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Drama Arts in Ecd

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UGANDA MARTYRS UNIVERSITY-NKOZI

FACULTY OF EDUCATION

COURSE TITLE: DRAMA ARTS IN EARLY CHILDHOOD EDUCATION


COURSE CODE: BEC 1101
COURSE LEVEL: YEAR 1 SEMESTER 1

CREDIT POINTS: 04
CONTACT HOURS:90
LECTURER: OYOM JOSEPH JOLLY (PHD)

UNIT ONE
THE GENERAL CONCEPTS OF DRAMA ART
INTRODUCTION
What is Drama?

Drama is the specific mode of fiction represented in performance. The term comes from a Greek
word “Dran” meaning “action”, which is derived from the verb meaning “to do” or “to act”. The
enactment of drama in theatre, performed by actors on a stage before an audience, presupposes
collaborative modes of production and a collective form of reception. The structure of dramatic
texts, unlike other forms of literature, is directly influenced by this collaborative production and
collective reception.

Drama can be defined as a dramatic work that actors present on stage. In a simplified way drama
is thoughts put in action by characters and personalities.

A story is dramatized, when the characters and events in the story are brought to life through a
stage performance by actors by playing the roles of the characters in the story and act through its
events, taking the story forward. In acting the roles, actors portray the character’s emotions and
personalities. The story progresses through verbal and non-verbal interactions between the
characters, and the presentation is suitably supplemented by audio and visual effects.

When drama is looked at as an art form or as creative drama, its objectives give the child an
avenue for self-expression, guide his creative imagination, provide for controlled emotional
outlet, help him in the building of fine attitudes and appreciations and give him opportunities to
grow in social cooperation.

Concerning the broad term of drama at schools, it has been noticed that Children’s drama
branches either to Children’s Theatre, which is defined as plays, written by playwrights, are
presented by living actors for child audiences. … Lines are memorized, action is directed,

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scenery and costumes are used” (Viola, 1956), or to the Creative Dramatics, which is defined as
an imaginative play reliving familiar experiences and exploring new ones and for older children.

Elements of Drama and their importance

The according to Aristotle there are six core elements of drama: plot, character, thought,
diction, spectacle, and song. Out of these, the first two are the most important ones.

A story is dramatized, which means the characters and events in the story are brought to life
through a stage performance by actors who play roles of the characters in the story and act
through its events, taking the story forward. In acting the roles, actors portray the character’s
emotions and personalities. The story progresses through verbal and non-verbal interactions
between the characters, and the presentation is suitably supplemented by audio and visual
effects.

Through the characters involved, the story has a message to give. It forms the central theme of
the play around which the plot is built. While some consider music and visuals as separate
elements, others prefer to club them under staging which can be regarded as an independent
element of drama. Lighting, sound effects, costumes, makeup, gestures or body language given
to characters, the stage setup, and the props used can together be considered as symbols that are
elements of drama. What dictates most other dramatic elements is the setting; that is the time
period and location in which the story takes place.

Theme

The theme of a play refers to its central idea. It can either be clearly stated through dialog or
action, or can be inferred after watching the entire performance. The theme is the philosophy that
forms the base of the story or a moral lesson that the characters learn. It is the message that the
play gives to the audience. For example, the theme of a play could be of how greed leads to
one’s destroyal, or how the wrong use of authority ultimately results in the end of power. The
theme of a play could be blind love or the strength of selfless love and sacrifice, or true
friendship. For example, the play Romeo and Juliet, is based on a brutal and overpowering
romantic love between Romeo and Juliet that forces them to go to extremes, finally leading them
to self-destruction.

Plot

The order of events occurring in a play make its plot. Essentially, the plot is the story that the
play narrates. The entertainment value of a play depends largely on the sequence of events in the
story. The connection between the events and the characters in them form an integral part of the
plot. What the characters do, how they interact, the course of their lives as narrated by the story,
and what happens to them in the end, constitutes the plot. A struggle between two individuals,
the relation between them, a struggle with self, a dilemma, or any form of conflict of one
character with himself or another character in the play, goes into forming the story’s plot. The
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story unfolds through a series of incidents that share a cause-and-effect relationship. Generally, a
story begins with exposing the past or background of the main and other characters, and the point
of conflict, then proceeds to giving the central theme or climax. Then come the consequences of
the climax and the play ends with a conclusion.

Characters

The characters that form a part of the story are interwoven with the plot of the drama. Each
character in a play has a personality of its own and a set of principles and beliefs. Actors in the
play have the responsibility of bringing the characters to life. The main character in the play who
the audience identifies with, is the protagonist. He/she represents the theme of the play. The
character that the protagonist conflicts with, is the antagonist or villain. While some characters
play an active role throughout the story, some are only meant to take the story forward and some
others appear only in certain parts of the story and may or may not have a significant role in it.
Sometimes, these characters are of help in making the audiences focus on the play’s theme or
main characters. The way in which the characters are portrayed and developed is known as
characterization.

Dialog

The story of a play is taken forward by means of dialogs. The story is narrated to the audiences
through the interaction between the play’s characters, which is in the form of dialogs. The
contents of the dialogs and the quality of their delivery have a major role to play in the impact
that the play has on the audiences. It is through the dialogs between characters that the story can
be understood. They are important in revealing the personalities of the characters. The words
used, the accent, tone, pattern of speech, and even the pauses in speech, say a lot about the
character and help reveal not just his personality, but also his social status, past, and family
background as given by the play. Monologues and soliloquies that are speeches given to oneself
or to other characters help put forward points that would have been difficult to express through
dialogs. “What’s in a name? That which we call a rose By any other name would smell as sweet”
from Romeo and Juliet in which Juliet tells Romeo of the insignificance of names or “To be, or
not to be”, a soliloquy from Hamlet are some of the greatest lines in literature.

