AN INQUIRY-BASED

DRAMA LEARNING SEQUENCE

Inspired by David Wiesners Flotsam

Pre - Pretext?

The chosen pretext was originally Flotsam, a vibrant and beautifully painted
picture book based upon an inquisitive boy who discovers a camera washed up
on a beach. Processing the cameras film reveals a fantastical voyage under the
sea, presenting some wonderfully exotic scenes, such as the surrealist starfish
islands and turtle shell villages (below).

However, after exploring this book in length as a pretext, I became concerned

that the book, so explicitly creative, may excessively guide the students

imagination, thus limiting their own ideas and creativity (Fasko, 2001).
Consequently, the pretext emerged not as the book itself, but rather from the
essence of the narrative; the cameras journey, spanning both distance and time.
This concept triggered One Moment in Time, a sequence of artistic practices
including (but not limited to) tableau (see Sequence, pg.8). So, after much
deliberation, the pretext was born
An old camera!

Rationale
Initial justification of this pretext was that, appropriately framed, (see Lesson 1,
pg.6) this pretext invokes instant puzzlement.
Where did the camera come from? Who does/did it belong to? What
moments are held within? How old is the camera? Does it still work?
These questions create immediate engagement and ignite the imagination; two
valuable precursors to sow the seeds of inquiry (Skamp, 2012). Importantly,

inquiry is pertinent to fuelling dramatic art and driving scientific exploration

(Warner & Andersen, 2004). Furthermore, the pretext facilitates numerous
learning outcomes; not exclusively those of artistic merit, but also of scientific
inquiry and literacy origin (see Sequence pg.6-13). Moreover, the simplicity of
the pretext provides creative space, necessary in allowing the drama to flourish
organically through the childs imagined construct, free of expectation (Starko,
2013). Meanwhile, the camera pretext, unlike Flotsam, is not confined to
boundaries governed by traditional conventions of literacy (Campbell & Green,
2006); whilst the pretexts versatility allows educators to tailor contextual
scenarios contingent upon class interest and semantic knowledge (Killen, 2009).
For example, the camera may be washed up on a beach (as demonstrated in this
sequence), found buried in ones backyard, or from 200 years into the future; a
concept which would understandably produce very different scenarios.
Finally, and pivotal to the rationale, is the idea that the pretext not only exists
prior to the text but also relates to it (ONeill, 1995), and that strategies that
support creativity solving problems, exploring multiple options, and learning
inquiry also support depth of understanding (Starko, 2013). Consequently, I will
utilise the pretext to create a constructive arts learning experience based upon
these ideologies which ultimately (not exclusively) assist students to present
artworks and describe how they have used visual conventions to represent their
ideas (ACAVAM112).

The Learning Context

The following sequence is designed for primary students (Year 3 & 4); however
the activities echo learning outcomes from across the Australian Curriculum
Document of Art, Science and English. The children, from a middle-class

background, attend a school reflective of this socio-economic environment.

Whilst the students have had previous experience with the art forms embedded
throughout the sequence (drama and visual art), this exposure has been
confined to traditional manifestations of these forms; a detail requiring time
consideration when introducing and implementing new content (Winch et al,
2010). Whilst a previous teacher mentioned that the students undertook a drama
workshop the previous year, this immersion may have limited benefit as the
actual length of each drama session is less important than the total number of
times a participant is exposed to drama. (Podlozny, 2000). The 26-student class
features a diverse range of learners, carrying varied confidence levels to
dramatic and visual arts; issues requiring thought regarding planning and
implementing the sequence, especially when considering confidence and
motivation are two factors linked to the engagement of students and positive
literacy development (Verhoeven & Snow, 2001). Additionally, specific
accommodation must be afforded to 3 students from English as a second
language (ESL) backgrounds, and thus the sequence incorporates activities, such
as image, to work across language and culture barriers which frequently
reveal unexpected universalities (Boal, 2000).

The Sequence:

(6 lessons, spanning 3 weeks)

Lesson 1: Teacher in Role/Process Drama (50 minutes,

Drama)

Key lesson features

The students arrive to the camera staged at the front of room,

immediately immersing the students in the pretext.

Camera pretext introduced via setting the scene scenario (below) with
the teacher taking on a character and modelling the dramatic behaviour
for the students "in-role" (Wolfgang et al, 1981).

Teacher as Mayor (animated voice): Thank you all for coming on such short
notice. As most of you are aware, Ive called this town meeting about the
mysterious camera that washed up on Green Pool Beach last week. Having
spoken with the museum curator Mr Thompson, he confirmed the camera to be
very old and he said hes never seen one like it. Unfortunately, I havent seen Mr
Thompson since, so thats all Ive been able to obtain for now. If anyone has
information or heard any news surrounding this unusual item, Id be very curious
to learn more

Designed to spark and build the narrative, the meeting enables the Year
2 Scientific Inquiry content descriptor of Respond to and pose
questions, and make predictions about familiar objects and events

(ACSIS024).
The lesson proceeds to an inner circle/outer circle activity, whereby print
journalists (inner circle) probe the townsfolk (outer circle) for information
about the camera, in the vein of Cecily ONeills Blackwood Manor. Such
practice coinciding with the Curriculums Year 2 Drama content descriptor
of ...Explore role and dramatic action in dramatic play, improvisation and
process drama (ACADRM027), with exploration of role and improvisation

required through the question/response scenario.

