DEVELOPING AN ARTS SUPPLEMENTAL HANDBOOOK FOR THE STANDARDS-BASED READING PROGRAM
Stacy Nai Yaangh B.A., California State University, Sacramento, 2003
PROJECT
Submitted in partial satisfaction of the requirements for the degree of
MASTER OF ARTS
in
EDUCATION (Curriculum and Instruction)
at
CALIFORNIA STATE UNIVERSITY, SACRAMENTO
FALL 2009
DEVELOPING AN ARTS SUPPLEMENTAL HANDBOOOK FOR THE STANDARDS-BASED READING PROGRAM
A Project
by
Stacy Nai Yaangh
Approved by:
______, Committee Chair Crystal Olson, Ed.D.
______, Second Reader Lorie Hammond, Ph.D.
Date:______
ii
Student: Stacy Nai Yaangh
I certify that this student has met the requirements for format contained in the University format manual, and that this Project is suitable for shelving in the Library and credit is to be awarded for the Project.
______, Graduate Coordinator ______Rita M. Johnson, Ed.D. Date
Department of Teacher Education
iii
Abstract
DEVELOPING AN ARTS SUPPLEMENTAL HANDBOOK FOR THE STANDARDS-BASED READING PROGRAM
by
Stacy Yaangh
The author is a second grade teacher at an urban elementary school in one of the largest school districts in northern California. The author has used the district-adopted
Open Court Reading Program, which is a scripted reading program that follows a strict pacing guideline and does not allow for the integration of the arts into the curriculum.
After teaching Open Court Reading for five years, the author has found the program to be dull, routine, and disconnected from her students’ life experiences.
Therefore, the author is seeking a way to bring back the passion and love in teaching as well as make learning alive and enjoyable for her students. The author has concluded that integrating the arts into the curriculum is the solution to this dilemma.
Thus, the author has developed an Arts Supplemental Handbook to go with the Open
Court Reading Program. The author will use the Arts Supplemental Handbook to bring back the joys of teaching for herself and for her students.
______, Committee Chair Crystal Olson, Ed.D.
______Date
iv
ACKNOWLEDGEMENTS
First and foremost, I want to thank Crystal Olson, Lorie Hammond, and Karen
Benson for your guidance and support from the moment I entered the masters program.
I especially want to acknowledge Crystal Olson for your dedication and commitment to the arts and to the students that you teach. Thank you so much for believing in me and allowing me to finish this project in a timely manner. I want to also thank Lorie
Hammond for being my second reader and for valuing diverse cultures. Additionally, I want to extend my gratitude to Karen Benson for your positive feedbacks on my literature review chapter.
Second, I want to thank my loving and supportive husband, Chiem-Seng Yaangh for your unconditional support and belief in me. Your dedication to life-long learning has motivated me to excel and achieve my goals. You are my role model and my inspiration for learning. My accomplishments are possible because of you.
Third, I want to thank my children Daniel Yaangh, Allen Saetuern, and Sarah
Yaangh for your support and love throughout my project. Thank you for allowing me the time and space that I needed to complete my project.
Last, I want to thank my mom, Ying Saelee for your encouraging words and for taking care of Daniel, Allen, and Sarah so that I could concentrate on school.