Setting

The time and place where a story is set is one of its important parts. The era or time in which the
incidents in the play take place, influence the characters in their appearance and personalities.
The time setting may affect the central theme of the play, the issues raised (if any), the conflict,
and the interactions between the characters. The historical and social context of the play is also
defined by the time and place where it is set. The time period and the location in which the story
is set, affect the play’s staging. Costumes and makeup, the backgrounds and the furniture used,
the visuals (colors and kind of lighting), and the sound are among the important elements of a
play that dictate how the story is translated into a stage performance. The Merchant of Venice has
been set in the 16th century Venice. Romeo and Juliet has been set in the era between 1300 and
1600, perhaps the Renaissance period which is the 14th and 15th centuries.

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Performance

It is another important element of drama, as the impact that a story has on the audiences is
largely affected by the performances of the actors. When a written play is transformed into a
stage performance, the actors cast for different roles, the way they portray the characters
assigned to them, and the way their performances are directed are some important factors that
determine the play’s impact. Whether an actor’s appearance (includes what he wears and how he
carries himself on stage) suits the role he is playing, and how well he portrays the character’s
personality are determinants of how well the play would be taken by the audiences. Different
actors may play the same roles in different renditions of a play. A particular actor/actress in a
certain role may be more or less accepted and appreciated than another actor in the same role. As
different actors are cast for different roles, their roles are more or less appreciated depending on
their performances. The stage performances of a play’s characters, especially those in lead roles,
directly affect the success and popularity of a play.

Although considered as a part of the staging, factors such as music and visuals can be discussed
separately as the elements of drama.

Music

This element includes the use of sounds and rhythm in dialogs as well as music compositions
that are used in the plays. The background score, the songs, and the sound effects used should
complement the situation and the characters in it. The right kind of sound effects or music, if
placed at the right points in the story, act as a great supplement to the high and low points in the
play. The music and the lyrics should go well with the play’s theme. If the scenes are
accompanied by pieces of music, they become more effective on the audiences.

Visual Element

While the dialog and music are the audible aspects of drama, the visual element deals with the
scenes, costumes, and special effects used in it. The visual element of drama, also known as the
spectacle, renders a visual appeal to the stage setup. The costumes and makeup must suit the
characters. Besides, it is important for the scenes to be dramatic enough to hold the audiences to
their seats. The special effects used in a play should accentuate the portion or character of the
story that is being highlighted.

Apart from these elements, the structure of the story, a clever use of symbolism and contrast, and
the overall stagecraft are some of the other important elements of drama.

The structure of the story comprises the way in which it is dramatized. How well the actors
play their roles and the story’s framework constitute the structure of drama. Direction is an
essential constituent of a play. A well-directed story is more effective. Stagecraft defines how
the play is presented to the audiences. The use and organization of stage properties and the
overall setting of a play are a part of stagecraft, which is a key element of drama.

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Symbols are often used to give hints of the future events in the story. They complement the other
elements of a scene and make it more effective. The use of contrasts adds to the dramatic
element of a play. It could be in the form of contrasting colors, contrasting backdrops, an interval
of silence followed by that of activity and noise, or a change in the pace of the story.

The dramatization of a story cannot be called successful unless the audiences receive it well. It
may improve through constructive criticism or due to improvisations introduced by the actors.
And a generous appreciation from the audiences encourages everyone involved in the making of
a play, to continue doing good work.

Types of Drama

Drama is further subdivided into nine categories, and they are as follows:

i) Tragedy: Tragedy is one of the oldest forms of drama; however, its meaning has
changed since the earliest days of staged plays. In ancient times, a tragedy was often an
historical drama featuring the downfall of a great man. In modern theater, the definition is
a bit looser. Tragedy usually involves serious subject matter and the death of one or more
main characters. These plays rarely have a happy ending.
ii) Comedy: When we talk about comedy, we usually refer to plays that are light in tone,
and that typically have happy endings. The intent of a comedic play is to make the
audience laugh. In modern theater, there are many different styles of comedy, ranging
from realistic stories, where the humor is derived from real-life situations, to outrageous
slapstick humor.
iii) Farce: Farce is a sub-category of comedy, characterized by greatly exaggerated
characters and situations. Characters tend to be one dimensional and often follow
stereotypical behavior. Farces typically involve mistaken identities, lots of physical
comedy and outrageous plot twists
iv) Tragic-comedy: Tragic comedy is a play that starts with a tragedy and end with happy
ending. Here, the playwright tries to find a balance between tragedy and comedy. The
most effective way of doing this is starting out the piece with one of the styles, and then
switching to another. The most popular is the creation of a great comedic ending to an
otherwise tragic beginning.
v) Melodrama: Melodrama is another type of exaggerated drama. As farce, the characters
tend to be simplified and one-dimensional. The formulaic storyline of the classic
melodrama typically involves a villian heroine, and a hero who must rescue then heroine
from the villian.
vi) Mime: This is also known as drama without active speech. The characters here convey
their message with expressions, gestures, and sounds. Physical movements and dance
numbers can be used here as long as there isn’t speech involved.
vii) Musical or Opera: In musical theater, the story is told not only through dialogue and
acting but through music and dance. Musicals are often comedic, although many do
involve serious subject matter. Most involve a large cast and lavish sets and costumes. An
example of an opera is the classic ‘Songs of Solomon‘, and adaptation of the Bible story.
viii) History Play: This form of play has little or no fictive elements. It is usually
based off true life events or records. In the golden era, there were travelling bands and
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crews that told stories of great rulers and their travails as honestly as they could manage
at the time. In the digital era, this form has morphed into different things like live
documentaries etc.
ix) Playlet: A play is a form of literature written by a playwright, usually consisting of
scripted dialogue between characters, intended for theatrical performance rather than just
reading. Plays are performed at a variety of levels, from Broadway, Off-Broadway,
regional theater, to community theatre, as well as University or school productions. There
are dramatists, notably George Bernard Shaw, who have had little preference whether
their plays were performed or read. The term “play” can refer to both the written works
of playwrights and to their complete theatrical performance.

The Importance of Drama in the Development of Children

When we go back to the early days, children’s learning through drama – as it is in most areas of
life – is all about play. Expressing emotions, feelings, and actions through a series of games and
fun exercises, thereby allowing them to explore things in a natural, unforced way in a classroom
environment is always the key element to success. That is, not to say that they shouldn’t be
stretched and focused within those exercises to enhance development, but play maximizes on the
child’s enthusiasm for this familiar method of discovery and is vital in opening up a gateway to
individual expression in a gently-guided, but fully imaginative manner.

