Module 3: Looking at the Arts

Transcription

1 Modue 3: Looking at the Arts Copyright 2014 The Open University

2 Contents Section 1 : Exporing the visua arts 4 1. Using brainstorming to think about oca art 4 2. Studying and making masks 5 3. Creating an informative exhibition 7 Resource 1: A homework ist of oca artefacts 8 Resource 2: Categories for organising types of artworks and artefacts 9 Resource 3: An African mask 10 Resource 4: Lesson pan on East African masks 11 Acknowedgements 13 Section 2 : Organising practica craft activities Exporing oca crafts in groups Deveoping research skis Making and dispaying oca crafts 17 Resource 1: Research questions on traditiona toos and impements 18 Resource 2: Assessment sheet for research presentations 19 Resource 3: Making pots 20 Acknowedgements 23 Section 3 : Using dance for earning Exporing cuture through dance Working in groups to devise a dance Learning from performance 27 Resource 1: Stories of the Venda drum 28 Resource 2: Loca traditions 30 Resource 3: Refining our dance 32 Resource 4: Thinking back about dance 33 Acknowedgements 34 Section 4 : Using music in the cassroom Using mind maps to organise thinking about sound Working in groups to write a praise poem Organising a musica performance 37 Resource 1: Exporing sound 38 Resource 2: Making instruments 39 Resource 3: Listening to sounds in everyday ife 40 Resource 4: Praise singing 41 Resource 5: Pupi praise songs 42 Resource 6: Musica pipes 43 Acknowedgements 44 Section 5 : The art of storyteing Listening to and teing stories Exporing traditiona Stories Supporting pupis in writing a story 48 Resource 1: The snake chief 49 Resource 2: Stories and fabes from across Africa 50 2 of 53 Wednesday 18 May 2016

3 Resource 3: Pictures for stories 51 Resource 4: Using pictures as a stimuus for story writing 52 Acknowedgements 53 3 of 53 Wednesday 18 May 2016

4 Section 1 : Exporing the visua arts Section 1 : Exporing the visua arts Key Focus Question: How do you expore the visua arts with your pupis? Keywords: art; masks; exhibitions; artefacts; thinking skis; crafts Learning Outcomes By the end of this section, you wi have: deveoped your skis in carrying out cassroom activities and reated discussions in the area of visua arts; deveoped pupis knowedge of the visua arts that are produced and used in the community; undertaken practica artwork with your pupis. Introduction Some of the most exciting parts of a society s heritage are its arts and crafts traditions. The way that objects, both ornamenta and everyday, are made and decorated, and the music and dancing that is produced, provide insight into the core vaues and needs of that society. This section wi show you how to introduce your pupis to visua arts that are around them and ways to use the visua arts to stimuate creative work in your cassroom. Your task is to hep pupis understand that artwork makes the environment attractive. In addition, you wi want to deveop the understanding that art is a means of communication and a way to transmit cuture. 1. Using brainstorming to think about oca art The study of art and artefacts and how they are produced can provide pupis with a window onto their own cuture and community history. It aso gives you, the teacher, opportunities to design good activity-based essons, because there are so many exciting objects and artworks that can be brought into the cassroom to stimuate interest and provide ideas for pupis own art activities. The symbos contained in art are most often reated to the mora and reigious vaues of a particuar society. Therefore, it is important to encourage your pupis to take an interest in the arts to preserve their own cutura heritage and hep them make more meaning of their own contexts. This is why we teach pupis about art. Case Study 1: Deepening thinking about oca artefacts A day before the first esson on oca traditiona art, Mrs Kabaimu, from the Tanga Region in Tanzania, asked her pupis to make a ist of artefacts produced in their community, either in the past or in the present. They were to speak to their parents and neighbours in gathering this information. Just to get their thoughts moving, she showed them some 4 of 53 Wednesday 18 May 2016

5 Section 1 : Exporing the visua arts exampes of artefacts, such as a beautifuy woven Makonde basket and a Maasai bead neckace. The next day, pupis brought back some extensive ists Mrs Kabaimu woud mark each one and return it (see Resource 1: A homework ist of oca artefacts). She started the esson by asking pupis to mention names of artefacts they had earned of, which she wrote on the chakboard. These incuded the names of carvings, paintings and different drawings, weapons, househod objects and accessories. Mrs Kabaimu divided the cass into sma groups (see Key Resource: Using group work in your cassroom) and gave each group the names of two art objects and the foowing questions: Describe the uses of the objects. What skis are required to produce the objects? Are these skis known to many peope? How might the objects be stored and preserved for future generations? After 15 minutes, each group presented its findings to the whoe cass. Mrs Kabaimu made notes on big sheets of paper and, as she did so, she summarised the pupis ideas into different categories. She knew that it was important to group the ideas and to draw attention to the way they were cassified. These sheets were pinned on the cassroom noticeboard and eft for a week for pupis to study. Not ony were the pupis earning about artefacts in their own community, but they were aso being given an opportunity to deveop their thinking skis. Activity 1: Brainstorming and creating oca traditiona art and artefacts You may want to ook at the diagram in Resource 2: Categories for organising types of artworks and artefacts to assist you with panning this esson. In a cassroom discussion, ask pupis to brainstorm traditiona art objects and artefacts they know. Start by giving some exampes. As pupis come up with ideas, write them on the board in various categories (see Resource 2). Examine each object cassified as a scupture or carving and ask the cass to discuss the skis required to produce these objects, how and where they are produced and how they are ceaned and preserved. Do the same for other categories of objects, covering as many as time aows. Finish the esson by asking pupis to pan for their next art period, in which they are going to draw pictures of or make some of the objects. Find a space where these can be dispayed according to categories. They coud ater become part of a schoo exhibition. 2. Studying and making masks Traditiona African masks were considered to be crucia objects because they payed the essentia roe of the spirits in the African beief system. The origina intent in creating an 5 of 53 Wednesday 18 May 2016

6 Section 1 : Exporing the visua arts African mask was to create it for a particuar ceremony or societa ritua. Unike the West European concept in which a mask is considered to be the means of representing a spirit, traditiona masks in Africa were understood to be where a spirit is created. In other words, when a person wears the mask, aong with a costume that conceas them from head to foot, the masked person actuay becomes the figure the disguise is intended to represent, bringing it to ife through their gestures, sounds, activities, and often their possessed state. In Case Study 2, a teacher uses group work to promote her pupis thinking skis and aow them to share their ideas about the purposes of different masks. In Activity 2, your pupis wi make their own masks, having thought about questions such as those raised in the case study. Case Study 2: Exporing symbos and meaning in traditiona African masks Mrs Sungi is an art teacher at IhanjaSchoo, Singida. She has decided to expore traditiona African masks with three broad outcomes in mind: 1 To refect on shared uses and experiences of artwork across Africa. 2 To expore how symbos in a piece of artwork convey particuar meanings in a cutura context. 3 To hep her pupis make their own masks. She pans to use about two doube-period art essons to achieve these outcomes. Mrs Sungi starts by presenting her cass with picture books and magazines that contain images of traditiona masks from a over Sub-Saharan Africa. (See Resource 3: An African maskfor an exampe.) She asks the cass, in groups, to expore some of the books together and to draw out common uses of masks in socia ife across different cutura contexts. Each group prepares a ist of ritua and cutura functions of African masks. Using Resource 4: Lesson pan on East African masks, Mrs Sungi wi go on to introduce specific masks from East Africa, which have many highy styised features associated with rituas and the symboism of power. She wi draw attention to important symbos in the mask. She wi then give her pupis time to design and make their own symboic masks. Activity 2: Creating masks to represent emotions and socia messages Before the esson, gather together a range of picture books and magazines that contain images of traditiona African masks from various paces and, if possibe, some exampes of rea oca masks. Te pupis to ook through the resources you have gathered for ideas for their own masks. As they pan their masks, pupis need to think what they wish their masks to convey. Remind them that they need to think about: facia expressions; 6 of 53 Wednesday 18 May 2016

7 Section 1 : Exporing the visua arts images or symbos they might use; how to capture feeings; coour. Ask them to design their own masks on a sma piece of recyced paper/card first, before making either a arger picture of their mask or making a mode out of card. You wi have to aow severa art periods for this work. Dispay the finished masks for a to see and invite other casses to see the masks. 3. Creating an informative exhibition Producing their own artefacts is important for your pupis and they wi want to share their achievements with others. In this part, we suggest creating a schoo exhibition of community artefacts and objects pupis have created as a means of fostering and preserving your pupis pride in their cutura heritage. Artefacts from the oca community that cannot be moved or are otherwise unavaiabe coud be represented by cuttings of pictures from newspapers and other sources. Case Study 3 shows how one cass, by working in groups, was invoved in a aspects of the exhibition, from panning the ayout to taking with visitors. In the Key Activity, your pupis wi prepare an exhibition where visitors wak around unaccompanied, so their task of writing informative and interesting abes is crucia. Case Study 3: Dispaying artefacts at a schoo Open Day Iemea Community Primary Schoo s Open Day normay takes pace towards the end of the schoo year. Mr Koku, who is teaching art to Standard 4 pupis, asks the Open Day panning committee to aocate a space in the exhibition room so that his cass can dispay artefacts they have made during cass or coected from different sources in the community. The request is granted. During the preparation period, Mr Koku ed his cass to pan for the dispay. He divided the pupis into four groups. The first group was required to coect and abe a drawings, pictures and objects cassified as househod objects. The second group was assigned the category of musica instruments, the third group was assigned the category of jeweery and the fourth group the category of carvings. The work of coecting and abeing took up two essons. In the third esson, each group nominated one pupi to present its coections to the cass the way one woud present to visitors. During the Open Day, the cass dispayed the objects arranged into four categories and four pupis described the coection to parents and other members of the community who visited the cass dispay tabe. At the end of the day, the artefacts tabe was awarded a trophy for the best tabe in the exhibition room. 7 of 53 Wednesday 18 May 2016