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TABLE OF CONTENTS
Page
Acknowledgements……….. ……………………………………………………………...v
Chapter
1. INTRODUCTION………………………………………………………………….1
Statement of the Problem……………………………………………………...... 1
Personal Background and Purpose of the Project……………………………….…..3
Nature and Goal of the Project……………………………………….……………..7
Significance of the Project………………………………………………………….7
2. REVIEW OF RELEVANT LITERATURE………………………………….…….9
Why the Arts? …………………………………………………………….………...9
Multiple Intelligences……………………………………………….……………..10
Arts and Learning ………………………………………………………….……...17
Contributions of Singing and Drama to Learning……………….………………...21
Role of Teachers in Arts Education………. ………………….…………………..26
3. METHODOLOGY………………………….…………………………………….31
Nature and Organization of the Project……………………………………….…...31
Suggestions on How to Use the Arts Supplemental Handbook…………………..33
Limitations of the Project…………………………………………………………35
4. REFLECTIONS AND CONCLUSIONS………………………………..……....37
Reflection of Successes and Challenges………………………………………….37
vi
Recommendations…………………………………………………………………38
Next Steps ………………………………………………………………………....40
Conclusion……………………………………………………………………...... 41
Appendix A. Handbook of Art Activities…………………………………………...... 43
Appendix B. Handbook of Songs for Open Court Reading………………………...... 71
Appendix C. Handbook of Reader’s Theater Scripts………………………………...110
References……………………………………………………………………………....182
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1
Chapter 1
INTRODUCTION
Statement of the Problem
The author is an elementary classroom teacher who works in an urban school
district in South Sacramento. The school where the author works is a new school built in
2007 with spacious classrooms and playgrounds for students to run and play. The school
currently has about 450 students enrolled from kindergarten to six grades. The student
population is made up of 40 percent Asians, 25 percent African Americans, and 24
percent Hispanic or Latinos. The majority of the students are English language learners,
which means that English is not their primary language. In addition, the majority of
students receive free or reduced lunches because of their low family income level.
Like many of the schools in the district, students in this elementary school are required to take the yearly California Standardized Tests (CSTs) starting in second grade.
The CSTs show how well students are doing in relation to the state content standards.
The CSTs include English Language Arts (ELA) and Mathematics in grades two through eleven. The result of the CSTs determines the school’s annual Academic Performance
Index (API) or how well the school is performing or progressing from the year before.
The API scores ranges from 200-1000, with a statewide target of 800. A statewide rank of 1 means that the school has an API score in the lowest 10 percent of all schools in the state, while a statewide rank of 10 means that the school has an API score in the highest
10 percent of all schools in the state. The elementary school where the author works is currently ranked 1 because of its low API scores. 2
In addition to satisfying the state’s requirement to meet the API, students in this
school district are also required to meet the Adequate Yearly Progress (AYP) set by the
federal No Child Left Behind (NCLB) Act (Spohn, 2008). With this Act, all schools
and districts must meet the AYP by all student groups including English Language
Learners, African American, Asian, Hispanic or Latino, and Economically
Disadvantaged groups. To meet the criteria, the percent of all student groups must
perform at or above proficient in both English Language Arts and Mathematics by
passing the required percentages set by the NCLB. Schools and districts receiving
federal Title I funding enter Program Improvement (PI) if they do not make AYP for
two consecutive years in the same content area (English Language Arts and
Mathematics). This particular school is in its fifth year as a PI school. Due to the
school’s PI status, teachers are required to teach to the test and attend numerous
workshops and trainings to improve their teaching. Teachers and administrators are
under extreme pressure to get out of PI status.
With the burden to perform and to get out of PI status, there is much stress placed
on teachers to teach students the content standards and test taking strategies. Teachers
spend the school day drilling students on multiple-choice testing and repeated hammering
of standards and memorizations of objectives, math facts, grammar rules, writing strategies, and test taking strategies. The author knows firsthand what it feels like to teach to the test and the added stress of following the district-adopted Open Court
Reading Program that require teachers to follow a strict pacing guideline and the inflexibility for integrating the arts. Combined with budget cuts and yearly layoffs of 3
teachers, there is no time, no money, and no emphasis placed on teaching the arts. In
fact, the arts are virtually eliminated from the curriculum and students are left out of rich,
authentic learning experiences that the arts can provide.
Moreover, in the author’s five years of teaching the Open Court Reading Program
to a multicultural classroom, she has found the scripted program to be dull, routine, and
disconnected from her students’ life experiences. Often times, students are unengaged,
unfocused, and have difficulty staying on task. Teaching in this way, the author has
experienced burnout and has periodically lost the passion for and the fulfillment from
teaching. Therefore, the author is seeking a way to bring back the passion and love in teaching as well as make learning alive and enjoyable for her students. The author has concluded that integrating the arts into the curriculum is the solution to this dilemma.