This framing provides opportunity for assessment, through writing in role
as the journalists can take notes throughout the activity; a process
aligning with the Year 3 Literacy content descriptor of use interaction
skills, including active listening behaviours and communicate in a clear,

coherent manner using a variety of everyday and learned vocabulary and

appropriate tone, pace, pitch and volume (ACELY1792).

This constructivist process immerses students in the content of their own
making as such ownership encourages an unparalleled level of
commitment and collaboration (Swick, 1999).

Lesson 2: Human Snapshots (40 minutes, Drama)

Key lesson features

Framed as depicting an image from the camera, students volunteer (or

chosen, depending on dynamic) to assume one of two roles: the photo (a
group of students depicting a frozen image or tableau), and the
photographer - a student providing improvised explanation of the image
to a community of spect-actors, who facilitate the process by questioning

the photographer about the photo.

Boals dynamisation provides an elaborated delivery of the image and
opportunity for the photo students to utilise movement as a drama form;
aligning with the Year 5 & 6 Drama descriptor of using movement,
facial expression and gestures to create and sustain belief in character
and situation (ACARA, 2014). This activity, whilst utilising drama for
understanding, also helps students form skills to build collaboration,
work co-operatively and constructively in pairs, small groups and as a

whole class (ACARA, 2014).

Silence throughout the activity is important as images and sculpting
rather than talking can be more democratic in that it does not privilege
the more verbally articulate people (Boal, 2000). Notably, such application

may support those with ESL backgrounds.

Additionally, as Cecily ONeill (1995) recognises engagement within
drama does not always take an active form; rather, it can exist as an

engaged yet detached response. Therefore, the educator must appreciate

the nuances of drama when assessing for learning.

Lesson 3: One Moment in Time (50 minutes, Visual Art)

DATE: 17/10/2014
Grade level: 3 & 4

Topic:

Create One Moment in Time - an

image that one may expect to find on the
film within the camera.

Learning Area: Visual Art

Learning Outcomes:

The students will understand how art has been used for
thousands of years to depict moments in time. Specifically, prior to the advent of the
camera, how art was used to record events; typified by Aboriginal rock art witnessed in
our own country. In a practical sense, this lesson will initiate students to contrast
(shading, shadow) and investigate importance of context and composition in conveying
One Moment in Time.

Resources:

Images of rock art, pencils, charcoal, paper (A3), erasers, and fixative.
Examples of charcoal and pencil art highlighting effective contrast and composition
qualities, as one will more likely achieve good art through experiencing good art
(Csikszentmihalyi, 1990).

10
mins

30mins

Learning & teaching

strategies

Key teaching
points/Questions

Introduction to the activity

(teacher-directed), features
probing questions posed to
the whole class (respond),
whilst introducing the
students to narrative rock
art displayed around
classroom, helping students
explore ideas and
artworks including artwork
by Aboriginal artists to use
as inspiration for their own
representations
(ACAVAM110) and
encouraging students to
identify intended
purposes and meanings of
artworks (ACAVAR113).

Engage students and

highlight the importance
art has played (typified
by Aboriginal rock art) in
recording historical
events, capturing, one
moment in time.

In this component of the

lesson, students begin to
plan and create their one
moment in time image a
photo they believe may be
captured within the camera
pretext. This process
facilitates students to
develop and apply
techniques and processes
when making their artworks
(ACAVAM115).
The students, arranged in
small groups (4 or 5),
individually create their
chosen image with reference
to desired conventions of
contrast, context and
composition available in
examples supplied.
Students continue creating
their photo image, using
selected medium.
Considerations to include

Assessment
opportunities
N/A

Why do you think

these paintings
are important?
How do you think
they did them?
i.e. Which medium
or materials do
you think were
used?

Drafting ideas
scaffold the
students selection
of image.

Ensuring children
are on task.

Which techniques
or materials are
helping you create
areas of light or
dark?

What does the

chosen image
represent/ convey
of this one

Assessment at this
stage is purely
observational, with
informal questioning
designed to gauge
whether students
are on task.
Assessment to
formally begin in
latter stages of
lesson (reflection),
and bulk of lesson 4
(continued task).

which era (black and white,

colour) the subject matter
resides, the subject matter
itself, and the composition.

10
mins

The final component of this

lesson revolves around
Responding in Visual Arts
within the Australian
Curriculum: Visual Art,
encouraging students to
respond to their own
artworks (teacher facilitated
questioning), view, analyse,
appreciate and evaluate
their own and others visual
artworks.

moment?

What are some

things you have
liked/noticed
about others
images?

Can you
identify/tell me
any techniques
you have used?