8 Section 1 : Exporing the visua arts Key Activity: Preparing for an exhibition of artefacts Ask pupis to bring into cass drawings, artefacts, masks, toos, carvings, pottery and baskets either from home or that were made during their art essons. Prepare five cards. On each card, write one of the foowing words: Picture makers; Weavers; Scuptors; Potters; Carpenters. Divide your cass into five groups and assign each group one of the cards. Ask each group to categorise the objects that they have brought in and dispay in a separate space those that beong to the category on their card. Once this is done, ask groups to compares categories in order to arrive at uniform sets. The debate that wi go on here is very important in buiding pupis categorisation and thinking skis and wi hep them identify the key things they want to incude on their dispay abes. Ask each group to write a name and an information abe for each object in their dispay. Ask each group, in turn, to arrange their dispay for pubic viewing, whie other pupis pretend to be visitors. Ask the visitors to feed back to the groups how they coud improve their abes. Prepare the fina draft of the abes and give your cass time to set up the dispays. Devise a rota of pupis to act as custodians of the dispay whie it is open. It may be open ony at break times and unch time. After the exhibition, discuss with your pupis what they gained from the experience both in terms of understanding about the artefacts and of being invoved in such an event. Resource 1: A homework ist of oca artefacts Exampe of pupis' work This was the homework ist that Jabai handed in, as marked by Mrs Kabaimu. 1. Drum Names of Artefacts 2. Guitar Is this the guitar that you made? 3. Wooden spoon 4. Botte Think about this again. Was the botte reay made in your community? 5. Cay pots Very good 6. Tingatinga painting What is this? 7. Car toy Is it one of the toys made in your viage? 8. Handwoven mat 8 of 53 Wednesday 18 May 2016

9 Section 1 : Exporing the visua arts We done Jabai. You have coected a good ist of artefacts here. Make sure you understand which of them are made in your community. Resource 2: Categories for organising types of artworks and artefacts Teacher resource for panning or adapting to use with pupis 9 of 53 Wednesday 18 May 2016

10 Section 1 : Exporing the visua arts Resource 3: An African mask Teacher resource for panning or adapting to use with pupis 10 of 53 Wednesday 18 May 2016

11 Section 1 : Exporing the visua arts Origina source: Cabe, M. The African Kings. New York: Seect Books Resource 4: Lesson pan on East African masks Teacher resource for panning or adapting to use with pupis 11 of 53 Wednesday 18 May 2016

12 Section 1 : Exporing the visua arts (Accessed 2008) There are generay three kinds of mask: face masks, hemet masks (which as the name suggests are worn over the head ike a hemet), and body masks, which cover a good part of the dancer's torso and are intended to disguise the dancer's identity from peope in cose proximity. The body mask sometimes ony covers the torso and is worn together with a face or hemet mask. A masks represent spirits or ancestors, and were most powerfuy used in initiation ceremonies as expressions of continuity, fear and moraity. They were aso used in dances for festive occasions, for instance in harvest ceebrations. The hemet masks (mapiko; singuar ipiko) are notabe for their strong, portrait-ike features. Many have rea human hair appied in shaved patterns, raised or incised facia scarification, open mouths with bared teeth, arge ears or ip-pugs. They are used in the mapiko dance and in other dances. Athough both mae and femae heads can be depicted, femae heads are very rare. The dancer breathes and sees though a sma opening in the mouth. Mapiko is not just the name given to a mask (usuay hemet mask), but aso the name of a dance, the name of the terrifying force that performs in it, and aso the name given to one of the stages of mae initiation, when the initiate is introduced into the secrets of the Mapiko. The masks themseves are made in a secret bush ocation known as the Mpoo, which women are forbidden to approach. When not in use, the masks are kept in the Mpoo, and were traditionay burned when broken or repaced with new masks. Adapted from origina source: (Accessed 1 Juy 2007) Outcome Pupis wi deveop an appreciation of a mask s various purposes and wi create a mask. Materias 12 of 53 Wednesday 18 May 2016

13 Section 1 : Exporing the visua arts drawing paper card pencis modeing cay paper in various coours markers, crayons or cooured pencis poster coour beads, shes, etc. scissors gue 1 Coect together some images of masks to share with your pupis. 2 Discuss the images of the masks and their symboism. 3 Ask each pupi to create a preiminary drawing of his/her mask. 4 Trace the pattern on card and then draw their design for the mask. Te pupis that they may change the facia features on their masks. The pattern is ony a guide for ocation of eyes and mouth in case they woud ike to wear their masks. 5 Paint the masks and aow them to dry. 6 Cut the masks out and prepare the materias that wi be attached to masks such as hair and a band to secure it on their head. 7 Give pupis time to decorate their masks. Acknowedgements Gratefu acknowedgement is made to the foowing sources: Photographs and images Resource 3: An African mask: Cabe, M. The African Kings. New York: Seect Books Resource 4: An East African mask: (Accessed 2008) Text Resource 4: Lesson pan on East African masks: Adapted from origina source: (Accessed 1 Juy 2007) Every effort has been made to contact copyright hoders. If any have been inadvertenty overooked the pubishers wi be peased to make the necessary arrangements at the first opportunity. Return to Socia Studies and the Arts (primary) page 13 of 53 Wednesday 18 May 2016

14 Section 2 : Organising practica craft activities Section 2 : Organising practica craft activities Key Focus Question: How can you hep pupis ask questions about and produce oca crafts? Keywords: crafts; research; presentations; practica; cuture Learning Outcomes By the end of this section, you wi have: found out what pupis aready know about oca crafts; organised your pupis into sma groups to undertake research activities; panned practica activities to hep pupis produce and evauate their own craft items. Introduction The majority of pupis wi aready have knowedge about oca crafts and some pupis may even be very skied at doing some of them. The range of crafts in your oca area may incude such things as beadwork, pottery, scupture, painting and fabrics. It is important to find out what pupis aready know, and use this as the base for panning activities around oca crafts. In this section, you wi encourage pupis to share and deveop their understanding of the vaue and uses of these traditiona crafts. One important way is to aow pupis to make their own craft items; this provides opportunities for them to pan and evauate their work. 1. Exporing oca crafts in groups The traditiona crafts of the community wi have more meaning for your pupis if you invove them doing some of these crafts. This part expores what your pupis know about oca crafts and the peope who do them in a practica context. It gives you an opportunity to deveop your questioning skis and shows a way to hep your pupis raise their own questions. Painting is one way that communities can record events that have happened. It is aso a medium that uses the imagination and so is a good way for pupis to express their ideas and feeings. Case Study 1 describes how one teacher encouraged her pupis to paint and draw. In Activity 1, you use sma-group discussions to expore what pupis know about oca crafts, their use and how they are made. This can be a starting point to doing more indepth research into the crafts in the next activity. 14 of 53 Wednesday 18 May 2016

15 Section 2 : Organising practica craft activities Case Study 1: Looking at painting Mrs Moyosoa from southwest Nigeria was teaching painting. She wanted to encourage her cass to paint and draw. She decided to begin by asking her pupis to ook at some pictures by modern Nigerian painters from their region. She had one copy of each picture that she put on the board. She asked the pupis to ook at these and say what they iked and disiked. She asked if any of them painted or drew and, if so, what and when. Many did not have access to paper and pens but said they did draw pictures in the sand outside their homes. They were sad that these pictures did not ast. Mrs Moyosoa asked her cass to think about what they woud ike to paint or draw. She gave them paper and pencis and aowed two art essons for them to draw and paint. Some painted pictures of their own and others did versions of the modern Nigerian paintings. Mrs Moyosoa dispayed these for everyone to share. Activity 1: Asking questions about oca crafts Coect together some exampes of oca crafts. You coud use the same exampe for a your groups or a different one for each group. Organise your cass into sma groups of four/five pupis. Ask each group to discuss what they know about one craft. Ask them to start by answering the foowing questions (write these questions on the board). What is it? What is it used for? What was it used for in the past? How is it made? Give pupis minutes to discuss these questions and to think of one more question to ask about the craft. You coud ask oder pupis to draw the craft and record their ideas on the drawing. Then ask them for some of their answers. You may find that they coud not answer a the questions, so expain that they are going to do research to gather more information in Activity Deveoping research skis Discussing oca crafts or traditiona weapons or dress is very motivating for most pupis as they can see the reevance of these to their ives. When pupis are interested, it wi aso be easier for you to manage their behaviour. In Case Study 2, this interest is stimuated by a visitor. Do you know anyone who has time to visit your cass? Have you asked your pupis if they know anyone? If you aso use more interactive ways of working, such as pair and group work, pupis can achieve more by working together to buid new knowedge. In Activity 2, pupis work in pairs to research answers to their own questions. Again, this is very motivating for pupis. 15 of 53 Wednesday 18 May 2016

16 Section 2 : Organising practica craft activities Case Study 2: Looking at the history of traditiona toos for farming Ms Dora Edu-Buandoh wanted her pupis to find out more about toos used traditionay in farming. She decided to give them the opportunity of ooking at pictures and artefacts, and writing about what they had seen. But first, she had a surprise for her cass. She had asked an oder member of the community who had a coection of od toos to bring in some of his coection to the cass. The pupis reay enjoyed the visit and they were abe to gather a ot of information about the toos to add to their research project. The od spade that had beonged to the visitor s father s grandfather excited them a most because of its great age. After the visit, Ms Dora Edu-Buandoh divided her cass into sma groups and gave each group a picture some groups had the same picture as she did not have any others she coud give. She expained that they needed to discuss the pictures and then write a short story about how the toos in each of the pictures were being used. She expained that they coud use the question sheet to start them thinking about what to write about (see Resource 1: Research questions on traditiona toos and impements). The pupis used their notes from the visit and aso some books that Ms Dora Edu-Buandoh had coected over time. They worked together in their groups to coect the information and write their stories. At the end, each group shared their story with the cass. Activity 2: Researching oca crafts Ask pupis, in pairs, to choose which craft items they want to research more. Each pair can choose between ooking for the information in books or interviewing a person in their community as their starting point. Next, ask the pupis to think of the kinds of questions they need to ask to guide them to the right information, such as: What is the traditiona use of this bow? Discuss some suggestions and decide together if they hep focus on the purpose of the research. Each pair seects their questions. Each pair conducts their research using their questions, and their chosen research method. You wi need to provide information books or extracts from books and magazines for those using books as their source of information, and you wi need to give the others time to conduct their interviews. If they have troube finding information with one method, they may need to use the other as we. Aow time for them to do the research and give them guidance as they work if they are strugging. Ask each pair to make a poster to present their key findings. Assess your pupis work using Resource 2: Assessment sheet for research presentations. 16 of 53 Wednesday 18 May 2016