Personal Background and Purpose of the Project
One of the most significant purposes for creating this Arts Supplemental
Handbook is because the author knows firsthand the true meaning of learning in a meaningful and authentic environment. As the author recalls her own childhood memories of learning, she remembers very little about the day to day specifics in her primary years of schooling, but what she does remember was singing in first grade to third grade. The author was an English Language Learner when she first entered the
American school system at the age of seven. The author is a Southeast Asian Iu-Mien immigrant from a hill tribe of Laos where there is no such thing as schooling or education. The people lived in villages where they survived by hunting, fishing, farming, and raising animals such as pigs, chickens, and sometimes cows for rich families 4
(Yaangh, 2008). Men and women had specific roles in the family. Men were hunters, protectors, and heads of the family. Women were farmers and caretakers of the home.
Young children were expected to help out with family chores starting at four or five years of age. The people lived in a pre-modern world with no electricity, running water, and the homes were built on the ground. The walls were preferably of wood, but if not available, bamboo was used. The roof was commonly made of thatch grasses, but sometimes of wooden shingles or large leaves (Lewis, 1984).
The Iu-Mien people have lived in this way for thousands of years. Even though the Iu-Mien people have never had a written language prior to coming to the United
States around the mid 1970s, they have always had a love for knowledge, literacy, and the arts. Their love of the arts is shown through the beautiful embroideries of traditional and modern Mien clothing, purses, shoes, pillows, and decorative art pieces to hang on the walls, jewelry pieces such as earrings, bracelets, necklaces, and rings. Girls were taught to embroider from the age of five or six. The author remembers learning how to embroider simple patterns when she was a young child.
The Iu-Mien are a peaceful people, always desiring to get along with neighboring tribal groups and native people (Yaangh, 2008). They desire a solitary and autonomous way of life. However, when the war broke out in 1960s and 70s, the Mien people’s lives were shattered forever. Many Mien people died while trying to escape the war, while others joined with the Hmong and American CIA to fight bravely in the jungles of Laos.
This was known as the Secret Army formed under the leadership of the Hmong General
Vang Pao (Crystal & Saepharn, 1992). The Iu-Mien decided to join forces because the 5
CIA told the Mien leaders “by opposing communists Pathlet Lao…they would be able to secure their homeland in northern Laos” (Crystal & Saepharn, 1992, p. 363). They were fierce soldiers and fought bravely against their enemies and many of them died on the battle grounds. In 1975, when Saigon fell to the communists’ control in Vietnam, so did
Laos and Cambodia. The Mien had no choice, but to flee for their lives (Yaangh, 2008).
Unfortunately, many of the publications available about the Vietnam War,
Southeast Asian refugees, and immigrants neglect to even mention the involvement of the Mien in the war. The Hmong have been recognized for their involvement in the war in the literatures and by the United States government, but not the Iu-Mien, who also lost hundreds of lives during the war (Yaangh, 2008).
As a result of the war, the Mien people found themselves without a country, without a home, and without any place to call their own. Those who successfully escaped from the communists, including the author and her family, found themselves in
Thailand where they lived in harsh conditions in the refugee camps. The camps were barbed wire and entrances were well guarded by Thai soldiers. The refugees were not allowed to leave the camps without permission. They were not allowed to farm or raise any animals and many did not have enough to eat. The author’s family lived in the refugee camps for five years before they received sponsorships to the United States in
1980.
Upon arriving in the United States, the author was hit with culture shock as did all the Mien immigrants who arrived during this time. It was a completely different world with modern household appliances such as refrigerators, electric stoves, toilets, and 6
television to name a few. Everyone had a culture shock story of not knowing how to use
the toilet, shower, electric stove; not knowing how to shop for groceries; not knowing
about schooling and everyday lives were extremely difficult.
The author remembers going to school for the first time at seven years old and
crying the whole time. She remembers being so scared because everyone looked so
different from her and they were all talking in a language that she did not know or
recognize. The author struggled in school to learn the language and to fit in. She
remembered being pulled out of the classroom for some sort of English Language
Intervention with a special teacher. The author struggled through the first few years of
schooling and slowly acquired the English language after several years. Of all the things
that the author experienced during her primary years of schooling, the only thing she can
still recall is the enjoyment of singing in the classroom. She remembered that singing
was one of the ways she learned to read and speak English. She remembered the teacher
always pointing to the words of the songs and turning on the music so all the students
could sing along. It was the best part of the day. The author could not read the words
correctly, but she could sing every word correctly. Some of the classic songs are still in
the author’s memories and she can still sing a few of the songs today without looking at
the lyrics.
