open to augmentation, flexibility and overlap from one drama class lesson to another.

● Tambourine

● Paper plates--two per person

● Big Sheets of paper and standard pieces of paper

● Coloured pens and markers

● Copies of the text x # of students

● Copy of text x2

The Warm Ups

Warm up # 1 – “Northern Creatures”

Grouping: The entire class in a circleStrategy: MovementAdministration: TambourineFocus: Exploring space and pace

Teacher: Before we begin our drama, we are going to warm up our bodies, as well as our imaginations. You need to concentrate really hard on who you are.As I go around the circle, I will give you a letter: A, B or C. Listen carefullyso that you can remember.

A’s raise your hands, B’s raise your hands and C’s raise your hands.

Teacher: You are all now Northern Creatures (Human or Animal). When I give theSignal with my tambourine, A’s you are to move quickly around the room,

B’s move at a normal pace, and C’s you are to move very slowly. Be careful not to bump into anyone. Keep good spaces between each other.

When you hear the tambourine, stop. Listen for the next instruction. Ready? Off you go. (After a few moments, sound the tambourine)

Teacher: Change. This time B’s move very slowly, C’s move quickly and A’s move ata normal pace. (After a few moments, sound the tambourine)

Teacher: Now, the last time: C’s move at a normal pace, B’s move quickly and A’smove very slowly.

And freeze. Please sit down where you are. (or this can be repeated afew times to increase body movement in older grades.)

Teacher: Choose one of those speeds and think about what it brought into your Mind; what situations were you reminded of? Talk with people next toyou. (Students talk)

Who heard something they would like to share with the group? (Hear)

Analysis

Type of Literacy Kinesthetic understanding of the self in space and in relation to others.

Description When we embody language, we ask the students to interpret wordsphysically. Language in the head or in the mouth is different from interpreting language in and through the body.

Application “Reading” embodied language involves students in making comparisons,modeling for one another and adjusting their movements as changehappens. Physical engagement mediates affective and cognitive understandings and deepens students’ understanding of who they arein relation to others. The ability to read the signs of physical language isimperative in effective social communication.

Warm up # 2 – “Dance Hall – Paper Plate Symphony”

Grouping: The entire class in a circleStrategy: Movement and VoiceAdministration: Paper PlatesFocus: Exploring space and voice preparation

Teacher: Now that we have warmed up our bodies, as well as our imaginations. Let’s combine this with movement and singing. Everyone gather around in a circle again. You each need two paper platesAs I go around the circle, I want you to bang your plates together just Once; then twice; then three times; then in a rhythm I make up.

Teacher: You are all now Northern Dance Hall Performers. When I give thesignal with my paper plates, we will play songs and sing songs ofCanada’s north, starting with O Canada! Wave your plates, bang out then beat a song at the top of your lungs. Be careful not to bump into anyone. Keep good spaces between each other.

When you hear my paper plates and voice stop, you stop. Listen for the next instruction. Ready? Off you go. (After a few moments, sound yourPlates and voice then stop after singing O Canada)

Teacher: This can be repeated a few times to increase body movement and voice levels in older grades with different rhythms and songs.)

Teacher: Choose one of those songs and think about what it brought into your mind; what situations were you reminded of? Talk with people next toyou. (Students talk)

Who heard something they would like to share with the group? (Hear)

Analysis

Type of Literacy A deeper understanding of the self in space and voice and in relation to others.

Description When we embody language, we ask the students to interpret wordsphysically and orally. Language in the head or in the mouth is different from interpreting language in and through the body.

Application Combining language with physical movement involves students in making comparisons, modeling for one another and adjusting their movements as change in space and voice happens. Physical engagement and associated voice projections deepens students’ understanding of who they are in relation to others. The ability to incorporate read the physical body movement with language is essential in effective social communication.

The Lessons

(Note: The following lessons have endeavored to enable drama students of middle years levels and ages with the ability to deepen their understanding of drama methodologies and allow them a greater knowledge of drama tools, history, art and literature)

Strategy 1 BRAINSTORMING (Time: 30 minutes)

Divide the class into three groups. Each group is given a large sheet of paper and a number of felt pens. Each sheet has one of the following words written on it in large print.

Groups: Words:

Group A: “The North”

Group B: “Snow and Ice”

Group C: “Hardship and Friendship”

Teacher: “Write down any thoughts and images that come to mind as you look at the words on your page. Don’t worry about contradictions. Build on each other’s ideas.”

After each group has completed the task, each moves to add their ideas to those of the previous group. Eg. Group A will add their ideas on ‘Snow and Ice’ to Group B’s initial thinking. Group B will move to Group C’s ‘Hardship and Friendship’, and Group C will move to Group A’s ‘ The North’.