17 Section 2 : Organising practica craft activities 3. Making and dispaying oca crafts When studying a practica topic ike craftwork, it is important that your pupis have an opportunity to work with the materias themseves or at east see someone doing the craft. Case Study 3 shows how one teacher coected cay from beside the river so that her pupis were abe to make cay pots of their own. By handing materias and seeing what can be done with them, pupis gain a better insight into the skis needed. If you have access to materias, pan for your pupis to produce their own crafts. These can be dispayed in an exhibition for other pupis or parents. With oder pupis, you shoud encourage them to evauate their crafts what did they fee went we? What coud they improve on next time? The Key Activity describes how to set up an exhibition of the crafts. This is another way to motivate pupis and to enabe them to understand the power of their oca crafts better. Case Study 3: Making pots Mrs Khendi was teaching a esson on traditiona pots. She started by asking pupis to tak about their experience of traditiona pots and utensis. The pupis had some interesting knowedge about their use in the harvest period and at wedding ceremonies and reigious festivas. Pupis aso spoke about the different pots they knew, such as one to keep braceets in. Whie they were taking, Mrs Khendi made a ist of the traditiona pots on the chakboard. Mrs Khendi had brought in a seection of pots that she had coected from peope in the community. She tod the pupis to bring in any that they had at home to share to see the shapes etc. Next, she showed them how to make a sma pot out of cay that she had coected by the river. She gave each pair some cay to shape a pot and decorate it in any way they iked. She encouraged them to ook at the oca designs and, from this, deveop their own ideas. The pupis pots were eft to dry at the side of the cassroom where everyone coud see them. Mrs Khendi was very peased with their work. Resource 3: Making pots gives background information. Key Activity: Setting up an exhibition When your pupis have competed their research on their chosen craft item, invite a oca expert in to show them how they make a particuar object, e.g. beadwork or carving, so pupis can find out more about why and how they do their craft. Next, ask your pupis how they woud ike to present their research and who they woud ike to present it to. Organise your cass into groups who are interested in the same or simiar crafts to discuss their ideas. Discuss some of their ideas. Agree a date for this and the venue. Aow each group time to prepare their book, poster, dispay, demonstration of how to do the craft or ora presentation. Have a rehearsa of the event and ask each group to present their work. 17 of 53 Wednesday 18 May 2016

18 Section 2 : Organising practica craft activities On the day, the next cass or the schoo or parents are invited to come and see their work. Each pair/group stands with their work and expains it to visitors. The ora presentations are hed after peope have ooked at the dispays etc. Resource 1: Research questions on traditiona toos and impements Teacher resource for panning or adapting to use with pupis A. Look at this picture carefuy. Think about a the things that you see in the picture. (Accessed 2008) 1 What impements can you see in the picture? 2 Who is using these impements? 3 What is the person using them for? B. Look at this picture carefuy. Think about a the things that you see in the picture. 18 of 53 Wednesday 18 May 2016

19 Section 2 : Organising practica craft activities (Accessed 2008) 1 Which toos can you see in the picture? 2 Who is using them? 3 What is the person using them for? Resource 2: Assessment sheet for research presentations Teacher resource for panning or adapting to use with pupis Name of pupi: Date: Cass: During the presentation the pupi: Achieved we Achieved Needs hep Showed a rea or drawn or photographic exampe of the craft item. Gave the craft item a name. Answered the research question. Feedback comments: Teacher: 19 of 53 Wednesday 18 May 2016

20 Section 2 : Organising practica craft activities Resource 3: Making pots Background information / subject knowedge for teacher An exampe using a pottery whee Cay can be made into vesses because of its unique physica properties. The moecuar structure of cay means it has a pastic quaity, aowing it to be shaped into an infinite variety of forms. Subject these forms to sufficient heat and they are atered into a rock-hard materia, making them both functiona and durabe. Cay is composed of the most common eements found in the Earth s crust and, as a resut, is found throughout the word, beneath our feet. Cay was put to use by neary every cuture, often with extraordinary resuts. Pots can be made with bare hands using cay ubricated with water. The potter, bearing down on the cay with their hands, then centres the cay. The fingers are used to first form the foor of the pot and then, to pu the was of the cay up, typicay into a cyindrica shape. Then the potter genty shapes the pot into the desired form, using the fingertips, as the whee continues to spin. Centering the cay on the kick whee Opening up the cay Once fuy formed, the pot is cut off the whee head with a wire and removed. The process is then repeated with the next ba of cay. When the work has dried to a eather-hard state, the pot can be trimmed. Handes are attached at this stage. Certain types of decoration can be added. Once pots are bone dry, they can be bisque-fired in a kin. This produces a hard yet porous vesse. Each pot is dipped directy into a bucket of gaze that has been mixed to the consistency of heavy cream. The stoneware gazes consist of a number of naturay occurring mineras such as fedspar, siica, whiting (imestone) and cay. Iron oxide is added in various amounts for coour. Shaping the cay Puing a hande for a mug Detai from stoneware bow 20 of 53 Wednesday 18 May 2016

21 Section 2 : Organising practica craft activities Once the kin is fuy oaded, the door is bricked shut. The firing process takes 18 hours. The pots are graduay heated unti they reach 1,250?C, which is white heat. At severa points during the firing, the kin is starved of oxygen. This reduction atmosphere causes oxygen to be removed from the cay and the gazes. This process of reduction and reoxidation of the pots resuts in rich, earth-toned gazes. An exampe using pinch pot construction With pinching gestures, you can moud cay into objects such as animas or make a bow, a pot, a cup etc. Whie this form of pottery seems basic, you can get a fee for the cay you are working with and you wi get to know the imits of your cay. (Does it bend easiy? Does it dry fast? etc.) To make a bow, a pot or a cup, begin with a ba of cay. Push your thumb into the centre. Then pinch up the was. 21 of 53 Wednesday 18 May 2016

22 Section 2 : Organising practica craft activities Turn the piece as you pinch. This wi hep you to keep an even thickness in the was of the piece. Genty pat the bottom on a fat surface to create a fat spot on the bottom of the piece. Exampe of traditiona pot an African braceet bow This bow is traditionay used for storing braceets. Adapted from: and (Accessed 2008) The series of pictures beow show pottery being made in Mpraeso, Ghana, three hours northwest of Accra. A potter at work. Pottery, ike neary every viage activity, takes pace outdoors in the communa yard, preferaby in a patch of shade. Akua Manu makes some adjustments to Eie s bow. 22 of 53 Wednesday 18 May 2016

23 Section 2 : Organising practica craft activities Pit firing under the banana trees at Mpraeso. Pots are paced in a circe with fue around them. For the typica back reduction effect, potters smother the fames with organic materias producing this coud of smoke. With African whees, the pot stays sti whie the potter gets her exercise moving, often at a run, around it as she works. The pot rests on a board paced on top of a coumn of rocks buit up to a comfortabe height. A young Ghanaian scuptor concentrates on getting the detais just right. Acknowedgements Gratefu acknowedgement is made to the foowing sources: Photographs and images Gir using stick to grind food in a bow: (Accessed 2008) Peope using hoes in a fied: (Accessed 2008) Resource 3: Making pots: Adapted from: and (Accessed 2008) Series of five pictures showing pottery being made in Mpraeso, Ghana: The fu artice can be found at (Accessed 2008). Every effort has been made to contact copyright hoders. If any have been inadvertenty overooked the pubishers wi be peased to make the necessary arrangements at the first opportunity. Return to Socia Studies and the Arts (primary) page 23 of 53 Wednesday 18 May 2016

24 Section 3 : Using dance for earning Section 3 : Using dance for earning Key Focus Question: How can you use dance to enhance earning and physica webeing? Keywords: dance; choreography; cuture; domba; tradition; change Learning Outcomes By the end of this section, you wi have: expored ways to show how African dance traditions can express society s needs and vaues; heped your pupis understand the changing nature of tradition through practica dance; drawn on dance traditions to improve earning and assessment, and deveop pupis physica we-being. Introduction The arts in genera are an integra part of the cuture of a peope and dance is a very strong and vibrant dimension of many cutures. Dance is part of every aspect of African ife. Many forms of dance originating in Africa, athough rooted in the past, have changed or have been ost, so encouraging an interest in dance wi protect those sti in use. This section wi hep you deveop ways of using dance in the cassroom. It expores the cutura traditions of dance in Africa, as we as new ways you can use dance across the curricuum. 1. Exporing cuture through dance Heping your pupis appreciate the vaue of studying traditiona African dance is an important part of teaching the arts. Learning about the arts is often rooted in stories from the past. Aso, the arts enabe peope to express meaning in their everyday ives and hep them to deveop their sense of identity and sef-worth. Case Study 1 and Activity 1 wi hep you consider with your pupis how traditions change and disappear, and debate whether this is a good or bad thing. Case Study 1: Investigating the Venda peope and the domba Ms Syvia Msane teaches at a primary schoo in Sebokeng, a township south of the Johannesburg city centre in South Africa. Syvia is married to a man of Zuu origins and they speak Engish and Isizuu at home. However, her mother s ancestors are from Venda. Syvia is concerned that her pupis, ike many other young peope in South Africa, know very itte about their cutura origins. Syvia 24 of 53 Wednesday 18 May 2016