Because singing helped foster the author’s learning of English and helped her in
her early years of schooling, the author is passionate about bringing the joys of singing
into her classroom. It was also then that the author discovered that she is naturally gifted in singing. The classroom singing that started so many years ago has ignited the author’s 7
passion to become a great teacher. The author also remembered wanting to become a
teacher so she could teach singing to her own students. This is the foremost reason why
the author has chosen to develop the Arts Supplemental Handbook. She will use the
handbook in her own classroom to bring back the joys of teaching that she has learned so
many years ago. The author also believes that the arts can help all her students develop literacy skills and possibly ignite a passion in them as the arts did for her. The Arts
Supplemental Handbook will help her do just that.
Nature and Goal of the Project
To integrate the arts into the curriculum, the author’s goal for this project was to
gather supplemental arts materials to supplement the Open Court Reading Program by
developing an arts handbook. The Arts Handbook is comprised of three sections. The
three sections are art activities, songs and chants related to the Open Court Reading
Program and reader’s theater scripts that are highly engaging. The art materials were
gathered from a number of sources including journal articles, books, teacher websites,
workshops, and trainings. The author also used her five years of teaching experiences
and knowledge gained in developing this project. Once the materials were gathered, it
was then compiled into a handbook to supplement the current standards-based reading
program.
Significance of the Project
This project is significant because it is the first Arts Supplemental Handbook
developed by the author and a first step to bring the arts back into the author’s own
classroom. The author is excited about the Arts Supplemental Handbook because she 8 will be teaching her students various art projects from the handbook that will give her students meaningful purpose for learning. The arts will also bring new and creative ideas where students are free to express themselves and be in an enjoyable learning environment.
The author will also share the Arts Supplemental Handbook with her grade level team who are usually open to new ideas of how to improve their instruction. Another option is to share the arts handbook with the author’s principal and teaching staff at the general staff meeting and advocate for having the arts handbook be used as part of the reading curriculum. The author can also meet and work with teachers in her school to help them develop their own arts handbooks. This arts handbook will also be shared and explained to parents at the beginning of the school year. Beyond the author’s school, the school district may be interested in the arts handbook as a springboard into possible supplemental arts materials for the entire reading program.
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Chapter 2
REVIEW OF RELEVANT LITERATURE
Why the Arts?
Should the arts be an essential component of education that every child must learn
in school? If so, what are the benefits of arts and why should they be included in the core
curriculum? These are the types of questions that schools across America have
confronted when budgets are restricted and programs must be eliminated to maintain the
balance. Because of the No Child Left Behind (NCLB) Act of 2001 and high-stakes
accountability programs, proponents for test-based standards point out that language arts
and math should always be included because they are measurable and are fundamental
building blocks of a sound education (Spohn, 2008). On the other hand, advocates for
the arts pointed out that including the arts into education provides a well-rounded
education and should be included in the curriculum. However, when funding is limited,
the arts and music programs almost always are the first items to be cut.
As more and more schools try to meet their Adequate Yearly Progress (AYP), a
requirement of all students to perform at or above the proficient level by 2013-2014 on
the state’s standards-based assessments set by the NCLB, teachers are pressured to teach
to the test and students are expected to perform well on these tests (Spohn, 2008). All
too often what is left out is a program for the arts. Elliot Eisner (1998), a renowned
authority on how the arts can be used to improve education stated, "Curricula in which the arts are absent or inadequately taught rob children of what they might otherwise
become" (p. 64). Without the arts, children would not have the opportunity to discover 10
themselves as unique human beings who could change the world. Thus, the arts cannot be
overlooked because of their immense benefits and contributions to education. Art plays a
major role in several areas that are significant to education: art celebrates multiple
intelligences, art contributes to learning, specifically in singing and drama, and art
validates teachers’ roles as the primary source of bringing art to children.
