Using dance experience and drama in the classroom.

Dance experiences and drama activities provide children with opportunities to express thoughts and feelings by using all of their senses. Furthermore, creative movement and drama can expand children's understanding of their environment, extend knowledge levels and broaden creative self-expression. Cecil & Lauritzen (1994) state that dance, through kinesthetic self-expression, provides an intuitive, affective mode of knowing.

When included in the classroom curriculum, movement and drama can be significant tools for developing literacy behaviors appropriate for children in the early grades. Drama, like movement, is an art form that communicates an idea through actions and/or speech. A curriculum rich with creative dramatics has the potential to develop children's language and communication skills, increase their sensory awareness and sensory recall, aid concentration and foster group collaboration.

It is helpful to separate dance into different categories when incorporating it as a literature extension experience. Barbara Mettler, in her book Materials of Dance (1989), describes two unique uses of dance: "Basic Dance Experiences" and "Rhythmic Elements of Dance." Dance experiences include: free movement expression, body as instrument, language of movement, and movement qualities derived from familiar things. Such dance components can be the matrix for designing a literature extension experience that is spontaneous, instinctual and unique to the individual's authentic interpretation of story. Books such as Color Dance by Ann Jonas and Swimmy by Leo Lionni lend themselves well to the development of expressive movement activities.

In addition, literature containing repetition, rhyme or themes relating to dance also could be extended so that the text is integrated with rhythmic elements of dance. Books such as Clap Your Hands by Lorinda Cauley, Jiggle Wiggle Prance by Sally Noll and Musical Chairs and Dancing Bears by Joanne Rocklin work well for these types of activities. Teachers should model for children how to work with body patterns and rhythms set to music and sound. Even within the context of these more structured activities, however, children still need the freedom to explore and discover internal rhythms and patterns through the use of movement.

A wide variety of literature and folktales from various countries can be the springboard for children's expressions of their rich cultural inheritance, and they can provide a starting point for activities and discussions about individual differences (Pica, 1995). Culturally diverse literature and opened-ended activities such as dance, expressive movement and drama can help children learn how different cultures represent stories. Cecil and Lauritzen (1994) point out that body movements can conceptualize or even convey cultural tradition and ideas. Children's books that are well suited for this include: Amazing Grace by Mary Hoffman, I Am Eyes/Ni Macho by Leila Ward and Dancing Tepees by Virginia Driving Hawk Sneve.

Children's Literature, Drama and Dance: Suggested Activities

By combining dance and drama with children's literature, teachers may spur children's interest in literature and reading. Listed below are several children's books, along with suggested related activities, that lend themselves well to the integration of literature, culture, dance and drama. These activities can help children develop their ability to interpret a color symbol through creative movement, use their bodies to respond to visual symbols, develop an awareness about how their bodies can express ideas and feelings, and develop an awareness for working cooperatively with a group.

Warming Up. Begin with warm-up exercises, just as you would with any physical activity. This step is particularly important because it is an excellent way to warm up, both physically and mentally, the "actor" that resides in each child (Gilbert, 1992). This warm up can be a simple movement routine. The warm up does not have to precede your lesson, but it can be a welcome addition to the daily schedule. Initial attention given to warm ups will prepare the children to respond to literature and movement later, because those activities require the same type of focus and attention.

* Begin by sitting or standing.

* Work each body section individually, then build the exercise to include all body parts. For example, make a face for a count of eight, then release.

* Then, move the head and neck for an eight count. Now freely move the face, head and neck together.

* Next, isolate the movement in the shoulders - forward, backwards, separately and together. Freely move the face, head and shoulders together.

* Continue down the body until your movement includes the face, head, neck, shoulders, ribs, hips, etc. Include the progressive free movement after each addition.

Sample Lessons. The following lessons were developed for classroom teachers participating in Project ELIPSS, the Emergent Literacy Instructional Program and Support Services staff development program, which was developed at the Western Illinois University College of Education & Human Services, and funded by the U.S. Department of Health and Human Services Head Start Bureau. These sample plans show the kinds of movement activities that teachers can develop to fit their own unique setting. Each lesson is based on a children's book that lends itself to the integration of key concepts through creative dramatics or expressive movement. A step-by-step procedure based on the Shared Book Experience (Holdaway, 1979) is included for each book. Teachers should consider their students' different abilities as they adapt these plans.

Color Dance. Jonas, A. (1989). New York: William Morrow.

Collect several multicolored, translucent scarves prior to the lesson. After your warm-up period, instruct the children to sit quietly and imagine themselves as the gently blowing wind. Show children the cover of the book, and ask them to make plot predictions. Show acceptance of all answers.

Read the text. Discuss with the children the extent to which their predictions cohered to the story. Reread the story, especially if the children seem to be absorbed in the illustrations and message.

When you have finished, invite the children to stand. Wave one of the colored scarves, and ask the children to imitate the scarf's motion. Make reference to the color (e.g., "Move like the orange color moves"). The children may imitate a motion the teacher has modeled or respond with their own interpretation.

Finally, have the children choose a scarf of their own, and then move about, responding freely to their own manipulations. After a few minutes of responding freely, ask the children what they see in the colors. Close the activity by sitting in a semicircle to discuss how children felt about the story and movement activity. Ask questions such as, "Did you feel like the dancers in the story?" and "How did you feel dancing with all those colors?" The book How the Sky's Housekeeper Wore Her Scarves by Patricia Hooper (1995) could inspire a wonderful sequel to this activity, possibly a dramatization.

The Three Billy Goats Gruff: A Norwegian Folktale. Appleby, E. (Illus.). (1984). New York: Scholastic.