25 Section 3 : Using dance for earning thinks of a saying that has been passed down to her: Umuntu ngu muntu nga bantu A person is a person because of other peope. She decides to te her pupis a story that her grandmother tod her when she was a chid about the Venda peope (see Resource 1: Stories of the Venda drum). After teing them how the Venda peope came to ive in the northern parts of South Africa, she shows them some traditiona Venda cothes and pictures of young women dancing the domba. One pupi asks what the women are doing. Syvia expains that these women have amost competed their initiation and are dancing in the form of a python. She tes them another story to expain the significance of this snake and they discover how the domba dance ceebrates the fertiity of young women (see Resource 1). Another pupi asks her if she was initiated in this way and she expains that she wasn t. Peope s ives and priorities have changed and many traditions from the past have died out. They debate whether it is a good or bad thing that this has happened. Resource 2: Loca traditions tes you about a different type of drum. Activity 1: Finding out about an African dance tradition of the past Find out from your cass, coeagues or members of the community if there are any traditiona dancers in the area. Ask the head teacher if you can invite the person in. Contact the person and ask them to come and tak to your cass about oca dances and to demonstrate one or two dances. Ask them to bring the cothes they wear. Prepare your cass for the visit (see Key Resource: Using the oca community/ environment as a resource). Think about questions the pupis may want to ask. On the day, prepare the cassroom so there is a space for the visitor to sit and dance and so a the pupis can see. Wecome and introduce the visitor. The visitor taks and dances for perhaps haf an hour. Encourage your pupis to ask the visitor questions. After the visit, discuss with your pupis what they have earned about dance. Who iked it? Who woud ike to do more? Think what you can do next. Maybe the visitor coud return to teach them some dances? 2. Working in groups to devise a dance Dance in the cassroom ends itsef to cross-curricuar work, as you expore the ideas behind dances, the significance of the costumes and earn how to do the dances. Dance is a physica activity and can be done as part of the physica education curricuum or it coud be used to expore ideas in other subject areas such as iterature and science, for exampe. In Case Study 2 and Activity 2 dance is used to hep pupis show what they know about a topic or te a story. 25 of 53 Wednesday 18 May 2016

26 Section 3 : Using dance for earning Case Study 2: Working in groups to make up a dance sequence Mrs Aghoor has been working with her cass on how the brain sends messages around the body. She decides to use this topic in her PE essons where she is doing a series of essons on dance. Mrs Aghoor tes her pupis that she is going to divide them into groups of between six and ten. Each group has to think of ways to show how a message goes from the brain to a part of the body to te it to move and other messages come back to the brain to deveop or stop the move. She gives them some time to think about this and goes around supporting them as they tak. After 15 minutes, she suggests they think about how to do the dance and start practising. She reminds them that they have to convey their ideas through movement with no words. When they have had time to practise, each group shows what they have done. After each performance, the rest of the cass has to guess what is happening and can ask questions. She decides to give them time to deveop their ideas and show them to the cass the foowing week, one group at the end of each day. Mrs Aghoor notes that everyone has had fun and thinks her pupis now aso appreciate the importance of dance as a means of expression and as a way to communicate. Activity 2: Using dance from the past and present to communicate Ask each pupi to research a dance that a parent or oder reative used to perform or sti does. It does not have to be a traditiona dance. They shoud find out: Where the dance comes from. Why the dance was performed and what purpose it served. Where it was performed. How it was performed. Give them time to do this and write out how to do the dance. (See aso Key Resource: Researching in the cassroom.) Next, using one of your oca traditiona dances as a base, ask your pupis to ist what it is meant to show. Now ask your pupis to make up their own dance using any techniques they ike, to show simiar ideas. These coud be about: reaching aduthood; the birth of a baby; a good harvest. Give them time to practise and then share their dances. Remind your pupis that they shoud show their emotions such as happiness, anxiety, horror, sadness with their bodies and faces as they dance. Discuss these emotions and give them time to practise again. Share their performances again and discuss how they improved. 26 of 53 Wednesday 18 May 2016

27 Section 3 : Using dance for earning 3. Learning from performance Dance can be very persona but it aso ends itsef to group performance and aows your pupis to grow in confidence and sef-esteem. This is very important as it can enhance their attitude to earning and their achievements. As a teacher, it is important in a practica situation to be aware of the individuas in a group and their achievements, as we as the coective achievement of the group. Case Study 3 and the Key Activity suggest ways of providing feedback to your pupis that wi hep them prepare to perform in front of an audience. You wi aso expore how peers can assess and feed back to each other in order to deveop their understanding and improve their work. Case Study 3: Panning and giving a successfu dance performance Mrs Aghoor hears from one of her coeagues that the schoo is going to have an Open Day at the end of the term. Parents and peope from the community wi be invited to attend. Mrs Aghoor has been impressed by the enthusiasm of her pupis for the dance work they have been doing and decides to hep them deveop the dances they have created in cass into a performance for the Open Day. She encourages them to practise at unchtime and aocates some time during physica education essons. A week before the Open Day, they perform for each other and give feedback on the strengths of the dances and ways they coud be improved. She uses a series of questions to hep them think about and improve their performances (see Resource 3: Refining our dance). They rehearse and perfect their dances. At the Open Day, everybody is amazed at how Mrs Aghoor s pupis have communicated their ideas about how the brain works through their dances. Finay, Mrs Aghoor asks her pupis to refect on the experience; this gives her vauabe feedback about the earning process and heps her pupis to think about what they have gained (see Resource 4: Thinking back about dance). Key Activity: Preparing for a performance Before the first esson, read Resources 3and 4. Expain to your pupis that they are going to perform at the next parents evening and that the head teacher is inviting the community to come too. Before you begin, make sure that your pupis are aware of the need to work sensiby. Give them detais of how you wi stop them whie working and remind them that they need to be aware of where their cassmates are. Organise the cass into groups. Ask each group to pan a dance based around a topic you have been studying. (You coud decide this or aow your pupis to vote for one from a ist.) Give the groups time to practise. 27 of 53 Wednesday 18 May 2016

28 Section 3 : Using dance for earning Next, aow each group to perform in front of the cass. Encourage your pupis to give each other constructive feedback that wi hep them improve their performances. Support groups as they think about how to improve and refine their dances so that they are ready for performance in front of an audience. Discuss any props or costumes and prepare these. Make a programme. Do the performance. Discuss how it went together. What they have earned about dance? What have they earned about the topic? Resource 1: Stories of the Venda drum Background information / subject knowedge for teacher The story of the sacred Venda drum Long, ong ago, the ancestor god caed Mwari gave the Venda peope a sacred drum caed the Ngoma Lungundu. In these ancient days, the ancestors of the Venda ived in Zimbabwe. One day, they received a divine message that they shoud pick up their sacred drum, the Ngoma Lungundu, and move south. This magic drum was arge and heavy and had to be carried by many men. In order to preserve the power of the drum, it coud never touch the ground. When struck by the chief it coud cause fog, hai, rain, thunder or ightening. At times, the great god Mwari woud pay the drum himsef. At these times the drum woud appear to be paying itsef. Enemies fed in terror, fainted or died when they heard its powerfu rhythms. These powers heped to protect the ancestors of the Venda peope during this journey and eventuay they arrived where they ive today in the northern parts of South Africa. Here, there is a ake caed Fundudzi that is sacred to the Venda peope. Many years ago, a great hero of the Venda peope, caed Thoyo ya Ndou, disappeared into this ake, taking with him the magica drum. Most peope think that it has never been seen since, but some beieve it ies guarded and hidden in a cave. Thoyo ya Ndou, or Head of the Eephant, was greaty admired because he united the Venda peope and there was peace and prosperity. Ever since he disappeared, many say there has been disagreement and strife between the roya Venda famiies. 28 of 53 Wednesday 18 May 2016

29 Section 3 : Using dance for earning Origina source: Cataogue: Ten Years of Coecting ( ), Standard Bank Foundation Coection of African Art, Editors: Hammond-Tooke & Netteton, 1989 The python In the Limpopo Province there is a beautifu ake caed Fundudzi. The Venda peope regard this as a very important, sacred pace as they beieve there is a great, white python that ives at the bottom of Fundudzi. This python is the god of fertiity. In other words, he ensures that there is enough rain and pentifu food. He aso makes sure that peope are heathy and have many chidren. Long ago, this god ived on the and. He had a beautifu patterned skin and married two human wives, one od and one young. It happened that he visited these wives each day, ate at night. He aso visited their huts when they were busy working in the fieds. So they never saw their husband or knew what he reay ooked ike. One day, the younger wife grew curious and decided to come back from the fieds eary and peep through the window. She was horrified to see that her husband was a fat python and screamed in horror. The snake god took fright and sithered away into the ake. From 29 of 53 Wednesday 18 May 2016