The rotation is complete when each group has added their “take” to the other two sheets of paper and returned to their original word.

What is Happening? Students are:

Building collaborative understanding with all its complexities, contradictions and ambiguitiesEngaging with themes in the story

Building the collective vocabularyBringing their own experience to the themes that they are examining.

Students then read the other written contributions and talk about what has been added to their original comments. (Note: this conversation is critical for the third lesson strategy - Tableau.)

What is Happening? Through their discussions, students are:

Revealing their prior knowledge about Canada’s NorthBroadening their understanding of what life must have been like historicallyDiscovering the range of perspectives of student colleagues reflected on the paperAccessing and gaining new information about Northern lifestyles, cultures and peoplesIncreasing their interest in dramatic history

Strategy 2 STORY READING (Time: 15 minutes)

Teacher reads first few pages of The Cremation of Sam McGee.

What is Happening? Teacher is:Establishing the foundational text structure, cadence and understanding of historical dramatic poetryAsking students to listen in a particular wayProviding context for time and place for the studentsEnsuring the students have a feeling for the overall dramatic poetryEnabling the students to have a sense of what may come next in the text

Teacher distributes copies of the picture book around the class. Teacher also distributes photocopied text and paintings for each student to review and keep for reference.

Teacher: “Look at the paintings on each page by Ted Harrison. How are they providing a graphic visual display that is helping illustrate the text. What do you see?”

As the students examine the paintings, teacher side coaches:

“What do the vibrant colours tell you?” “What is the mood of the text and paintings?”

“Do the words and the visuals correspond?”“Why don’t the characters in the paintings have faces?”“What symbolism do you recognize in the paintings?”“Are the poetry text and paintings reflective of Canada’s North that you know or are familiar with?”

What is Happening? Students are:Gathering InformationTalking amongst themselves about what they are seeingComparing the text with the paintings in the bookBuilding a collective understanding of the text and paintingsOffering their views on what the author and the painter are trying to convey

Teacher: “What is the first, second and third painting in the text telling you aboutthe poem?“What are your eyes drawn to in each of the paintings and why?”“Why did the artist choose these dramatic themes for the reader?”“If you were to draw a painting or tableau for each of the first three stanzas of the poem and associated paintings, would you have chosen the same characters, animals, symbols, structures and layout?”

Teacher: “Take a minute now and close your eyes. Imagine you are an artist and have never seen the North. Insert your ideas through drawings onto the page you have in front of you in a simple form. Don’t worry about exact details, just let your mind wander and sketch out some shapes, symbols and structures both human made and that come from nature.”

Strategy 3 Tableau(s) (Time: 30 minutes)

Teacher: “Take the essence of what is on the page(s) of the actual text and what you have sketched out, and create a tableau that best represents your thinking about your words or phrases that best represents YOUR reflection of the dramatic poem’s early ideas.”

Teacher: “We are going to recreate the pictures in the first few pages of the book. We will need two volunteers (to represent Sam and Cap) for each of the paintings in the initial story.

Teacher: “Through these tableaus we will get a better understanding of our two characters and have students observe them. Students not in the roles of Cap and Sam will make any adjustments they feel needed.”

What is Happening? Teacher is:Grappling with the complexities of text / visual conceptsDrawing comparisons with what they see and how they see the text/paintingsMaking abstract concepts concreteUsing their bodies to convey meaning

Teacher discusses the idea of stillness, patience and silence to students in order for them to understand how their bodies can portray thoughts in the simplest form.

Teacher: “Look at the paintings on each page by Ted Harrison. How are they providing a graphic visual display that is helping illustrate the text. How can you replicate these scenes or create ones of your own”

Each tableau is presented by groups of students allowing for 2 to 3 minutes each.

Teacher: “What do we see?”

Student observers offer their own ideas.

Teacher: “Explain what you see. What are you seeing and where?”

“What does the body language tell you?” “What is the mood of the faces in the tableau?”“How do the bodies and the faces correspond?”“What symbolism do you recognize in the paintings that are reflected in the student tableaus?”“Are the tableaus true depictions of what you think of when you picture Canada’s North? ”

What is Happening? Students in tableau(s) are:Mirroring the painting of the illustratorEstablishing a sense of comradeship between menExploring what it means to keep one’s ‘word’Consolidating their understandingSynthesizing their feelings and ideas about the characters

Teacher: “Remember how these tableaus were created; how they made you feel;how you now feel about the characters and why there symbolism is

important as we move to the next pages of the poem.”