Multiple Intelligences
People of all walks of life and cultural backgrounds have an innate capacity to express thoughts and feelings in multiple ways and through multiple intelligences.
Howard Gardner, Professor of Cognition and Education at the Harvard Graduate School of Education, suggested that all human beings have seven basic intelligences (Gardner &
Hatch, 1989); since then an eighth has been added. Gardner’s work has encouraged educators and parents to view children as equals regardless of a quotient produced from an intelligence exam or of academic areas for which they develop competence (Stanford,
2003). In other words, educators and parents should view intelligence as the capacity for solving problems in a context-rich and naturalistic setting which the arts can provide rather than judge a child solely on their academic performances or IQ scores.
Gardner (1997) defined the various intelligences areas as follows: (1)
Verbal/linguistic intelligence: the production of language, abstract reasoning, symbolic thinking, conceptual patterning, reading, and writing. (2) Logical/mathematical intelligence: the capacity to recognize patterns, work with abstract symbols (e.g. numbers, geometric shapes), and discern relationships or connections between separate and distinct pieces of information. (3) Visual/spatial intelligence: visual arts, navigation, 11 mapmaking, architecture, and games requiring the ability to visualize objects from different perspectives and angles. (4) Bodily/kinesthetic intelligence: the ability to use the body to express emotion, to play a game, and to create a new product. (5)
Musical/rhythmic intelligence: capacities such as the recognition and use of rhythmic and tonal patterns and sensitivity to sounds from the environment, the human voice, and musical instruments. (6) Interpersonal intelligence: the ability to work cooperatively with others in a small group, as well as the ability to communicate verbally and nonverbally with other people. (7) Intrapersonal intelligence: the internal aspects of the self, such as knowledge of feelings, range of emotional responses, thinking processes, self-reflection, and a sense of intuition about spiritual realities. (8) Naturalistic intelligence: the ability to recognize patterns in nature and classify objects, the mastery of taxonomy, sensitivity to other features of the natural world, and an understanding of different species.
Teachers who accept Gardner’s theory should think of all the intelligences as equally important when planning curriculum instruction. They should also take into consideration that each student has capacities in all eight intelligences as suggested by
Armstrong (1994). For example, some students may have a high level of functioning in all or most of the eight intelligences, while others appear to lack all but the most basic aspects of the intelligences. Most fall somewhere in between highly developed in some intelligences, modestly developed in others, and relatively undeveloped in the rest.
Students with learning disabilities often exhibit deficits in verbal/linguistic or 12 logical/mathematical intelligences but show strengths in other areas (Stanford, 2003).
Unfortunately, schools put more emphasis on verbal/linguistic and logical/mathematical.
Realizing that there are different learning styles is the first step in giving all students the equitable education they deserve. Gardner’s theories of multiple intelligences (MI) require that teachers adjust their instructional strategies in order to meet the students’ individual needs (Nolen, 2003). Teachers should also expand their repertoire of techniques, tools, strategies beyond the typical linguistic and logical ones predominately used in the U.S. classroom (Campbell, 1997). MI theory further suggests that no one set of strategies will work best for all students at all times. All children have different predispositions in eight intelligences, so any particular strategy is likely to be highly successful with one group of students and less successful with other groups
(Silver, Strong, & Perini, 1997). For example, teachers who use rhythms, raps, and chants as pedagogical tools will probably find that musically inclined students respond enthusiastically to this strategy but nonmusical students remained unmoved. Similarly, the use of pictures and images will reach students who are more spatially oriented but perhaps will have a different effect on those who are more physically or verbally inclined
(Stanford, 2003). Thus, teachers must see that each student has his or her own learning styles and that no two students are ever the same. Therefore, teachers should structure the presentation of material in a style which engages all or most of the intelligences.