30 Section 3 : Using dance for earning then on there was drought and famine in the and. The animas died and there was not enough water for the crops to grow. Nobody knew what had caused this disaster and the eders met to have discussions about the probem. Eventuay the young wife confessed what had happened. They begged her to hep them restore fertiity to the and. Eary one morning, she took a pot of the finest beer and waded into the water. The men payed their reed futes in honour of her courage. She waked deeper and deeper into the ake unti the water covered her head, and was never seen again. After this, the rains returned and the famine stopped. To this day, Venda kings and traditiona heaers go down to Lake Fundudzi and pour beer into the water. They beieve if the beer sinks, it is a sign of the python god s peasure and acceptance of their gift. In Venda cuture, young peope attend a specia schoo of initiation. This prepares them for their roe as a married woman or man in society. Young peope earn the domba dance when they attend the dombani or traditiona schoo. Before the domba dance begins, the master of the dance cas out: Tharu ya mahbidighami! ( The python is uncoiing! ) When performing the dance they form a ong ine and snake around a sacred fire. Resource 2: Loca traditions Background information / subject knowedge for teacher The sacred Batá drums Batá drums are a famiy of three doube-headed tapered cyinders, with a sight hourgass shape. With varying sizes that produce differences in pitch, they are named according to size: iyá, the arger drum, considered the mother; itótee, the medium-sized drum, and okónkoo, the smaer or baby drum. They are carved out of soid wood. The skins are of mae goat or deer. The sma head is caed the chacha and the arge is the enu, or mouth. A wax-ike substance caed ida, or fardea, is used on the arger heads of the iyá and itótee, changing the tonaity to produce a duer sound. There are usuay two bets around the iyá, near the heads, with bes attached to them. These are caed chaguoro. The drums have embroidered skirts or aprons and decorated strips of coth as we. Used amost entirey for reigious or semi-reigious events in Yorùbáand, in Nigeria, the batá are used for worship of Shangó, the eader of Oyó and God of Thunder and Lightning, to produce what beievers consider is ceestia music. They are aso used for ancestor (egungun) worship with masked dancers caed agbegijo, who portray humorous and serious as we as ancient and modern characters. 30 of 53 Wednesday 18 May 2016

31 Section 3 : Using dance for earning The batá drums can speak. They can be used to speak the Yorùbá anguage, and have been used traditionay to recite prayers, reigious poetry, greetings, announcements, praises for eaders, and even jokes or teasing. The Yorùbá anguage, the mother tongue of over 10 miion peope, is a tona anguage, ike many African anguages. Yorùbá speakers use three basic tones, or pitches, and gide between them, as an essentia part of how words are pronounced. This is how the hourgassshaped taking drums (caed dundun in Yorùbá) are abe to speak Yorùbá praises and sayings. This is aso how batá and other drums can tak. Sacred batá drums in Yorùbá cuture have reigious rituas surrounding their construction: who can touch them, how to prepare to pay them, and how to care for them. These sacred batá are treated as iving creatures with names, care and feeings, with various rues for their use. An uninitiated person may not touch them and they may not touch the ground. The spiritua force and mystery paced within the drum when it is made sacred, or consecrated, is caed añá or ayán. Añá is aso referred to as an orisha, or deity. A drummer may be initiated into añá through certain reigious rituas practised mosty in Nigeria, and receives the spiritua force needed to pay the drums correcty to bring the orishas down to a ceremony to possess the devotees. 31 of 53 Wednesday 18 May 2016

32 Section 3 : Using dance for earning Omee batá drums from Nigeria Adapted from: Resource 3: Refining our dance Teacher resource for panning or adapting to use with pupis Use the foowing questions to guide a discussion about each group s dance. Note that you do not have to foow these questions in any particuar order. Creativity Coud you create more variation in your dance to communicate your ideas? Coud you, for exampe, swap partners, change directions, use different parts of the space, use different parts of the body or vary the space between the dancers? Working with each other There are ots of different ways of working together in a group dance. Consider some of the foowing variations: working in groups within the arge group, e.g. in twos; 32 of 53 Wednesday 18 May 2016

33 Section 3 : Using dance for earning swapping partners; facing each other, dancing aongside, back-to-back or eaning against each other; varying the distance between dancers; creating a focus on one or more dancers at a particuar time; aowing one dancer to take the ead and the rest foowing. Performance space Do you need to adjust your dance to suit the performance space? How wi you position yourseves in the space to start? How wi you be positioned in the space when you finish? How wi you move around the space during your performance? Awareness of the audience Is it easy for the audience to see a the dancers in your group? Coud you adjust your dance so that the audience can see it better? Other things to think about Does anybody in your group need extra support or hep? Coud you enhance your presentation by wearing simiar hats, scarves, particuar coours etc.? Resource 4: Thinking back about dance Teacher resource for panning or adapting to use with pupis You can use the questions here to hep your pupis refect back on their experiences. Ask them to read and think about these questions carefuy and to answer them in an honest and detaied way. 1 Write down three or more words to describe how you fet during each of the foowing stages: (a) presenting your dance to the cass; (b) watching the other dances; (c) performing your dance in front of the audience. 2 What did you enjoy most about these essons? Why? 3 What did you find most chaenging about these essons? Why? 4 What do you think is the most successfu thing about your dance? Why? 5 Do you think there are any ways you coud improve your dance? If so, how? 6 Which other performances did you ike? Why? 33 of 53 Wednesday 18 May 2016

34 Section 4 : Using music in the cassroom 7 Have you earned anything new about yoursef? 8 What have you earned from the other performances? Acknowedgements Gratefu acknowedgement is made to the foowing sources: Photographs and images Resource 1: Stories of the Venda drum: Cataogue: Ten Years of Coecting ( ), Standard Bank Foundation Coection of African Art, Editors: Hammond-Tooke & Netteton, 1989 Resource 2: Loca Traditions - The sacred Batá drums: Adapted from: batadrums.com Every effort has been made to contact copyright hoders. If any have been inadvertenty overooked the pubishers wi be peased to make the necessary arrangements at the first opportunity. Return to Socia Studies and the Arts (primary) page Section 4 : Using music in the cassroom Key Focus Question: What different approaches are there to making music in the cassroom? Keywords: music; sound wak; praise song; group work; community; instruments; cuture Learning Outcomes By the end of this section, you wi have: used the environment and community as resources for earning; panned practica music activities; invoved pupis in making their own music, using different musica cutures and forms. Introduction Music is an important part of most peope s ives and cutures. Understanding the pace of music and how making music can hep pupis sef-esteem and confidence is important. The emphasis in this section is on exporing different sounds and working together. Throughout these activities you encourage your pupis to isten carefuy, ask questions and experiment. 34 of 53 Wednesday 18 May 2016

35 Section 4 : Using music in the cassroom 1. Using mind maps to organise thinking about sound The environment is a vauabe resource for exporing sounds and how different natura materias can produce sound. The aim of this part is to broaden your pupis understanding and experience of different types of sound, and to see themseves and their immediate environment as music resources. Case Study 1 and Activity 1 show how sounds in everyday ife are a good starting point for this topic. These activities coud be extended to ask pupis to make their own instruments from everyday materias (tin cans, bottes and so on) or you may be fortunate enough to have pupis who can pay an instrument or sing. Organise for them to demonstrate their skis to the cass. See Resource 1: Exporing sound for background information and SCIENCE Modue 3, Section 2 for more information on sound and musica instruments. Case Study 1: Making a mind map to ink materias and sound In her primary cass in Soweto, South Africa, Ms Simeane notices two boys tapping the desk. She istens carefuy as they create a rhythmic conversation using the desk as a drum. Then they tap their penci cases. Ms Simeane draws attention to their music, asking the cass to cose their eyes and isten. Are they making music? How? What different sounds can you hear? The pupis become interested in using their desks, pens and penci cases to make sound. She ets them expore the different sounds they can make at their desks, using the objects around them. They isten to each other s sounds and comment on the ways they are made. Ms Simeane asks her pupis to suggest materias that make sounds and records these on a mind map on the board. She encourages them to think about the reationship between materias and sound. What kind of sound do we hear when we hit a botte with a spoon? Or bow across a botte opening? What sounds do different sized drums make? How do we describe sound? She adds their ideas to the mind map. She is peased with their responses and sees this as a starting point for the pupis to make their own instruments using materias from the oca environment (see Resource 2: Making instruments). At the end of the esson, she asks them to go home and coect as many different materias as they can and bring these into schoo to add to those she has been coecting. Next week they wi make and demonstrate these instruments. Activity 1: A sound wak Before the esson, read Resource 3: Listening to sounds in everyday ife. Ask your pupis to be very quiet and isten to the sounds they can hear in the cassroom. In groups, or with the whoe cass grouped around you, brainstorm a the sounds they coud hear on a arge piece of paper or the chakboard. (See Key Resource: Using mind maps and brainstorming to expore ideas.) 35 of 53 Wednesday 18 May 2016

36 Section 4 : Using music in the cassroom Next, organise sma groups of pupis (four/five) to go out at intervas and wak around the schoo grounds. They shoud stop in four paces and isten very carefuy to what they can hear. They shoud take pens or pencis and their books or paper or a cipboard for this. Each group shoud note down every new sound they hear and where they hear it, and try to identify what is making the sound and how it is made. On their return to cass, ask each group to draw their own mind map of their sound wak. When these are finished, dispay them for a to see and discuss their ideas about how sounds are made. 2. Working in groups to write a praise poem Praise poetry and singing is an important African practice, past and present. African names carry stories of who you are and where you come from. They te peope about your experiences, your joys and strugges, and what you are ike, so that others can know you. Peope create their own praise songs. Praise poets perform at ceremonies, rituas and festivities to praise a person or group. Praise singing and poetry has become a sophisticated art form, practised in many cutures through music, dance and chanting. You wi hep pupis research and create their own praise poems or songs, focusing on the communication of identity and famiy heritage. This wi enabe your pupis to make connections between themseves and musica practices. Case Study 2: Using praise poems to deveop musica understanding Mr Ekadu is a musician and arts and cuture teacher who grew up in Soroti district in eastern Uganda. He teaches in an urban primary schoo, where his pupis represent many cutures, reigions and anguages. He is paying an od Iteso song on his guitar as he thinks about his music essons for the coming month. How wi he deveop the theme of identity using music? As he sings, the music takes him back to his chidhood, his home, parents and grandparents. He remembers hearing naming songs and praises as a chid. He remembers his own naming song that tes of his birth and ancestry. His memories form the beginning of an idea for his cass. Mr Ekadu coects some praise poems and songs and devises questions about them. He istens to the songs ca-and-response structure and inks this to a famiiar naming game his pupis pay in the payground. He pans to do a esson on praise poems beginning with a famiiar song. Next he encourages his cass to produce and perform their own praise poems and songs about their friends. See Resource 4: Praise singing for more background information. Activity 2: Praise songs and poems Before this activity, ook at Resource 5: Pupi praise songs. 36 of 53 Wednesday 18 May 2016