Key skills that develop in the early years of learning through drama include teamwork,
socialization and listening skills. It is not consistent – most children of a young age have the odd
wobble – but by the age of 6 or 7, there are clear signs that these disciplines start to take effect.
Learners begin to lose the fear of just ‘giving it a go’ as they experience confidence that they
have a supportive team behind them and, in return, they begin to support their fellow classmates
by listening and appreciating each other’s ideas and work. With the use of the imagination
constantly at the fore in class, their development can be pushed to discover new and unknown
areas by encouraging children to question, pose problems, listen, understand and support – all
within the safe confines of a guided, focused environment.

This release of physical inhibitions through play is one that is fascinating to witness in the
teaching of drama but is often overlooked or described as unimportant. Very often we hear that
“doing drama” is great for the building of confidence or self-esteem in a child but in actual fact
this release of energy through play is perhaps more vital to their development and the freedom of
their thinking. Indeed, as we go through life, we discover far more if we allow ourselves to free
up our imagination and our possibilities. It is through this open-mindedness that we acknowledge
much can be achieved or overcome, and, if we put ourselves in other people’s shoes, we often
have a much more rounded view of life and the choices we make. For a child therefore, the idea
of putting on a different role or character or pretending that they are in an unknown or
extraordinary situation – all through the safe basis of ‘play’ – allows them to overcome
difficulties and inhibitions and therefore unself-consciously they take emotional and physical
risks.

In terms of specific areas of development, learning through or studying drama can have a huge
impact on many areas. For example:
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1. Language – this brings into focus the key skills of questioning, instructing, persuading,
advising and debating. As members of society we all need to acquire these skills but
learning through drama can be a key method of developing these in a creative, mind-
freeing environment and bring about a much more sympathetic approach.
2. Understanding Different Points of View – drama, through the use of role play and
simulations allows a crucial exploration of subjects in a controlled, yet ‘real’
environment. Subjects such as bullying, discrimination, mental health and other key
issues in young lives are often discussed and tackled through dramatization. This
experimentation in a ‘safe’ and guided place brings into focus how others may feel and
the struggles they may have, bringing clear development in understanding and modifying
future behavior within children.
3. Problem Solving – allowing the child to solve problems and evaluate outcomes across a
wide range of subjects and contexts. How do our actions and speech inform or influence
others? How does our thinking change? What bearing can this have on our moral
choices?
4. Knowledge – often, working in drama spurs on the need to look further into a situation
and character. This can be historical or scientific or even delve into the real lives of
someone they are ‘playing’ at being, but drama as a subject opens the mind and incites a
hunger to learn and research by exploring simple, scenario-based tasks.
5. Teamwork – crucial in the development of children, few academic subjects bring to the
forefront the need to work and function together as a group. We must learn to listen,
advise, sculpt and devise work which balances the needs of all involved. If there is no
compromise in drama, there is little room for creativity and productivity. Drama
encourages children to work collaboratively. They take part in activities where they must
rely on each other and learn to trust.

6. Drama is a wonderful way for children to interact with, and interpret literature, or
text of any sort. They get opportunities to analyze how a character’s personality, motives
and actions influence plot. This can be as simple as understanding and portraying the fear
that a piggy feels when confronted by a wolf. Some kids who think they don’t like books
will find their way to reading by dramatizing a story or poem.
7. Drama develops communication skills. Kids learn how to use their face, voice and
body movements to get a message across to any audience, whether it be at a job
interview, on stage, or with a group of friends.
8. Drama allows children to practice many of the higher order thinking skills in a
playful context. They must think critically, apply knowledge to new situations, analyze,
solve problems, make decisions, collaborate – all skills that will benefit not just their
reading and writing, but every core subject at school.
9. Drama prepares children for real life. In our rush to have children acquire academic
learning, we often forget their personal and social development. The emphasis in drama
is on being a team member and working collaboratively rather than hogging the limelight
for yourself. Kids are expected to be active, reflective, flexible, responsible and
responsive – all skills that will benefit them in every facet of their lives.

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10. Drama gives children an outlet for their creativity. Not every child can wild a
paintbrush to their own satisfaction or play an instrument like a virtuoso. Drama is a level
playing field. I have seen so many children blossom in drama classes.
11. Drama encourages self-discipline. It might look and sound messy and noisy but it isn’t
a mayhem. It’s not about putting yourself first. It’s about working as a group.
12. Drama gives us a way to gain understanding of others. We learn tolerance by walking
a mile in another’s shoes, and drama is a way to do that.

So, with all of these in mind, we have to go back to our original dilemma and – with just this
handful of examples – we can see that any form of studying drama clearly isn’t just about
acting and performing. It also isn’t just about a child “finding their voice” or “building their
confidence”. It’s an immersive, engaging activity that provides a rounded look at society and
differing points of view. It develops communication and negotiation skills. It invokes a sense
of responsibility for the individual and a sense of trust in others. Crucially, it builds an inner
strength by allowing the imagination and freedom of thought to overcome anything. In terms
of the development of a child and for future life skills, there could probably be nothing more
“useful”.

Characteristics/Features of Drama

The following are elements that are present in dramatic pieces, regardless of the form they come
under. In order for any piece to be qualified as `drama‘, it must include the majority of these
elements. Here are ten major features of drama:

1. Cast: A cast includes every person who played any character in the drama. It includes the lead
and supporting actors, as well as people that play a more background role.

2. Playwright: This is the person who creates the dramatic piece. It could be just one person or
more.

3. Protagonist: The entire story usually revolves around this character. It is typically just a
single character, although there are plays that have more than one protagonist. They are also
referred to as chief actors or lead actors. One common trait in mostly all protagonist is that they
are often on the same side as the viewing audience.

4. Antagonist: The character plays an opposite role from the protagonist. He/she is oftentimes
the villain in the story or narrative. Such character is frequently responsible for the central
conflict.