When teachers center lessons on the students’ need, learning is optimized for the whole class (Nolen, 2003). 13
Students with verbal intelligence tend to think in words and have highly
developed auditory skills. They are frequently reading or writing. Teachers, journalists,
writers, lawyers, and translators are usually comprised of people with verbal
intelligences. Verbal students are often great storytellers and joke tellers. These students
benefit from reading and listening to teachers read stories to them. Teachers can also
encourage students to re-tell a story in their own words and provide opportunities for
games, competitions, quizzes, drama, songs, projects, book making which helps with the
development of the students’ learning strategies such as listening for general meaning, predicting, guessing meaning, and hypothesizing (Brewster, Ellis, Girard, 2003).
Students with linguistic intelligence memorize best using words. They have the ability to analyze language and to create a better understanding of what people mean when using words. Knowing this, teachers need to use language that the students relate to and fully comprehend (Nolen, 2003). To help students develop their linguistic intelligence, teachers can have students write, read, and give oral reports about an element in their own lives such as sports, television, or popular bands.
Students with musical intelligence have a firm understanding of pitch, rhythm,
and timbre. These students are usually able to read music, critique performances, and use
musical-critical categories (Nolen, 2003). Teachers should foster musical intelligence by
introducing “formal musical analysis and representation” (Gardner, 1983, p. 111). Music
can act as a way of capturing feelings and students are able to convey their emotions
when they are singing, listening, and writing music. 14
Students with mathematical-logical intelligence first explore this intelligence by
ordering and re-ordering objects. They begin math using material objects such as
marbles or M&M’s. As this intelligence grows, the love of abstraction also grows.
Students with this intelligence believe that almost everything has a rational explanation
(Gardner & Hatch, 1989). These children are the ones who do well in the classroom
because they are able to follow the logical sequencing behind the teachings and are
considered by teachers as model students.
Unlike students with mathematical-logical intelligence who think in abstract
terms, students with spatial intelligence are less concerned with the abstract and more
concerned with the ability to manipulate and create mental images in order to solve
problems. Children with spatial intelligence are best taught using pictures, photographs,
films, overheads, diagrams, and other visuals (Nolen, 2003). Implementing the visual
arts such as painting and sculpting in the classroom will help foster this intelligence.
Like the spatial intelligence which deals greatly with what students can see and
feel, students with bodily-kinesthetic intelligence understand the world through the body.
Students with this intelligence often cannot sit still for long and they enjoy keeping their
hands busy. This is especially true for younger learners who need movement that
involves the senses, colors and sounds. Teachers can help foster the bodily-kinesthetic
intelligence by having plenty of objects and pictures to work with and make full use of
the school, the classroom and surroundings. The balance will change as the children get
older, but appealing to the senses, colors, sounds, and movements will always help
students to learn (Scott & Yreberg, 1990). For example, allowing children to draw a 15
picture while listening to a description, act out a nursery rhyme, follow instructions or make a shape or a simple model while they listen to a description helps the students to learn by ear and eye which is good for those with bodily-kinesthetic intelligence (Bas,
2008).
Students with interpersonal intelligence have the ability to understand, perceive,
and discriminate between people’s moods, feelings, motives, and intelligences. On the
other hand, students with intrapersonal intelligences deal more with the individual self.
To foster interpersonal intelligence, teachers need to have students work together in
cooperative groups where students can learn from each other and complete various group
projects. These students work best with others. Unlike students with interpersonal
intelligence who enjoy working with others, students with intrapersonal intelligence
prefer spending time alone meditating, reflecting, or thinking about important life
questions (Silver, Strong, & Perini, 1997). One way teachers can foster intrapersonal
intelligence is by having students write reflective logs and journals.
Finally, students with naturalistic intelligence are exceptionally good at sorting
and classifying rocks, insects, shells, or dinosaurs. These students benefit from learning
outdoors. Teachers can accommodate for them by planning activities such as: “observing
nature, labeling and mounting specimens from nature, noticing changes in the
environment, sorting articles from nature, using binoculars or telescopes to study nature,
caring for pets, and so forth” (Nolen, 2003, p. 119). These activities allow the students to
have a hands-on experience with what they are most comfortable with doing. 16
Teachers who teach using the multiple intelligence theory understand that each child is unique and has his or her own set of learning styles. Unlike traditional educational systems which only emphasize the development of verbal and mathematical intelligences, curriculum that includes the arts is a way to foster each child’s unique set of intellectual strengths and weaknesses (Brualdi, 1996). When teachers center lessons on the students’ needs, it optimizes learning for the whole class. Teachers who teach towards the multiple intelligences realize benefits such as active learners and successful students (Nolen, 2003). By matching teaching to the ways students learn while encouraging them to stretch their abilities and develop all their intelligences as fully as possible; teachers honor and celebrate the diverse learning styles of all children (Ozdemir
& Tekkaya, 2006).