37 Section 4 : Using music in the cassroom Sing a praise song you know to your cass or ask a pupi to sing to the cass. Expain to them how the structure of the song works and get them to join in the responses. Sing the song again whie pupis keep the beat by capping, tapping or using their instruments. Tak with them about the idea of a praise song, who sings them and why. Say a praise poem together, paying attention to the rhythm of the words and communicating the feeing of the poem with your voice. Add instrumenta sounds that enhance the poem s mood if possibe. Next, divide the cass into groups of six. Ask each group to work in threes and write their own praise poem. Each three shoud perform their poem to the other three and then expain the meaning of and feeings in the poem. Together, the whoe group chooses a response ine to chant in between the individua ines and they practise their two poems. They can add other sounds if they ike. Over the next few days, ask each group to perform their praise poem to the rest of the cass. 3. Organising a musica performance Making music is a form of communication: instruments and voices tak, communicating feeings, thoughts and ideas. Music refects and creates cuture, and it is aways dynamic changing and deveoping. In Africa, music is important in creating socia cohesion (unity) and can be important in the cassroom. In this part, you wi buid on the previous activities to organise a whoe-cass performance. The way you set up the activity can contribute to pupis cooperative and istening skis. Case Study 3: The vaue of group music making Sam s passion is making music in a group. The feeing he gets paying the ngoma, or singing in the choir is a specia one of togetherness. He wants to share this feeing with his pupis; to experience what it s ike to make music together when everyone is istening sensitivey to each other. Sam traves from Kampaa to Mbae and visits a sma primary schoo away from the city to visit the arts and cuture teacher. As he arrives, he comes across a festiva. Groups of young boys try out their futes and drums in preparation. In the dusty payground, Sam istens and watches as a group of 50 chidren move and make music together each one contributing, each one watching and istening as they te the story of the dance. Inspired by the fautists and the dance, he decides that his own pupis back in Kampaa need to experience what it s ike to become one through music. After taking to the teachers and earning more about the cutura significance of the music and dance, he returns home to pan a esson where his pupis make music together. Resource 6: Musica pipes shows how musica instruments can be made for your pupis to pay. 37 of 53 Wednesday 18 May 2016

38 Section 4 : Using music in the cassroom Key Activity: Music making Ask your pupis if any of them pay an instrument. If they do, ask them to bring them to schoo. The next day, ask the pupis who have brought instruments to show them and pay them to the cass. Ask your pupis if they know any songs or praise poems. If they do, ask them te you the words. You write these on the board. Ask the pupi to sing the poem/song and then ask the cass to join in as you sing it again. Repeat unti the cass are comfortabe singing. Now, ask those who pay instruments to join in as we. Practise the whoe song unti everyone is happy and then perform it to another cass or at an Open Day. Resource 1: Exporing sound Teacher resource for panning or adapting to use with pupis Activity A: Musica questions about sound Begin with investigating the science of sound with pupis. Expore these questions with your pupis by making different sounds, in different ways, using the objects around you as sound makers: a desk, the foor, a pen, a botte, chakboard or window. Remember, taking about sound must aways reate to our aura and physica experiences of sound. What is sound? What has to happen for us to hear a sound? How does sound trave to us? What makes something a musica instrument? Can we use our own body as a musica instrument? Why do you think peope use instruments to make music? What purpose does it serve? Which musica instruments do you know about? Can you cassify them into groups? What criteria did you use to cassify your instruments? Activity B: The science connection how sound traves Have you ever seen a Mexican wave at a big sports event? Sound traves in a simiar way to the movement of a Mexican wave: the air moecues, ike peope in the crowd, move backwards and forwards, combining to make a wave. The individua moecues do not actuay trave from one pace to another: moecues vibrate, each about its own 38 of 53 Wednesday 18 May 2016

39 Section 4 : Using music in the cassroom position, when something makes the moecues next to them move. These vibrating moecues then attract other moecues, so that they move out of their positions. Sound can trave through the air or through anything made up of moecues, ike water, stee or wood. Sound traves at different speeds depending on the substance it is moving through. Activity C: Making a sound wave Make a ine of ten pupis next to each other, standing shouder to shouder. At one end, ask one pupi to pay a oud instrument ike a gong or cymba and another to hod up a big sign saying SOUND. At the other end, ask a pupi to hod up a big picture of an EAR and a sign saying HEAR. The other pupis in the ine have signs saying AIR. The pupi with the gong or cymba strikes it. The first pupi wigges back and forth using their body (with the feet panted on the ground); then the next pupi wigges when they fee the first pupi (not before!), and so on down the ine. The ast pupi hods up the HEAR sign as they fee the wigge of the pupi next to them. Adapted from origina source: (Accessed 2008) Resource 2: Making instruments Teacher resource for panning or adapting to use with pupis Long ago, before man-made materias were avaiabe, peope in indigenous societies in Africa constructed musica instruments from materias they found around them in rura societies they made bows from sinew and wood, egrattes from fruit or cocoon shes fied with seeds or stones, and drums from anima skins and wood (Traditiona Music of South Africa by Laurie Levine, 2005) Instrument-making materias ist Make a coection of sound-makers, using the foowing categories as a guide. Wooden objects. Meta objects. Hoow objects. Surfaces that can be scraped. Surfaces that can be hit. Objects that can be suspended. Objects that can be shaken. Materia that can be pucked. Containers for drums and shakers: sma gass or pastic bottes; yoghurt cups; matchboxes; washing powder boxes; cardboard or pastic tubes; coffee tins; tin cod drink cans; pastic drink bottes. 39 of 53 Wednesday 18 May 2016

40 Section 4 : Using music in the cassroom Fat cardboard boxes to make a sound tray. Gass bottes of different sizes and shapes (fi them with water and tap with a meta beater). Fiings for shakers and tambourines: stones; seeds; rice; beans; nais; sand; entis; bead; corks; buttons; papercips; botte tops. Materias for guitars: shoe boxes; od oi tins; eastic bands; fat pieces of wood; thin pieces of wire or fishing ine. Materias for mutitones (instruments that can make two or more sounds): cutery, car hubcap, kitchen utensis, saucepan ids, grater, coander, whisk, od teapot. Meta objects to suspend from a gong stand, meta coat hanger or wooden doweing rod: meta nais tied together, od horseshoe, arge meta bot, od bits of iron, copper tubing. Beaters: od cutery, ong nai, strong wooden stick, toothbrush, ruer, chopstick. More materias: seed pods or dry caabashes; newspaper; wire coat hangers; rubber foam; string and meta wire of a sizes and strengths; wooden sticks or bocks; pastic bags. Resource 3: Listening to sounds in everyday ife Teacher resource for panning or adapting to use with pupis This activity encourages pupis to pay attention to the sounds around them. You can use it as a cassroom project or a sound search project at home. Sound scavenger hunt Ask pupis to work in pairs to identify and record the foowing sounds using words, symbos or drawings. The hunt can be done at home, in the street or at schoo. The aim is to use their ears, not their eyes! Ask them to identify: a musica sound; a chaotic sound; the oudest sound they can; a short, sharp sound; a sound that makes them fee cam and reaxed; a continuous sound (one that goes on and on); a sound with a definite pattern; a sound which makes them want to move or dance; a scary sound; a tiny sound; 40 of 53 Wednesday 18 May 2016

41 Section 4 : Using music in the cassroom a sound that is very far away; a sound that is cose by; a rhythmic sound; a tinky sound; a rough sound; a ong sound; a deep sound. Use just a few of these with your pupis to start with, seecting the easier ones (ike a deep or ong sound) and then extend the ist as they understand the task. Let them make up their own descriptions for sounds and try to make the sound that matches their description. Resource 4: Praise singing Background information / subject knowedge for teacher The tradition of praise songs varies between different groups of peope in Uganda. If it is a tradition ocay, you may be abe to use the expertise of a singer and find exampes of praise songs in your oca community. The information that foows is about praise singing in Nigeria, where there is a strong tradition. Praise singing topics can range from the forma to the informa. As ong as they serve to entice, excite, tease and fatter the subject being praised, anything is fair game. The simpest and most common praising techniques ca attention to the obvious positive aspects of the person in question. The singer might comment on their eegant or outrageous outfit, their stature (ta, short, narrow or wide), or the sheen of their skin, from dark to ight. Here are some exampes of these simpe forms of praise: See the owner of this wid head gear. Come and see (this woud be foowed someone s names and praise of their physica attributes). At a deeper eve, the praise singer may draw upon the achievements of the person or their immediate famiy. Whether business, poitica or traditiona achievements, they can be praised directy. You can never buy being born into greatness (the right circumstance). Being born to greatness is nothing compared to what you have done with the opportunity (insert the person s name here) Or they can be praised by commenting on the genera character of their famiy name or town. At their deepest eve, Nigerian praise singers draw upon fokore, ora history, and poetry to raise the profie of the person who is showering them with money. This is done through eaborate knowedge of famiy names, town and regions, and triba history. For instance, among the Yoruba, each person, famiy and town has what is known as Oriki or praise poems. These praise poems say simpe yet deepy meaningfu things about peope and the things they are sociay bound to (famiies, towns and ethnicities for exampe). You coud compare this to the praise names found among some Ugandan peope, which may hep to give some ideas. 41 of 53 Wednesday 18 May 2016