5. Conflict: This is the central cause for rivalry between the opposing characters. It is oftentimes
set off by the antagonist, while the protagonist is burdened with the responsibility of righting
such wrong.

6. Soliloquy: This dramatic device is often to give the audience a glimpse at the character’s
intentions by making them speak their thoughts out loud. It is also used to create emphasis for
crucial details in the story.
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7. Tragic flaw: In other to thicken the plot and get the audience more invested in the story, the
protagonist is made to act in a certain way that rubs the audience the wrong way. Such action
could be tied to his pride or lack of self-control. The audience gets riled up enough to create
momentum for the protagonist’s victory.

8. Prologue: This is the beginning of the play. It offers an introduction to the body of the drama.
At this point, adequate information is provided for the audience to settle into the story.

9. Epilogue: This is usually the last part of a drama that ties up loose ends in the plot. It acts as a
closing and a possible explanation to the beginning of a story. It is at this point that the reader or
viewer gets the entire point of the literary piece.

10. Flashback: This device is used to return to a past occurrence to offer the audience a reason
for the actions of any character(s). It helps the audience gain insight into why things are the way
they are, and where the story could be headed. It could also explain the sudden arrival of a fresh
character example; a character suddenly announces himself as the protagonist’s husband.

Conclusion

The different features of drama contribute to one goal of storytelling, which is clarity of
message. The viewing or reading audience should be able to get a clear picture of the events that
played out in any such drama. While some features are almost compulsory, some can be left out
in a drama.

UNIT TWO

DRAMA AS A PSYCHO-SOCIAL PROCESS FOR ALL CHILDREN

When we look at drama as a psycho-social process it is called sociodramatic play or emergent


literacy. Sociodramatic play is where children act out imaginary situations and stories, become
different characters, and pretend they are in different locations and times. It can involve the use
of props, costumes, and scenery, but this isn't a requirement. It is possible for sociodramatic play
to make use of nothing but children's imagination.

Sociodramatic play is the most advanced form of play, and constantly changes (fluid and
dynamic) according to the interests and ideas of children.

Features of sociodramatic play

Sociodramatic play usually involves children:

 developing roles
 creating their own storylines
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 making up their own spoken lines (dialogue)
 interacting with each other
 directing each other in play.

Children use play to practice important language and social skills, including:

 joining in
 sharing and taking turns
 ways of interacting through different relationships (parent/child, brother/sister,
doctor/patient)
 negotiating with each other about how the play will go.

Examples of sociodramatic play area themes and potential literacy materials, include:

 Doctor's office/ Hospital


o patient folder, pretend x-rays, clipboards for taking notes, visual schedule for
booking appointments
 Restaurant/ Café
o menus, signs for restaurant/café name and foods/drinks, pretend epopts machine,
cash register, book for noting books, clipboard for taking orders
 Grocery Store
o notepads, pencil/pens and paper for shopping lists, paper for receipts, cardboard
for making signs/labels for foods, and specials
 Hardware store
o price tags, labels, pencils/pens, paper for shopping lists, signs, measuring tape,
notepads, visual instructions, allen key, brochures, catalogues, and booklets
 Post office
o envelopes, stamps, boxes for shipping presents, mailbox, mailbags, paper and
stationery for writing and posting letters
 Office
o documents, play computers or keyboards, play phones, calendars, schedules,
sticky notes
 Aquarium/Zoo/Vet
o signs for animals, diagrams of animals, notepads for vet or zookeepers, brochures
 Camping
o map, trail signs, compass, tent instructions, labels on pretend food, sticks for
writing/drawing in the earth.

 modelling the use of written texts as part of the play situations (as a co-player)
 scaffolding (the process that enable a child or novice to solve a problem, carry out a task
or achieve a goal which would be beyond his unassisted effort) to children's emergent
reading or writing engagement by asking open-ended questions, providing feedback, and
helping children to use materials within the context of play (as stage manager, co-player,
or play leader)

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 extending children's emergent literacy by engaging in sustained shared thinking, asking
analytical questions, providing additional materials or play ideas to build upon children's
current literacy engagement.

General principles in sociodramatic play

 When setting up play experiences, think of what emergent literacy concepts can be
embedded
 Demonstrate to children how props, costumes, spaces can be used in sociodramatic play
 Encourage children to imagine what a particular prop or costume could symbolize (e.g.
using a block as a phone)
 Think about what role you will play in the experience, (onlooker, stage manager, co-
player, or play leader).

The benefits of sociodramatic play

Sociodramatic play allows children to explore and create new worlds. The possibilities of
children's sociodramatic play extend to exploring the power and utility of literacy for
communicating meaning through multiple modes. Children take on roles/characters, act out
various scenarios and stories, and solve problems using a variety of communication modes.

Children's communication and self-expression take many forms including sharing stories and
symbols from their own culture, re-enacting well-known stories and using creative arts, such as
drawing, painting and sculpture, drama, dance, movement and music to communicate with
others.

Williams and Rask (2003) argue that play is not only a context for learning, but an engaging
means of creating purposeful literacy experiences:

In literacy it allows them to develop understanding of the purposes and power of the written
word through discovery, hypothesis raising and experimentation.

The following can be the outcomes of sociodramatic play which is categorized into five different
outcomes identity, community, learning and communication

Outcome 1: identity

Children feel safe, secure and supported.

 confidently explore and engage with social and physical environments through
relationships and play
 initiate and join in play
 explore aspects of identity through role-play.

Children develop knowledgeable and confident self-identities.

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 explore different identities and points of view in dramatic play
 learn to interact in relation to others with care, empathy and respect
 engage in and contribute to shared play experiences.