Strategy 4 STORY READING (Time: 15 minutes)

Teacher reads middle pages of The Cremation of Sam McGee.

What is Happening? Teacher is:Establishing the foundational text structure, cadence and understanding of historical dramatic poetryAsking students to listen in a particular wayProviding context for time and place for the studentsEnsuring the students have a feeling for the overall dramatic poetryEnabling the students to have a sense of what may come next in the text

Teacher distributes copies of the picture book around the class. Teacher also distributes photocopied text and paintings for each student to review and keep for reference.

Teacher: “Look at the paintings on each page by Ted Harrison. How are they providing a graphic visual display that is helping illustrate the text. What do you see?”

As the students examine the paintings, teacher side coaches:

“What do the vibrant colours tell you?” “What is the mood of the text and paintings?”“Do the words and the visuals correspond?”“Why don’t the characters in the paintings have faces?”“What symbolism do you recognize in the paintings?”“Are the poetry text and paintings reflective of Canada’s North that you know or are familiar with?”

What is Happening? Students are:Gathering InformationTalking amongst themselves about what they are seeingComparing the text with the paintings in the bookBuilding a collective understanding of the text and paintingsOffering their views on what the author and the painter are trying to convey

Teacher: “What is the first, second and third painting in the text telling you aboutthe poem?“What are your eyes drawn to in each of the paintings and why?”

“Why did the artist choose these dramatic themes for the reader?”“If you were to draw a painting or tableau for each of the first three stanzas of the poem and associated paintings, would you have chosen the same characters, animals, symbols, structures and layout?”

Teacher: “Take a minute now and close your eyes. Imagine you are an artist and have never seen the North. Insert your ideas through drawings onto the page you have in front of you in a simple form. Don’t worry about exact details, just let your mind wander and sketch out some shapes, symbols and structures both human made and that come from nature.”

Strategy 5 Conscience Alley (Time: 10 minutes)

Teacher: “The story vividly describes the hardships of prospector life in the Yukon Territory of Canada’s North. Themes delivered in the story include the mysterious unknowns of the remote Arctic; man’s battle with harsh elements; the solemn business of honoring a friend’s last wish; and the eerie tricks that cold, isolation and fatigue can play on the body and mind.”

Teacher: “We are going to hear Cap’s (Sam’s friend who drives the sled) thoughts and feelings as he drives the sled and dog team through the frozen wasteland of the Yukon. Please form two lines facing one another. Think of all of those thoughts and questions that he might have.”

Teacher places Cap at one end of the line. (Note: Remind Cap that he will need to walk slowly so that everyone will have a chance to speak.

Teacher: “As Cap drives his sled and dogs through days and nights, we hear what is on his mind.”

The student volunteer slowly walks from one end of the ‘alley’ to the other. As she/he does, Students on either side give voice to what they believe would be in Cap’s mind.

(Examples: “How did I get here?”“How could I have made such a promise?”“What if I left his body right here?”“If I don’t cremate him soon, it’ll be me that’s dead.”“What madness is this that I have undertaken?”

What is Happening? The students are:Reflecting inside the drama

Beginning to question their own understanding of promises made by menThinking what it must be like to battle harsh climatesUnderstanding that the Arctic way of life at that time was not a kind placeContemplating what it means to have your mental state altered by the elements

Teacher: “Think about what you just heard as you move to the next part of the poem.”

Strategy 6 Guided Tour (Time: 20 minutes)

Teacher reads the next page of The Cremation of Sam McGee.

Teacher: “Think about all the things on a boat, what sorts of things might you find that are burnable? On this sheet of paper I want you to build a bonfire out of everything you’ve thought of.”

Teacher: “What sorts of things have you thought of?”Prompts ideas: chairs, tables, wood, blankets, fuel, cabinets, etc...

What is Happening? Students are:Making inferencesTalking amongst themselves about what they are imaginingComparing ideas with one anotherDrawing picturesPresenting ideas to peers

Strategy 7 Hot Seating (Time: 10 minutes)

Teacher reads the next page of The Cremation of Sam McGee. Teacher sets up 2-4 chairs in which volunteers will sit.

Teacher: “Although we have a few students in role as Sam McGee only one student needs to respond to each questions. We will build on each other’s responses to create our understanding of this man’s life.”

Teacher: “What questions do we have?”Teacher may become a questioner to model, or to enlarge the

possibilities of the questions. This may be important to add elements of tension or to change the mood of the questioning.

(Modeling: “Sam, can you tell us why this feels go great?”Changing the mood: Can you tell us the last time you felt so warm?Setting tension: What could you say to your family back home?)