42 Section 4 : Using music in the cassroom The master praise singer has the knowedge and the good socia sense to draw on each of these to provide a constanty changing and entertaining mix of narrative, praise and humour, which keeps the audience engaged, watching the show and waiting for their chance to shower someone with money and be praised in the pubic eye. The praise singer has to constanty assess the audience and ead the ensembe in whatever direction is going to keep the party bubbing, the audience engaged and the money fowing. Adapted from: (Accessed 2008) Resource 5: Pupi praise songs Background information / subject knowedge for teacher Gracie A praise song Say this poem and ask your pupis to devise a response that supports the ca. Choose instrumenta or voice sounds that match the words: high, rooted, cas, soars, guides and moon. Ca: Gracie High desert dweer Rooted in peace Cas upon the monkey and the ion spirit Soars with the dragonfy Guides the pen Moon drawn Line 1. Gracie (My name). Line 2. High desert dweer (I was born and raised here in Bend, which is a high desert). Line 3. Rooted in peace (My ancestor Chief Joseph of the Nez Perce Tribe was known for his peacefu nature). Line 4. Cas upon the monkey and the ion spirit (My totem animas are a monkey and a ion. The monkey shows my payfu/chidike nature and the ion shows strength, oyaty and ferocity). Line 5. Soars with the dragonfy (The dragonfy symboises my imagination, ove for fantasy, and aso dreamand). Line 6. Guides the pen (I ove to draw and that is my passion). Line 7. Moon drawn (At night is when I find comfort, the stars give me hope and the moon is who I can trust with my probems). Creating a praise poem or song (pupi instructions) Start with your name. Refer to something about where or how you were born. Say something about your famiy heritage: where your famiy is from originay. Mention an object, anima, something in nature that is meaningfu or specia to you. Say something about yoursef: what you are ike, what you want, your dreams. Create a poem of between five and eight ines. The poem is short, so each word is symboic, i.e. each word has a ot of meaning, teing us many things. 42 of 53 Wednesday 18 May 2016

43 Section 4 : Using music in the cassroom Choose your words carefuy. Use your instrument to enhance the feeing and meaning of your poem. Choose when and how you are going to make a sound. Think carefuy about how you are going to use your voice expressivey. You can see more pupi praise songs on the foowing website: from which the above has been adapted. (Accessed 2008) Resource 6: Musica pipes Background information / subject knowedge for teacher (Accessed 2008) The panpipe is caed enkwanzi or oburere, which means itte futes. They are made from eephant grass or bamboo. They are caed stopped futes because the nodes of the grass bock the passage of air through the fute and determine pitch. The Ambu futes are caed stopped futes for the same reason. The futes are arranged from owest to the highest notes and then aced with a string. The open rim at the top is cut at right anges to the tube and the musician bows across the hoe, as one is abe to do with a botte. The meodic possibiities produced by the panpipe and by sets of futes perhaps infuenced the deveopment of futes with finger hoes such as the Teso tribe fute and notched futes. 43 of 53 Wednesday 18 May 2016

44 Section 5 : The art of storyteing Making and paying your own pipes Pipe ensembes are specia music groups because each person pays ony one note. However, put together, often in very compicated ways, this creates wonderfu music. Pipes can be made from reeds (in rura areas) or meta (in urban areas). Pipe ength can vary from 20 cm to over 1 m, producing a range of high and ow notes. You can make your own pipes by using pastic piping such as eectrica conduit, cutting pastic fax-paper pipes, or irrigation piping (12 15 mm diameter). Make pipes of different engths so that you have different notes. To pay the pipes: 1 Pace the open side of the instrument eve, against the ower ip. 2 Hod the pipe between your fingers, the index and thumb. 3 Reax your other fingers around the midde of the instrument. 4 Begin to bow softy across the hoe unti a note is produced. 5 Experiment with cosing the bottom of the pipe with your hand. You coud aso use different sized bottes and bow across the tops to produce sounds. Acknowedgements Gratefu acknowedgement is made to the foowing sources: Photographs and images Panpipes: (Accessed 2008) Text Resource 1: Exporing sound: Adapted from origina source (Accessed 2008) Resource 2: Making instruments: Traditiona Music of South Africa by Laurie Levine, 2005 Resource 4: Praise singing: Adapted from (Accessed 2008) Resource 5: Pupi praise songs: Adapted from (Accessed 2008) Every effort has been made to contact copyright hoders. If any have been inadvertenty overooked the pubishers wi be peased to make the necessary arrangements at the first opportunity. Return to Socia Studies and the Arts (primary) page Section 5 : The art of storyteing Key Focus Question: How can you hep pupis appreciate stories and deveop their storyteing skis? Keywords: stories; community; storyteing; writing; cuture; group work 44 of 53 Wednesday 18 May 2016

45 Section 5 : The art of storyteing Learning Outcomes By the end of this section, you wi have: panned and managed cassroom activities to deveop an appreciation of stories and storyteing; used oca contacts and resources to deveop your knowedge about the cuture of storyteing; devised and used strategies to hep pupis write their own stories. Introduction Stories have been part of human history for centuries. In the past, stories often deivered important messages. The isteners woud augh, cry and sometimes sing aong with the storyteer. It is the abiity to carry messages that makes stories so vauabe for you, as a teacher. The activities, case studies and resources in this section are intended to hep you use this rich heritage to deveop your pupis skis in the art of writing, teing and reciting stories. This wi deveop their sense of beonging and give them insight into their cutura heritage. 1. Listening to and teing stories A story may be tod, written, read or recited. It may be a true story or fiction. Often stories have messages in them about the vaues of the community, how to ive our ives and how to care for others. You and your pupis wi probaby have tod and istened to stories before. You may even have written some. This part wi hep you deveop your pupis understanding of the art of storyteing and aso that storyteing is embedded in the cuture of your society. You may be fortunate and know someone in your community who is skied at teing stories and coud come and te a story to your cass. (See Key Resource: Using the oca community/environment as a resource.) Or, as in Case Study 1, you may be abe to visit the storyteer and record them on a tape and use this in your cass. Activity 1 suggests ways to organise pupis to share their own favourite stories. Case Study 1: Using a oca person to earn the cutura significance of stories Mrs Biyea teaches at Furaha Primary Schoo, Tanzania. She is preparing for her next teaching topic, which is Story. She consuts books and website resources on storyteing, writing and reciting. She earns that storyteing has deep cutura significance, and wants to find some way of conveying this to her pupis. She has heard of an od ady, Bibi Koku, who ives nearby and is famous as a storyteer. One afternoon, she visits Ma Koku and asks if she woud be wiing to te a story to Mrs Biyea s Standard 4 pupis. The od ady agrees, but, she says, Ony during the evening. She insists that peope who te stories during daytime invite famine into their community and she is not wiing to do that. 45 of 53 Wednesday 18 May 2016

46 Section 5 : The art of storyteing Immediatey, this becomes an interesting issue for Mrs Biyea she is sure it woud grab her pupis attention and give them insights into a cutura aspect of storyteing. Therefore, she arranges to bring a tape-recorder and record Ma Koku teing a story, as we as taking about the taboo on daytime storyteing. She is concerned to try to make sure that the od ady taks about this in a way her pupis can understand. As it turns out, Ma Koku soves the probem for her by teing the story about what happens to peope who te stories during the day! On the day of the esson, Mrs Biyea checks the tape-recorder to make sure everything is fine. She introduces the esson, asking pupis if they have ever istened to any stories tod by od peope. The pupis are curious they isten to Ma Koku teing her story. Next, Mrs Biyea conducts an animated discussion about why Ma Koku coud not come to te the story at schoo that morning. She is excited by the fact that so many of the pupis are aware of the custom of not teing stories during the day. By the end of the esson, they have buit up a rich understanding of the tradition and the taboos associated with it. Activity 1: Choosing a favourite story Prior to the esson, ask each pupi to decide on a favourite short story to share in cass. Organise the cass into sma groups of between four and six pupis. Ask each pupi to te their story to the members of their group. Before they start, emphasise that everyone is to have a turn and they must each isten to each other s stories. Next, ask each group to choose between them one story from their group. They wi present these to the cass. If you become aware that any group is finding it hard to agree, step in to hep the group decide on a story. Give the groups time to prepare. If possibe, provide a range of props cothing, toos, toys, musica instruments, etc. or ask pupis to bring these in, to enhance their stories and hep convey the meanings. Each group in turn tes their story to the whoe cass and expains why they ike it. Finay, discuss with your cass the important parts of a story; the beginning, the body, episodes, setting, characters and the ending. Were you surprised at the stories your pupis chose? How we did your pupis work together in the sma groups? Do you need to pan different groupings for the next activity? 2. Exporing traditiona Stories Many traditions and beiefs are passed on through story. In this part, we suggest how to deveop pupis understanding of the importance of story in passing on such traditions and providing messages about how peope shoud ive. It is very exciting for pupis to hear expert storyteers teing their stories. In Case Study 2, a teacher organises a visit to a storyteer. In Activity 2, you use brainstorming to investigate your pupis knowedge of traditiona taes and expore ways to gather these stories together (see Key Resource: Using mind maps and brainstorming to expore ideas). 46 of 53 Wednesday 18 May 2016

47 Section 5 : The art of storyteing Case Study 2: Taking pupis to visit a oca storyteer Mr Mncube is an arts and cuture teacher at a schoo in KwaZuu-Nata. Mr Mncube visited his viage eader, Inkosi ushandu, and asked him if he coud bring the Grade 6 pupis to his kraa. He aso asked the viage eader if he woud te a traditiona tae to the pupis. This was agreed. A day before the appointment, Mr Mncube tod the cass that he woud be taking them out on a visit to the viage eader s home to isten to the traditiona taes of the amazuu. In order to prepare his pupis, he conducted a brief discussion about their experiences of story and what they thought they might encounter the next day and made a mind map of their ideas on the chakboard. The tae that the viage eader narrated is set out in Resource 1: The snake chief. It had an important message and essons to be earned. Mr Mncube, as he istened to the story, was aready preparing questions that he woud ask the cass about the story in order to bring out these essons. Because the viage eader was an od, respected man, he was aso abe to impress on the chidren the rich sense of ancestry attached to the story in Nguni tradition it had been handed down over time, with its meanings reinforced from generation to generation. Mr Mncube reaised that he had made a wise choice in actuay bringing his pupis to the storyteer s home, rather than simpy teing them the story himsef. Activity 2: Reconstructing traditiona taes Before the esson, gather as many written or ora versions of oca traditiona stories as you can find. (See Resource 2: Stories and fabes from across Africa for a usefu website and read Key Resource: Using new technoogies.) Ask pupis to brainstorm as many traditiona taes as they can remember hearing. Next, divide the cass into groups of four. Ask each group to identify a story that was identified in the brainstorm and to write up and iustrate a fuer version of the story. Provide guideines, such as: What is the name of the traditiona tae? To which society/community/can does the tae beong? What message(s) does the tae provide? What esson(s) can be earned from the tae? Who normay tes the story? Who is the intended audience and why is this audience targeted? What time of the year is the tae normay tod? Why? What time of the day is the tae normay tod? Why? The stories that are produced can be bound together as readers for use in the schoo. It may even be possibe to pubish them in the community or beyond. 47 of 53 Wednesday 18 May 2016