Consistent with Gardner’s view of multiple intelligences, Eisner (1998), recommended that schools provide children with “educational programs that enable them to play to their strengths, to pursue and exploit those meaning systems for which they have special aptitudes or interests” (p. 18). One way to do this is by teaching multiple forms of literacy which “include forms of representation such as art, music, dance, poetry, and literature” (p. 16). By activating a wide range of intelligences through the arts, children will acquire a deeper understanding and appreciation of the core curriculum subjects of English, mathematics, sciences, and history. Opportunities such as role playing characters in a story, singing songs that relates to the unit themes, and creating characters through illustrations and drawings are forms of art that are highly engaging and open up children’s minds to a deeper understanding of the contents presented and 17
helps them understand themselves and their surroundings. The arts help prepare children
who are ready to compete in a changing world where demands are high and require real life skills. Eisner stated (1998), the arts teach students to solve “complex problems that requires attention to wholes, not simply to discrete parts; that most complex problems have no algorithmic solutions; that nuance counts; and that purposes and goals must remain flexible in order to exploit opportunities that one cannot foresee” (p. 84). For businesses to thrive and the economy to prosper, the arts will train young minds to think out of the box, to be creative, imaginative, and innovative people who can compete and succeed globally.
Arts and Learning
The contributions of the arts to learning are not a new phenomenon and research studies have shown that when the arts are integrated into the curriculum it pushes students beyond the basics and test scores. Scott LaFee (2007), a writer for California
Schools Magazine, concluded that “schoolchildren who are exposed to dance, music,
theater, and the visual arts appear to better master reading, writing, and math than those
who simply focus on the basic curriculum” (p.12 ). While standards teach students to
score high on multiple choice testing, the arts teach students to be expressive,
collaborative, engaging, creative, and more importantly it teaches thinking skills rarely
addressed elsewhere in the curriculum. Acquiring skills such as thinking, creating,
reflecting, and a willingness to imagine and learn from mistakes will allow students to
make connections across curriculum subjects, thus producing higher results in all subject
matter (Lafee, 2007). Research also suggests that integrated arts curricula significantly 18
increase self-regulatory classroom behaviors (Baum & Owen, 1997) as well as individual
characteristics of creativity and positive self-concept (Burton, Horowitz, & Abeles,
2000). In other words, students who are exposed to arts curricula have better classroom
behaviors and are more creative than those who are in traditional classrooms where there
is no art. Academic performance, class attendance, problem-solving skills, social development, and positive behaviors all increase with arts programs (American for the
Arts, 2004). In addition, Boldt and Brooks argued that “the creative arts have proven to
be especially helpful by fostering positive relationships, academics motivation,
responsibility, and a climate of respect” (p. 223).
The arts can be applied in any subject matter and when they are done effectively,
students will gain deeper understanding of the content presented. David E. Gullatt, a
professor at Louisiana Tech University, gave several examples of how the arts can be
applied in language arts. For example, students could use expressive writing when
responding to a novel. They could engage in creative movement when talking about the setting of a story. They could use music to respond to a segment of a text and use informal drama in which pairs of students re-create dialogue from the text. Through
these types of strategies, using the arts will increase students’ comprehension and
motivation for reading (Gullat, 2008).