Outcome 2: community

Children develop a sense of belonging to groups and communities and an understanding of the
reciprocal rights and responsibilities necessary for active civic participation

 cooperate with others and negotiate roles and relationships in play episodes and group
experiences
 build on their own social experiences to explore other ways of being
 understand different ways of contributing through play and projects
 are playful and respond positively to others, reaching out for company and friendship

Children become socially responsible and show respect for the environment

 use play to investigate, project and explore new ideas

Outcome 3: learning

Children develop dispositions for learning such as curiosity, cooperation, confidence, creativity,
commitment, enthusiasm, persistence, imagination and reflexivity

 use play to investigate, imagine and explore ideas


 initiate and contribute to play experiences emerging from their own ideas

Children transfer and adapt what they have learnt from one context to another

 use the processes of play, reflection and investigation to problem-solve

Children resource their own learning through connecting with people, place, technologies and
natural and processed materials

 explore ideas and theories using imagination, creativity and play

Outcome 4: communication

Children interact verbally and non-verbally with others for a range of purposes

 use language and representations from play, music and art to share and project meaning
 contribute their ideas and experiences in play and small and large group discussion
 exchange ideas, feelings and understandings using language and representations in play

Children engage with a range of texts and get meaning from these texts

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 listen and respond to sounds and patterns in speech, stories and rhymes in context
 view and listen to printed, visual and multimedia texts and respond with relevant
gestures, actions, comments and/or questions
 sing chant rhymes, jingles and songs
 take on roles of literacy and numeracy users in their play
 begin to understand key literacy and numeracy concepts and processes, such as the
sounds of language, letter–sound relationships, concepts of print and the ways that texts
are structured
 explore texts from a range of different perspectives and begin to analyze the meanings
 actively use, engage with and share the enjoyment of language and texts in a range of
ways
 recognize and engage with written and oral culturally constructed texts.

Children express ideas and make meaning using a range of media

 use language and engage in symbolic play to imagine and create roles, scripts and ideas
 share the stories and symbols of their own cultures and re-enact well-known stories
 use the creative arts, such as drawing, painting, sculpture, drama, dance, movement,
music and story-telling, to express ideas and make meaning
 experiment with ways of expressing ideas and meaning using a range of media
 begin to use images and approximations of letters and words to convey meaning.

Children begin to understand how symbols and pattern systems work

 use symbols in play to represent and make meaning


 begin to make connections between, and see patterns in, their feelings, ideas, words and
actions, and those of others
 develop an understanding that symbols are a powerful means of communication and that
ideas, thoughts and concepts can be represented through them
 begin to be aware of the relationships between oral, written and visual representations
 begin to recognize patterns and relationships and the connections between them

Children use information and communication technologies to access information, investigate


ideas and represent their thinking

 identify the uses of technologies in everyday life and use real or imaginary technologies
as props in their play
 use information and communication technologies to access images and information,
explore diverse perspectives and make sense of their world
 use information and communications technologies as tools for designing, drawing,
editing, reflecting and composing
 engage with technology for fun and to make meaning

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UNIT THREE
USING DRAMA AS A METHOD OF TEACHING CHILDREN

There are two things that should be clearly understood when drama is chosen as a method: the
meaning of drama and purposes of drama.
Meaning

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Teaching should always be a reflective activity but it is often difficult to see in the classroom.
The teacher's traditional role is ques- Teachers, who believe that the most effective use of drama
in elementary schools, do not allow this situation.
They notice personal needs of individual students and are aware of their reactions, who is
isolated, thinking, feeling, so that teachers can assess feedback for each individual student, so
bringing a social or imaginative capacity into the classroom for satisfaction and fulfilment by
using drama as a method. it is the teacher working with the children within the drama, who will
build on the students' ideas and take a bridge for them between their own experience of the world
and the meaning of drama, so that both insight and understanding arise from the activity. it is the
process of acting and imagination meaning through acting that is important. The educational
significance is that the child will learn through his own experience. Therefore, drama in
education has enormous potential for the teacher. On the contrary, if drama is successful it will
be because of the skills teachers use to motive their students, to build on their contributions and
focus and pace the different activities in the classroom. it is only through the teacher's own
commitment to, and involvement in, the work, that drama will realize its full potential as a
medium for learning.
Purposes
Drama is emerging as a powerful model of learning through which children are encouraged to
gain mastery over their own thinking. Furthermore, there are some purposes for using drama as a
method which is as follows:
- Drama affords children an opportunity to work together co-operatively on a
shared project. It also increases the child's awareness of the divergence of views
both within the classroom and within the wider social context.
- Drama extends both the range and quality of the child's language usage. It
provides an opportunity for trying out different models of discourse and can
create an impetus for a wide variety of oral and written forms.
- Drama can also offer children the opportunity of critically appraising their own
and other's work.
- Drama is a particularly useful way of "opening up" problems, themes and topics
that are of social concern. it enables children to view such subject matter from
varying perspectives and to raise their own awareness of the complexity of the
issues involved.
- Drama involves children in a complex process of selection, demanding of them an
ability to choose between various effects and devices in order to shape a unified
and coherent utterance.

So far it can be seen from the article that drama is an important device of educational experience
which should be available to all learners in elementary schools. This section of the article is
concerned with the advantages of using drama. There are two main advantages of using drama:
one of them is self-actualization, the other one is personal or emotional development.
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Self-Actualization
The first advantage of using drama in elementary schools is that it allows students to work
together and to share responsibility for the development of self-actualization which is the main
objective of education and which also continue s throughout life. If a student achieves self-
actualization, he will have the qualities of being realistic, creative, trust and in- dependent.
In drama learners actively engage in situations which make sense to them in terms of their past
experiences and their present levels of understanding. Because of this, each drama activity
provides them with new experiences and fresh perspectives. This kind of activity causes self-
actualization in children. In addition, both teacher and student participation are equally important
for the success of drama. Some teachers within the collective drama process rather than to
monitor students from outside. This permits teachers and children to adopt social roles, which is
quite different from those they might normally assume in the more formal teacher-student
dialogue of the classroom. The teachers' use of drama provides opportunities to help children
engage in more abstract levels of thinking in response e to the dramatic situation. The teacher's
primary aim is to devise dramatic situations which encourage students to engage in independent
thinking in order to gain fresh insights about themselves and their world.
In accordance with the description of drama given in here self-actualization is the first advantage
for the children. Self-actualization leads to other effects as well. These can be summarized as
follows:
-To give children an opportunity to examine their own problems with a new
perspective.
-To show children the direction in which he or she is going.
-To make children to reflect on experience and see what they do in common with
other people.
-To go beyond the tight framework of the curriculum in subjects, such as science,
languages and mathematics.
-To give children freedom besides responsibility.
-To show children how they can stay with something they don't like and work
through it to a point of accomplishment.
-To increase children's vocabulary and help them develop a finer control of
rhetoric through interaction with others and through tapping subjective
experience.
Personal or Emotional Development.
Personal emotional development is the second advantage of using drama in elementary schools.
The new idea in education, that is drama, opens up possibilities for free choice and individual
decisions. Therefore, it helps the individual to explore many aspects of the world and even his