48 Section 5 : The art of storyteing 3. Supporting pupis in writing a story Having a good understanding of oca traditiona taes is a good base for your pupis to devise their own stories. Listening to stories tod with animation and which use words to gain effect wi give them confidence to take risks in their writing and produce more creative taes. The purpose of this part is to use oca resources to deveop your pupis skis in writing their own stories and poems. You wi aso deveop your skis in panning earning activities that aow pupis to participate fuy. In Case Study 3, a teacher uses a radio programme to stimuate interest about writing stories and the Key Activity uses pictures as the stimuus. With younger pupis, you might want to encourage them to draw pictures for their story; it is important that a pupis fee abe to te a story, rather than strugge with speings and handwriting. Case Study 3: Learning from an expert storyteer Whie istening to the radio, Miss Saa, a socia studies teacher, heard that on the coming Friday there woud be a programme in which a renowned oca storyteer and writer woud be interviewed. Fortunatey, the programme was at a convenient time during the schoo day, so Miss Saa came to schoo with her radio. She aso prepared to tape-record the radio programme. Before the programme started, she discussed with her pupis what they knew of the writer, and what they expected she woud be taking about when she was interviewed. During the programme, the writer expained about the structure of a story, the theme/main idea, the characters and setting. She gave some advice on the process of writing. She aso spoke about what inspired her and where she got her ideas from. When the programme was over, Miss Saa asked the foowing kinds of questions to promote discussion among her pupis: What can you earn from this writer that coud hep you become a better writer yoursef? What inspires her? Are there things in your ife or community that you want to write about? What is the structure and content of a good piece of writing? She asked the ast question at the end because she wanted it to be inspired by the bigger issues. At the end of the esson, she said that with their next piece of creative writing, she woud ike pupis to try some of the techniques suggested by the storyteer. She woud then mark it by ooking for evidence they had considered these issues and give carefu feedback. Key Activity: Writing and teing stories Present pupis with a stimuus to draw out ideas about ife, community or broader society. See Resource 3: Pictures for stories for two images that work we, but you might choose anything simiar. 48 of 53 Wednesday 18 May 2016

49 Section 5 : The art of storyteing Using Resource 4: Using pictures as a stimuus for story writing to guide you, discuss the picture your cass has chosen. Ask each pupi to write their own version of the story. Encourage them to add in their own ideas and scenarios as they write. For exampe: What happened before that ed to the picture and what happens next? The next day, pupis read their stories to each other in sma groups and each group chooses one to read to the whoe cass. Remind them of how important it is to use their voices and props if possibe to hep them. You might want to put a the stories into a cass book. Resource 1: The snake chief Teacher resource for panning or adapting to use with pupis This is a Zuu fok tae. Nandi was very poor. Her husband was dead and she had no sons to herd catte and ony one daughter to hep in the fieds. In summer, when the umdoni trees were fu of creamy fowers, she and her daughter dug for amadumbe to eat with their maize porridge. But in autumn, she coected the umdoni berries, purpe and sweet, and gave them to her neighbours in return for strips of dried goat meat or caabashes of thick creamy sour mik. One hot day, Nandi went to the river as usua to gather the purpe berries, but she found nothing. Just then she heard a oud hissing. Looking up, she saw a great green-grey snake wound around the dark red trunk of the tree, his head swaying among the branches. He was eating a the berries. You are steaing my berries, she caed. Oh snake, you are steaing a my berries. What wi I have to exchange for meat if you take a the fruit? What wi you give me in exchange for the umdoni berries? he hissed. If I fi your basket, wi you give me your daughter? Yes, cried Nandi, I give you my daughter this very night. Ony et me fi my basket with the purpe fruit. But once her basket was fu, she began to trembe at what she had promised. How coud she give her daughter to such an ugy creature? She must make sure that snake did not find out where she ived. She must not go straight home est he were watching. At ast she reached her hut and cried out to her daughter, My chid, I have promised you to snake in return for this basket of purpe fruit. And she burst into tears. Meanwhie, snake had foowed Nandi to her hut. Just as she burst into tears, snake hissed at the entrance to her hut. No! No! cried Nandi. I did not mean my promise. The young gir ooked up fearessy and said, A promise is a promise, Mother. She put out her hand and stroked his grey-green head. She gave snake food and made a bed for her snake master. During the night, Nandi heard voices, one deep and strong. She sienty crept from her skin bankets and she saw a handsome young man, ta, brown and strong sitting with her daughter. Surey he was a chief s son or a chief himsef. Her daughter was making a bead neckace, weaving a 49 of 53 Wednesday 18 May 2016

50 Section 5 : The art of storyteing wedding pattern with the muticooured beads. The young man was taking genty and ovingy to her as she worked. Nandi ooked at the foded banket where snake had sept and on it ay a ong coied green-grey skin. She snatched the skin and threw it into the fire that sti burned ow in the midde of the hut. Now the spe is broken, spoke the snake chief. For a virtuous gir took pity on me and a fooish od woman has burned my skin. But in spite of his harsh words he smied genty at Nandi. Adapted from: Pitcher D. in Gordon M Ed, Madiba Magic: Neson Mandea s Favourite Stories for Chidren, Tafeberg2002, page 26 Resource 2: Stories and fabes from across Africa Teacher resource for panning or adapting to use with pupis The website beow gives you over 50 stories and fabes from across Africa such as the one beow. Thunder and Lightning A ong time ago, both thunder and ightning ived on this Earth, among the peope. Thunder was a mother sheep and Lightning was her son, a ram. Neither anima was very popuar with the peope, for when somebody offended Lightning, he woud fy into a furious rage and begin burning whatever he came across. This often incuded huts and corn bins, and even arge trees. Sometimes he damaged crops on the farms with his fire and occasionay he kied peope who got in his way. As soon as Thunder knew he was behaving this way, she woud raise her voice and shout at him as oudy as she coud, and that was very oud indeed. Naturay the neighbours were very upset, first at the damage caused by Lightning and then by the unbearabe noise from his mother that aways foowed his outbursts. The viagers compained to the king on many occasions, unti at ast he sent the two of them to ive at the very edge of the viage, and said that they must not come and mix with the peope any more. However, this did no good, since Lightning coud sti see peope as they waked about the viage streets and so found it ony too easy to continue picking quarres with them. At ast the king sent for them again. I have given you many chances to ive a better ife, he said, but I can see that it is useess. From now on, you must go away from our viage and ive in the wid bush. We do not want to see your faces here again. Thunder and Lightning had to obey the king and agree to abide by his ruing; so they eft the viage, angry at its inhabitants. But sti there was penty of troube in store for the viagers, since Lightning was so angry at being banished that he now set fire to the whoe bush, and since it was the dry season this was extremey unfortunate. The fames spread to the itte farms of the peope, and sometimes to their houses as we, so that they were in despair again. They often heard the mother ram s mighty voice caing her son to order, but, since it was aways after the fact, it made very itte difference. The king caed a his counseors together and asked them to advise him and, after much debate, they hit on a pan. Why not banish Thunder and Lightning competey away from the Earth, and send them to ive in the sky? 50 of 53 Wednesday 18 May 2016

51 Section 5 : The art of storyteing And so the king procaimed. Thunder and Lightning were sent away into the sky, where the peope hoped they woud not be abe to do any more damage. Things did not work out quite as we as they had hoped, however, for Lightning sti oses his temper from time to time and cannot resist sending fire down to the Earth when he is angry. Then you can hear his mother rebuking him in her oud rumbing voice. Adapted from origina source: (Accessed 2008) Resource 3: Pictures for stories Teacher resource for panning or adapting to use with pupis 51 of 53 Wednesday 18 May 2016

52 Section 5 : The art of storyteing Origina source: Arthus-Bertrand, Y Jours. Editions de a Martiniēre: Paris Resource 4: Using pictures as a stimuus for story writing Teacher resource for panning or adapting to use with pupis Pictures or photographs can be a very good stimuus for creative writing for your pupis. Discussion focused around a picture can stimuate ideas before pupis write their own stories or poetry. You can discuss a chosen picture or photograph with the whoe cass or have more copies of the same or different images so that they can discuss them in groups. If you have a arge cass, you may need to have many more images or work with haf the cass at a time whie the other haf of the cass is working on another task. The foowing questions can be used with any picture to stimuate ideas and imagination. You can write the questions on the chakboard and discuss them as a cass or give each group a set of the questions and ask them to report back after a few minutes. Some of these questions wi not be usefu with every picture. You wi have to seect those that fit your purpose best and maybe add your own questions to the ist or ask your pupis to raise questions about the picture. 1 What do you think is happening in this picture? 2 What do you think it is caed? 3 What catches your interest in this picture? Why? 4 What do you ike in this picture? 5 What do you not ike in this picture? 6 What is the story around this picture? 7 What ed up to this picture being painted / photograph being taken? 52 of 53 Wednesday 18 May 2016