To prepare for this dramatization, first find a table strong enough to support the weight of two children. Make a "bridge" by wrapping butcher paper around a table, and then cut an opening in your bridge for the troll. Introduce children to the story by discussing the various characters and their roles; use the book's cover as an aid. Read the story through once. Then read the story again, using a pointer to point to each word as you read it.

Before the third reading, select your three billy goats and a troll. Briefly discuss with your actors what you expect them to do during the drama. While reading from the big book version, sit the children behind the stand and begin to read. One at a time, invite children from the audience to use the pointer to mark the words "Trip Trap, Trip Trap." Sometimes you may have to improvise the text while taking cues from the children, in order to keep the story progressing smoothly. Continue until all the children have a chance to participate.

Little Blue and Little Yellow. Lionni, L. (1959). New York: Astor.

Gather at the reading area. Introduce the book by reading the title and the name of the author and illustrator. Ask the children what they think is happening on the cover of the book. You could begin by asking questions such as, "What colors do you see?. . . . Sometimes when we mix colors we end up with new colors, don't we?" "Let's read Little Blue and Little Yellow and see how they end up as two different colors." (This lesson will focus on the concept of colors, but it also can be used to explore feelings of friendship.)

Reread the story, providing the children with a ball of blue play dough and one of yellow. Pause as you read so the children can act out the events with their play dough. You may need to model how to mix the colors to create green. Save a few pieces of each color for the latter part of the book, when Little Blue and Little Yellow return to their original colors. Close the activity by discussing what the children learned or how the story made them feel.

Clap Your Hands. Cauley, L. (1992). New York: Dial.

The object of this activity is to create a dance based on the book. Find a space where the children will be free to move, such as the cafeteria, playground, hallway or a classroom (move the chairs and desks to the side). Ask children to remove clothing that might restrict sweeping movements.

Begin with warm-up exercises, and then divide the class into small groups. Suggest that the children create a dance based on the book's characters and actions. You can model a few movements, but be careful not to lead. Try following the exact sequence of actions in the text; or, for variation, have the children create new movements. Create new animals and characters with unique actions for the next lesson. Musical instruments and/or vocal sounds could be added on the third day. Children may enjoy painting the dance on a mural that can be wrapped on the classroom's inside walls.

Amazing Grace. Hoffman, M. (1991). New York: Scholastic.

Children of all ages and backgrounds seem to love this story about Grace, a young African American child. Show the cover of the book and ask, "What do you think the book will be about?" Discuss experiences related to the children's predictions. While reading the story, let the children ask additional questions and ask them for more predictions. After the reading, discuss the story. Ask each child to answer story-related questions such as, "What did you think of the book?," "What was your favorite part of the story?" and "What would you have done differently when. . . ."

Divide the children into groups of three or four. If possible, have multiple copies of the book on hand for them to browse through as they are brainstorming ways to retell the story. Some suggestions for retelling include improvisations, role-playing and adapting the book to incorporate their experiences. Chart the children's responses on paper if their ideas have sparked additional activity. Using the children's expertise to guide your planning, expand the text into an integrated unit. Spend an entire day simply making props to act out Grace's encounters.

Conclusion

Creative and expressive movement can spontaneously produce, for each individual, an interpretive action. This can be viewed as an authentic internal reflection of the children's processing in response to outside stimuli. As children have different cultural orientations and learning styles, these reflections provide teachers with a comprehensive understanding of their knowledge. For this reason, dance and drama are excellent vehicles for expression and communication in formal instructional settings.

Books for Movement and Drama Extensions

Aardema V. (1996). Bringing the rain to Kapiti Plain. Boston, MA: Houghton Mifflin.

Carle, E. (1995). The tiny seed. New York: Simon & Schuster.

Cauley, L. (1992). Clap your hands. New York: Dial.

Cowley, J. (1995). The mouse bride. New York: Scholastic.

dePaola, T. (1991). The legend of the Indian paint brush. New York: Scholastic.

Esbensen, B. (1995). Dance with me. New York: HarperCollins.

Goennel, H. (1990). Colors. New York: Little, Brown.

Gray, L. (1995). My mama had a dancing heart. New York: Orchard Books.

Jenkins, S. (1995). Biggest, strongest, fastest. New York: Ticknor & Fields.

Jonas, A. (1989). Color dance. New York: William Morrow.

Lionni, L. (1994). Swimmy. New York: Knopf.

Lobel, A. (1968). The great blueness. New York: Harper Trophy.

Lowery, L. (1995). Twist with a burger, jitter with a bug. Boston, MA: Houghton Mifflin.

Rocklin, J. (1993). Musical chairs and dancing bears. New York: Henry Holt.

Seeger, P. (1986). Abiyoyo. New York: Scholastic

Sneve, V. (1991). Dancing tepees. New York: Scholastic.

Ward, L. (1987). I am eye/Ni macho. New York: Scholastic.

Winter, J. (1988). Follow the drinking gourd. New York: Knopf.

Wood, A. (1982). Quick as a cricket. New York: Child's Play.

References

Cecil, N., & Lauritzen, P. (1994). Literacy and the arts for the integrated classroom: Alternative ways of knowing. White Plains, NY: Longman.

Gilbert, A. (1992). Creative dance for all ages. Reston, VA: National Dance Association/American Alliance for Health, Physical Education, Recreation and Dance.

Holdaway, D. (1979). Foundations of literacy. New York: Ashton Scholastic.

Hooper, P. (1995). How the sky's housekeeper wore her scarves. New York: Little, Brown.

Mettler, B. (1989). Materials of dance: As a creative art activity. Tucson, AZ: Mettler Studios.

Noll, S. (1993). Jiggle wiggle prance. New York: Scholastic.

Pica, R. (1995). Experiences in movement: With music, activity and theory. New York: Delmar Publishing.

Susan Schoon is a Literacy Specialist, Macomb Projects, Project ELIPSS, Western Illinois University, Macomb.