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own feelings and emotion. If drama is use d with learning and teaching experiences in
elementary schools, it would help children to develop in the desire d ways. Drama will also
provide a bridge for the children who understand to become their role in sharing responsibilities
with their classmates.
Furthermore, to act out a dramatic activity, a class of students must cooperate, all have to agree
to try to sustain the drama, to support one another’s efforts to believe, to share their personal
ideas and interpretations with others [28]. What is more, drama may become the catalyst for the
establishment of interpersonal relationships outside of the classroom so that it will lead to
personal or emotional development.
To this end, the advantages of using drama are as follows:
-To help children discover that they know more than they thought they knew.
-To lead children to see the real world more clearly in light of what is revealed by
the imagined one.
- To help children capture more and more of what is implicit in any experience.
-To develop a tolerance for a variety of personalities and ideas.
- To make an abstract concept or experience very concrete so the students can
understand and have control over it.
Given this, it can be inferred that there are various hidden advantages of using drama in
elementary schools. For these reasons, the use of drama in education deserves a more prominent
place in today's elementary school curricular. it would seem that drama is more powerful than
any other medium in education. As a final remark, drama operates most effectively as a teaching
or learning methods in elementary school that allows encouragement for developing curricular.

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UNIT FOUR
DRAMA AS AN EXPRESSIVE AND COLLABORATIVE LEARNING PROCESS:
CREATING, CONVEYING AND CONTEXTUALISING MEANING
Drama is a powerful expressive and collaborative teaching-learning tool that involves all the
children interactively during learning process. Drama can also provide the means for connecting
children’s emotions and cognition as it enables them to take risks with language and experience
the connection between thought and action. Through drama, a class will address, practice and
integrate all expressive skills of reading, writing, speaking and listening. Drama also fosters and
maintains children’s motivation, by providing an atmosphere which is full of fun and
entertainment. In so doing, it engages feelings and attention and enriches the learners'
experience during the learning process.
In context to the above, Susan Holden (1982) takes drama to mean" any kind of activity where
learners are asked either to portray themselves or to portray someone else in an imaginary
situation".

There are many reasons that support drama as an expressive and collaborative learning process
and these are:
1- It integrates expressive skills in a natural way. Careful listening is a key feature.
Spontaneous verbal expression is integral to most of the activities; and many of them
require reading and writing, both as part of the input and the output.
2- It integrates verbal and non-verbal aspects of communication, thus bringing together both
mind and body, and restoring the balance between physical and intellectual aspects of
learning.
3- It draws upon both cognitive and affective domains, thus restoring the importance of
feeling as well as thinking.
4- By fully contextualizing the language, it brings the classroom interaction to life through
an intensive focus on meaning.
5- The emphasis on whole-person learning and multi-sensory inputs helps learners to
capitalize on their strength and to extend their range. In doing so, it offers unequalled
opportunities for catering to learner differences.

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6- It fosters self-awareness (and awareness of others), self-esteem and confidence; and
through this, motivation is developed.
7- Motivation is likewise fostered and sustained through the variety and sense of expectancy
generated by the activities.
8- There is a transfer of responsibility for learning from teacher to learners which is where it
belongs.
9- It encourages an open, exploratory style of learning where creativity and the imagination
is given scope to develop. This, in turn, promotes risk-taking, which is an essential
element in effective language learning
10-It has a positive effect on classroom dynamics and atmosphere, thus facilitating the
formation of a bonded group, which learns together.
11-It is an enjoyable experience.
12-It is low-resource. For most of the time, all you need is a 'roomful of human beings.

Fleming (2006) stated that drama is inevitably learner-centered because it can only operate
through active cooperation. It is therefore a social activity and thus embodies much of the theory
that has emphasized the social and communal, as opposed to the purely individual, aspects of
learning. With drama we can play, move, act and learn at the same time. (Philips, 2003).

Drama activities can provide children with an opportunity to use language to express various
emotions, to solve problems, to make decisions, to socialize. Drama activities are also useful in
the development of oral communication skills, and reading and writing as well.

Why using drama in pre-school classroom?

It encourages children to speak, it gives them the chance to communicate, even with limited
language, using non-verbal communication, such as body movements and facial expression.
There are also a number of other factors which makes drama a very powerful tool in the
classroom learning. They are listed below;

1-To give learners an experience (dry-run) of using the language for genuine communication and
real-life purposes; and by generating a need to speak. Drama is an ideal way to encourage
learners to guess the meaning of unknown language in a context. Learners will need to use a
mixture of language structures and by taking a role, students can escape from their everyday
identity and "hide behind" another character. When you give students special roles, it encourages
them to be that character and abandon their shyness.

3- To bring the real world into the classroom (problem solving, research, consulting dictionaries,
real time and space, cross-curricular content). When using drama, the aim can be more than
linguistic, teachers can use topics from other subjects: the students can act out scenes from
history, they can work on ideas and issues that run through the curriculum. Drama can also be
used to introduce the culture of the new language, through stories and customs, and with
a context for working on different kinds of behavior.

4- To emulate the way students naturally acquire language skills through play, make-believe and
meaningful interaction.
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5- To make what is learned memorable through direct experience and affect (emotions) for
learners with different learning styles.

6- When children dramatize, they use all the channels (sight, hearing, and physical bodies) and
each child will draw to the one that suits them best. This means they will all be actively involved
in the activity and the language will "enter" through the channel most appropriate for them.