As Hargreaves
(1996) proposes
reflective
conversations
between teacher
and pupil, in which
the pupils selfappraisal is an
essential part of the
assessment process.
However this timeconsuming process
offers little
quantitative
assessment and
subsequently flows
into lesson 4,
supported by an
ongoing visual
portfolio throughout
the year.

Lesson 4: One Moment in Time II (40 minutes, Visual Art)

Key lesson features

Continues the visual art component based upon One Moment in Time a
single image the students imagine to be captured within the washed up

camera.
Constant assistance from teacher ensures students attempt to utilise

specific skills pertaining to shading and shadow.

Assessment will mirror this criterion with a checklist used to evaluate the
work with respect to contrast, context and composition and questioning
will probe to see if the students can identify use of these within their
piece.

Lesson 5: Present & Explain (50 minutes, Visual Art)

Key lesson features

Encourages students to present their art works in small groups (4 or 5),

designed to facilitate the students in describing their use of visual

conventions to represent their ideas (ACAVAM112).

Students also plan the display of artworks to enhance their meaning for
an audience (ACAVAM116), as children should not only play an active
role in choosing the display area but should assist the teacher in preparing
the art for display (McClellen, & Bradshaw, 1977). Ultimately helping
children (to) have good feelings as they see their efforts become "works of
art" (McClellen, & Bradshaw, 1977).
Such displays may include assembling the photos contextually onto a
strip of film (below).

Lesson 6: Flotsam. Reflect & Consolidate (40 minutes,

Literacy)

Key lesson features

Debrief includes reading the pretext inspiration Flotsam, as students

discover they have created something unique from a pre-existing idea.
Presenting the students the pretext inspiration ties the process together
by consolidating ideas and summarising key themes of the camera pretext

and subsequent sequence, One Moment in Time.

Analysing David Wiesners use of artistic convention will assist in

consolidating the ideas of contrast, context and composition.

This concluding process will incorporate the Year 4 Literacy descriptor to
use interaction skills such as acknowledging anothers point of view
and linking students response to the topic, using familiar and new
vocabulary (visual art, drama) and a range of vocal effects such as tone,
pace, pitch and volume to speak clearly and coherently (ACELY1688).

Final Thought
Within the flexibility afforded to students in this sequence in managing their own
learning teachers themselves embrace new insights and are open to sharing
new possibilities in the knowledge that, in doing so, their pupils will add nuances
and interpretations the teachers have never considered (Gardner, 1991). Now
that sounds rather exciting doesnt it?

References

Australian Curriculum, Assessment and Reporting Authority (ACARA). (2014).

Welcome to the australian curriculum online. Retrieved Oct 1, 2014 from
http://www.australiancurriculum.edu.au/Home.

Boal, A. (2000). Theater of the oppressed. Pluto Press.

Campbell, R., & Green, D. (2006). Literacies and learners: current perspectives.
(3rd ed.) Pearson Education Australia.

Csikszentmihalyi, M. (1990). The art of seeing: An interpretation of the aesthetic

encounter. Getty Publications.

Fasko, D. (2001). Education and creativity. Creativity research journal, Vol. 13,
No. 3, pp. 317-327.

Gardner, H. (1991). The unschooled mind: How children think and schools should
teach. New York, NY: Basic Books.

Hargreaves, D., Galton, M., & Robinson, S. (1996). Teachers assessments of

primary children's classroom work in the creative arts. Educational
Research, Vol. 38, No. 2, pp. 199-211.

Killen, R. (2009). Effective teaching strategies: lessons from research and

practice. (5th ed.). South Melbourne: Cengage Learning Australia.

McClellen, L., & Bradshaw, P. (1977). The art of displaying art. Early Childhood
Education Journal, Vol. 5, No. 2, pp. 53-54.

O'Neill, C. (1995). Drama worlds: A framework for process drama. Portsmouth,

NH: Heinemann.

Podlozny, A. (2000). Strengthening verbal skills through the use of classroom

drama: A clear link. Journal of Aesthetic Education. Vol. 34, No. 3. pp. 239275.

Skamp, K. (2012). Teaching primary science constructively. 4th ed., South

Melbourne, VIC: Cengage.

Starko, A. (2013). Creativity in the classroom: Schools of curious delight.

Routledge.

Swick, M. (1999). Student ownership in the drama classroom. Youth Theatre

Journal, Vol. 13, No. 1, pp. 72-81.

Verhoeven, L., & Snow, C. (2001). Literacy and motivation: reading engagement
in individuals and groups. Taylor & Francis Publishing.

Warner, C., & Andersen, C. (2004). Snails are science: Creating context for
science inquiry and writing through process drama. Youth Theatre Journal,
Vol. 18, No. 1, pp. 68-86.

Winch, G. Johnston, R., March, P., Ljungdahl, L., Holliday, M. (2010). Literacy:
reading, writing and childrens literature. (4th ed.). South Melbourne: Oxford
University Press.

Wolfgang, C. H., Mackender, B., & Wolfgang, M. E. (1981). Growing & learning
through play. U.S.A.: Judy/Instructo, Inc.