What is Happening? Students are:Building perspectiveDeveloping empathyImagining better timesAsking questions

Strategy 8 Group Sculpture (Time: 20 minutes)

Teacher reads the next 2 pages of The Cremation of Sam McGee.

Teacher: “You are splitting up into smaller groups. Each person will get a chance to be a sculptor, and the sculptor will shape the other members into a theme they’ve taken from this part of the poem or the picture. I want you to imagine other sculptures you’ve seen, war memorials? monuments? what sort of poses are people in?”

Teacher: During activity teacher wanders between groups “ What sorts of things have you thought of?”

Prompts ideas: are there animals watching? How would people feel on a cold night? Focus on emotions.

What is Happening? Students are:Being guided by a peerExploring themes and abstractions through concrete visualizationMaking a collective interpretationBeing sculpted into the scenePresenting ideas to peers

Strategy 9 Sacred Writing Time (Time: 20 minutes)

Teacher reads the final page of The Cremation of Sam McGee.

Teacher: “I want you to think about that final line “There are strange things done in the midnight sun, tales that make your blood run cold.” We are going to do a quick character build on the board. Who will this character be? What defining features can we ascribe to him or her?”

Teacher may prompt ideas like features, family, occupation, what brings them to land of the midnight sun, a name, do they know Cap or Sam McGee.

Teacher: “With this character I want each of you to take 10 minutes and write a paragraph or two as the start of another “blood runs cold” tale”

Prompts ideas: chairs, tables, wood, blankets, fuel, cabinets, etc...

What is Happening? Students are:Using their imaginationTalking amongst themselves about what they are imaginingCreating a characterWriting a storyPresenting ideas to peers

ConclusionIn sum, this story drama of Robert Service’s Cremation of Sam McGee will be a supplement to any subject discussing Canada’s history and even geography. The poem evokes intense visualisations and ideas about what the North is like and especially about those people brave enough to settle there. The character of Sam McGee is also an important archetype when discussing Canada’s mosaic, as he is an immigrant who moved here hoping for a better, fulfilling life. Working with the different strategies to convey understanding and meaning and most importantly integration with the concepts will be a fun and novel way of pushing education.

Assessment

Self-Assessment: Interpretation and Communication

Name:_________________________________ Date: _______________________________

A. Check the box that shows how you feel about the following statements:

1 I enjoy interpreting poetry

2 I enjoyed working with different partners/small groups to explore

3 I investigated a variety of possibilities for using voice, gesture, and movement to to read and understand the poem out loud

4 I often contributed ideas in interpreting the poem, directing scenes and presenting ideas

5 I followed directions and accepted advice from others.

6 I worked effectively in role to interpret the poem

7 I was engaged with/committed to interpretation activities

B. Answer the following questions:1 Which interpretation activity appealed to you most? Why?

2 Which do you prefer: watching others role-play a character or taking part in a role-play?

3 What did you learn about yourself by interpreting this poem?

4 What did you learn about working with scripts in this unit?

5 What aspect(s) of your interpretation work would you like to improve?

Assessment: Tableaux Checklist

Name: _______________________________________________ Date:_______________

Excellent____Focal point is very clearly established; i.e., communicating idea, event, or story____Highly effective use of space in the arrangement of the image____Use of varying levels adds strong impact to the depiction____Strong facial expressions and gesture that contribute meaning and add power____All players are in clear view of the audience____Transitions are extremely smooth and add dramatic effect to the presentation____Evidence of thorough organization and rehearsal to create image collaboratively

Very Good____Focal point is clearly established; i.e., communicating idea, event, or story

____Effective use of space in the arrangement of the image____Use of varying levels adds impact to the depiction____Effective facial expressions and gesture that contribute meaning and add power____Most players are in clear view of the audience____Transitions are smooth and add dramatic effect to the presentation____Evidence of good organization and rehearsal to create image collaboratively

Good____ Focal point is appropriately established; i.e., communicating idea, event, or story____ Good use of space in the arrangement of the image____ Good use of varying levels adds impact to the depiction____ Good facial expressions and gesture that contribute meaning and add power____ Few players are in clear view of the audience____ Transitions add some dramatic effect to the presentation____ Evidence of some organization and rehearsal to create image collaboratively

Not Yet____ Focal point needs to be established; i.e., communicating idea, event, or story____ Need to consider use of space in the arrangement of the image____ Limited use of varying levels adds impact to the depiction____ Limited use of facial expressions and gesture that contribute meaning and add power____ All players need to be aware of the audience in presenting the image____ Transitions add limited dramatic effect to the presentation____ Evidence of minimal organization and rehearsal to create image collaboratively