Download Active Learning Through Drama, Podcasting, and Puppetry by Kristin Fontichiaro PDF

By Kristin Fontichiaro

Opposite to the rage to eliminate arts schooling as an pointless rate in faculties attempting to develop pupil attempt rankings, this e-book promotes and explains the price of built-in arts guideline in furthering the accomplishment of curricular ambitions and fostering pupil success. finished library media expert and humanities teacher Kristin Fontichiaro discusses how drama, shadow puppetry, and podcasting can be utilized as instruments to satisfy curriculum ambitions within the K-8 media middle. by means of targeting the method of making a bit of drama or puppetry or a podcast, instead of the aim of functionality, and by way of infusing the humanities with curriculum pursuits in tale or learn, those recommendations can accentuate a kid's studying and supply context for school room curriculum pursuits. A dialogue of the affective and educational advantages of this process-based paintings in addition to pattern classes are integrated. pictures and examples of pupil paintings illustrate the oechniques. Grades K-8.

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Extra info for Active Learning Through Drama, Podcasting, and Puppetry

Sample text

Our colleagues in physical education have known this for years—students do not enter the gym and immediately run a mile. They begin with stretches, making their bodies ready for the larger task. The stretching exercises aren’t “optional”—they are there to prepare the athletes. These activities do the same thing. Similarly, warm-ups are not stand-alone activities. They should be used in preparation for a main lesson and, after the first time they are introduced to students, can comprise as little as five minutes of a lesson.

What made the performance so outstanding? The text of the story, sure, and the dramatic way he or she moved. But something else makes a storyteller truly outstanding: the way he or she manipulates his or her voice. Children telling ghost stories during sleepovers know of the power of vocal variety—how the voice slows down, quiets, and gets a lower pitch just before the scariest part, how the voice speeds up and gets higher as the victims run away from the ghost. Vocal variety is an important skill for developing and sharing the personality of a stage character.

When I learned this game as a child, I remember seeing some students who tried to move jerkily or quickly to try to catch their partners off-guard. Trying to get a partner to goof up is not the goal of this activity. I heard a wonderful explanation of the goal of this exercise in fall 2005, when I sat in on a student workshop led by members of the Handspring Puppet Company of South Africa. One of the company’s members pointed out an important distinction: the goal of “Mirrors” is to empower one’s partner to successfully mimic one’s actions, to move in synchronicity with the partner.

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