7- To stimulate learners' intellect and imagination


8- To develop students' ability to empathize with others and thus become better communicators
9- Helps learners acquire language skills by focusing on the message they are conveying, not the
form of their utterance

How can drama or dramatic activities be used in learning process

1. Mine
Mime is defined as "a non-verbal representation of an idea or story through gesture, bodily
movement and expression". Mime emphasizes the paralinguistic features of communication. It
builds up the confidence of learners by encouraging them to get up and do things in front of one
another.
 Mime helps develop children's power of imagination and observation and can also be
quite simply " a source of great enjoyment" with children tending "to be very enthusiastic
about the aspect of drama.

 The mime helps learners become comfortable with the idea of performing in front of
peers without concern for language and that although no language is used during a mime
it can be a spur to use language.

 Mime is a great way of reinforcing memory by means of visual association, and recall of
language items is assisted whenever an associated image is presented (Rose, 1985).

 Mime can help to fix language skills in the minds of the children, and the following
activity demonstrates how vocabulary items can be revised and reinforced.

 Mime can generate expressive use where explanation is required- teacher's instructions
and the discussion of the children-if the mime involves pair work or group work, learners
normally find it easier and more motivating to produce expression when they have to
accomplish a task (Ur,1981).

2. Role Play
Role play is a method for exploring the issues involved in complex social situations. In role play
the participants are assigned roles which they act out in a given scenario. The purpose of role
play is educative rather than therapeutic and the situations examined are common to all. Family
scenes, school situations and playground incidents provide opportunities for interaction and

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group discussion. Role play enables participants to deepen prior experience and to translate it
into characters for the plot.

The main benefit of role play from the point of view of language teaching is that it enables a
flow of language to be produced that might be otherwise difficult or impossible to create.

Role play can also help recreate the language children used in different situation, the sort of
language children use is likely to need outside the classroom.

3. Simulation:
A simulation refers to as case study where learners become participants in an event and shape the
course of the event. The learners have roles, functions, duties, and responsibilities within a
structured situation involving problem solving.
Simulations are generally held to be a structured set of circumstances' that mirror real life and in
which participants act as instructed. Jones (1982) defined simulations as "a reality of functions in
a simulated and structures environment".

A simulation activity is one where the learners discuss a problem within a defined setting, the
function of a simulation is to give participants the opportunity to practice by taking on specific
roles and improvising within specific situations on the assumption that with practice the
participants will play their roles more effectively when situations involving similar skills occur
in real life.

A simulation activity provides a specific situation within which students can practice various
communication skills like asserting oneself, expressing opinions, convincing others, arguing
eliciting opinions, group-problems-solving, analyzing situations and so on.

4. Improvisation
Improvisation is defined as an unscripted, unrehearsed, spontaneous set of actions in response to
minimal directions from a teacher, usually including statements of whom one is, where one is
and what one is doing there. The focus is thus on identifying with characters, enacting roles and
entering into their inner experience of imagination and fantasy. And according to McCashin
(1990) the focus of improvisation is on helping learners to discover their own resources from
which their most imaginative ideas and strongest feelings flow, participants gain freedom as self-
discipline and the ability to work with others develops.

 Improvisation is an excellent technique to motivates the learners to be active participants


in authentic situations thereby reducing their self-consciousness.

 Improvisation provides learners with opportunities to not only improve their language
communication skills, but also to improve their confidence which will ultimately lead to
the development of positive concepts.

 Improvisation exercises could involve an entire class of learners or smaller groups. Once
the context has been provided the learners will participate spontaneously in the exercise.

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A whole class improvisation exercise could involve the participants at a market where
some are the buyers and others the sellers.

Here are some examples of improvisation, keeping in mind that the backgrounds of the players
will determine the appropriateness of these examples.
1- You are a group of people at a party having a good time. Decide who you are and what
you are doing.
2- You are a group of teachers on strike for higher pay.
3- You are a group of parents attending a parent meeting who are complaining about the
poor facilities and teaching.

These activities and others can be used by the teacher in his class and these activities and their
varieties depend on the creativity of the teacher who can think of useful situations where he can
generate children’s communication skills.

Role of the Teacher


In using Drama in the classroom, the teacher becomes a facilitator rather than an authority or the
source of knowledge. Hoetker (1969) warns that " the teacher who too often imposes his
authority or who conceives of drama as a kind of inductive method for arriving at preordained
correct answer, will certainly vitiate the developmental values of drama and possibly its
educational value as well." Classroom drama is most useful in exploring topics when there are no
single, correct answer or interpretation, and when divergence is more interesting than conformity
and truth is interpretable. As Douglas Barnes (1968) puts it" Education should strive not for the
acceptance of one voice, but for an active exploration of many voices". Using drama activities
and techniques inside the classroom has changed the role of the teacher. The class becomes more
of a learner-centered rather than a teacher-centered one. The teacher is merely the facilitator.

Conclusion
In Conclusion, Drama is an appealing teaching strategy which promotes cooperation,
collaboration, self-control, goal-oriented learning as well as emotional intelligence skills. Drama
bridges the gap between the classroom and real-life situations by providing insights into how to
handle tricky situations. Drama strengthens the bond between thought and expression in
language, provides practice of supra-segmental and Para-language, and offers good listening
practice. Drama activities facilitate the type of language behaviour that should lead to fluency,
and if it is accepted that the learners want to learn a language in order to make themselves
understood in the target language, then drama does indeed further this end.

One of the greatest advantages to be gained from the use of drama is that children become more
confident in their use of English by experiencing the language in operation. It draws upon
children's natural abilities to imitate and express themselves, and if well-handled should arouse
interest and imagination. Drama encourages adaptability, fluency, and communicative
competence. It puts language into context, and by giving learners experience of success in real-
life situations it should arm them with confidence for tackling the world outside the classroom.

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UNIT FIVE
REAL AND FICTIONAL SITUATIONS THROUGH DRAMATIC PLAY

Dramatic play which is also called pretend play, involves acting out real-world situations and
taking on the roles of different characters. It also often involves dressing up in costumes and
using various props to illustrate the story.

Dramatic play can come in various forms, such as role playing and cosplay. It’s where children
engage in make-believe scenarios and stories and act them out, with each child adopting a
different character. Children use dramatic play to explore their own thoughts and feelings.

There are two primary types of dramatic play: structured and unstructured.
i) Unstructured dramatic play gives children the freedom to choose their own roles and
play scenarios.
ii) Structured dramatic play, on the other hand, has specific guidelines or prompts to get
them started. Children are presented with a pre-determined scenario and then must
make choices and discover solutions.

Both structured and unstructured dramatic play are important for your children’s emotional and
social development.

Children can act out scenarios from the real world and fictional lands alike.

Child-raising and early education would do well to shift towards play, books, and visual media
that are more rooted in real life. Young children—particularly those aged over three years—often
prefer these things to pretend play that involves fictional characters, cartoons, and fantasy. Play
that’s based on what adults do can enhance early child development.

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Therefore, fictional, pretend play is central to early child development and the growth of
individual creativity. However, there is no strong evidence to supports the idea of pretend play
based on fiction or fantasy has a unique, causal role in creativity.

In traditional societies, fictional, pretend play is less valued, and many parents do not believe that
it helps development. They do not encourage it, and children typically engage in it less often in
their cultures.

Instead, many children play by imitating the real-life practices of their parents and communities.
They rehearse adult activities and become increasingly proficient at them. Fantasy content in this
playing is rare, if it occurs at all, and children develop normally and successfully without it.

Trying out real-life activities is a universal form of play. It’s what young children typically
choose to do in their free time and what drives their interest, and it usually includes working with
other children.

The essence of children’s play is free choice and self-motivation, and it often involves social
interaction with others, particularly peers. Fiction is not the key ingredient.

Reasons why dramatic play for children is important

Dramatic play is an integral part of a child’s social, emotional and cognitive development. Here
are six important aspects of dramatic play:

1. Dramatic play teaches self-regulation

Children are known for acting impulsively, but dramatic play is a positive steppingstone toward
self-regulation. While they’re still figuring out what is or isn’t appropriate for a situation,
children tend to be motivated to follow the “rules” of a pretend play scenario and learn to stick to
their roles in a way that is acceptable to the group. This helps them grow in their ability to inhibit
their impulses, coordinate with others and make plans.

2. Dramatic play gives children an emotional outlet

Dramatic play allows children to act out scenarios they’ve seen or heard in real life, giving them
an important emotional outlet as they explore new situations. “Young children do not yet think
internally,”. “Children use dramatic play to explore their own thoughts and feelings.”

This is especially important for children who have seen something upsetting or scary in their
daily lives. Dramatic play gives them an opportunity to sort through difficult emotions and
practice being in the world.

3. Dramatic play teaches conflict resolution

Both unstructured and structured dramatic play offer plenty of opportunities for teachable
moments about conflict resolution. Disagreements between children will inevitably crop up
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during unstructured dramatic play, which offers a chance for kids to work through their
differences and arrange a compromise.

Dramatic play encourages children to resolve conflict, consider perspectives beyond their own
and recognize the various roles and responsibilities individuals have in our society. Structured
dramatic play often encourages children to consider a specific problem and propose their own
solutions.

4. Dramatic play supports literacy

Dramatic play provides a prime opportunity for kids to improve their literacy skills. They can be
exposed to “functional print” (like newspapers, signs or menus) in a play setting, which can help
contextualize words and concepts. Additionally, with some light guidance, vocabularies can be
expanded. Questions like, “What foods should we serve?” and “What tools will we need?” to the
kids playing restaurant can provide an easy opening for introducing new words and concepts.

Dramatic play can also increase reading comprehension. Children often choose to act out scenes
from a favorite storybook. This gives them a deeper understanding of the narrative structure and
character motivations found in familiar stories.

5. It develops creative thinking and storytelling ability

The question “So what happens next?” is a given during any dramatic play scenario, and your
little ones certainly benefit from filling in the narrative gaps. The twists and turns of a pretend
trip to a grocery store can be pretty wild when left in the hands of a toddler (watch out for the
humongous dinosaurs tearing up aisle two), but these uncommon scenarios and ideas are still an
excellent way to get their gears turning as they figure out how to proceed.

6. Dramatic play allows you to support the children and encourage their ideas

Like stated above, children process their inner thoughts and emotions externally through
dramatic play. That means you can learn a lot about what makes your kids happy, scared or
frustrated just by observing their pretend play.

The next time you see your kids acting as pirates, firefighters or chefs, pay attention. This is your
chance to foster ideas and work through different emotions and social concepts.

“Asking ‘How do you know?’ or ‘Why do you think?’ kinds of questions are great for inspiring
further thinking and extending the learning,”.

How to encourage dramatic play

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Having known dramatic play is important, how can you incorporate it into everyday life? The
answer is easier than you might think. Children naturally gravitate toward dramatic play, so they
only need a little encouragement from you before they will be off and running.

There are a few tried-and-true ways to encourage dramatic and pretend play.

1. Have a prop box and costumes

It doesn’t take a lot to provide a spark. Starting a dress-up box filled with scarves, hats and other
clothing items for costumes is a simple step that can capture their attention. It can also help to
include themed toys or props (like a kitchen playset) at their disposal. Remember, you don’t need
to go overboard—cardboard boxes and pillows can still provide a solid starting point.

2. Having a dedicated space for pretend play

While it’s not necessarily a requirement, it can certainly help to have a dedicated space set aside
in your home or childcare center. With the right props and equipment, you can give kids a
somewhat contained space that sparks dramatic play ideas.

3. Intentionally having free time set aside for play

It might seem a little counter intuitive, but there’s value in leaving “unscheduled” space in the
day for kids. Sometimes the absence of planned activities is the perfect catalyst as children will
often naturally fill the time with unstructured dramatic play.

4. Provide scenarios and model behavior

For structured dramatic play, it can help to provide scenarios to get the ball rolling.

“After transforming the dramatic play area, I would introduce the ‘new’ space. For instance, if
the area was transformed into a supermarket, we’ll start with asking the children questions to see
their prior knowledge of supermarkets,” says Estrella. “We’d then show them the new materials
and supplies and explain to them how each item is used, such as the cash register or the food
baskets.”

During this time, you’ll still want to maintain a light touch and let the kids take the scenario
where they want.

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