Sarah Anderberg, director of the California County Superintendents Educational
Services Association’s Arts Initiative and Glen Thomas, Secretary of Education for
California Governor Arnold Schwarzenegger and the former executive director of the
County Superintendents Association, revealed that the arts in music develop cognitive 19 abilities and spatial reasoning to the ways that drama fosters reading comprehension
(Anderberg & Thomas, 2008). In addition, Anderberg and Thomas (2008) pointed out that “the arts also improve students’ self-confidence and motivation to learn, especially among the poor and other at-risk students” (p.21). With at-risk students, students who are likely to drop out of school or get in trouble with the law, the arts provide a safe haven where they can express themselves freely without being judged. According to
Diket (2003), “Evidence strongly suggests that at-risk students gain entry points with the arts, experience success, make connections, develop strategic knowledge, and bring heightened interests to other subject areas” ( p. 177). Often times, students with low socio-economic resources lack the skills to do well in mainstream core subject areas, but with the arts, they have a chance to succeed because they are given opportunities to explore interests that connect to their lives. Opportunities presented in the arts give children the chance to learn and create pieces of poetry are often the sparks that turn self- defeated, self-abusive, angry children into proud learners (Herman & Marlowe, 2008).
Art is a good place to start when working with at-risk youth, many of whom struggle with traditional academic work. The creation of art can foster a sense of belonging, success, and creativity as long as students have the freedom to follow their own inspirations and develop original designs (Shepard & Booth, 2009).
Donald Arnstine, an educational philosopher, also saw art as a vital component to children’s overall learning and development. Arnstine (1995) asserted, “The experience of art is a special kind of high-quality experience because art arouses feelings and at the same time provides the material with which thought can work in order to resolve that 20
feeling, thus fostering learning” (p.85). Arnstine also pointed out that this kind of learning is “revealed not on standardized tests, but in what the students think about, talk about, find important, and more succinctly, the arts teach students to criticize life” (p.68)
The arts teach students to go above and beyond, to ask difficult questions about life and find solutions to problems. Doing art requires children to think about their ideas, feelings, or experiences with the world, to find symbols to express them, and to share
them with others (Ji-Hi Bae, 2004).
Furthermore, the arts demand that students take part in their own learning. For this to happen, Arnstine (1995) argued that “education should focus on individuals and on developing in them unique abilities, understandings, and dispositions” (p.68).
Arnstine defined dispositions as the “pursuit of curiosity” where students continue to ask questions about something because they are curious and want to know more. Arnstine
(1967) noted, “A student who is learning to learn is among other things, developing his own aims and purposes” (p. 345). This kind of disposition will lead students to explore further about the meanings of life and why certain things are the way they are. They will continue to learn and explore beyond the classroom because they have developed an intrinsic value of education.
Like Arnstine, Eisner too acknowledged the importance of creating dispositions
in students. Eisner (1998) defined dispositional outcomes as a “willingness to imagine
possibilities that are not now, but which will become. Students will develop desire to
explore ambiguity, and the ability to recognize and accept the multiple perspectives and resolutions that works in the arts celebrate” (p. 99). The development of dispositions in 21
students is an important aim that schools should have because without curiosity and
exploring new possibilities, students will not be able to think beyond what others have
already codified for them. As a result, students will not be able to interpret meanings for themselves or develop independence, let alone imagine unknown possibilities or ask critical questions about life. However, with the arts program, Harris (1963) asserted that
children’s art is a language in that it is a form of their cognitive expression that conveys
their ideas, feelings, and emotions of others. Walsh (1993) also noted that the art is a
human activity that gives meaning to daily lives and a crucial cultural tool for making
sense of everyday lives in a given culture. The arts provide the opportunities for students to grow and become creative human beings that this world needs.
Contributions of Singing and Drama to Learning
Two of the ways to get students to think outside the box are by incorporating
singing and drama into the classroom. Teachers who implement songs and singing
along with drama into their classroom will enhance students’ learning environment and
are educating the whole child. Steiner (2003) asserted that teachers who teach in this way are teachers who “emphasize the need to educate people as whole beings and
understand what the characteristics of thinking, of feeling, of will are for their students”
(p.25). They understand that words are simply not enough and they must teach through
the arts in order to nurture and help children develop their own intelligences. Some of the
ways to do this are by allowing children to play with language by making up rhymes, singing songs, telling stories, acting out characters in the stories they read (Scott &
Ytreberg, 1990). Children love songs, rhymes, stories and chants and their repetitive 22
nature and rhythm make them an ideal vehicle for language learning (Brewster, Ellis &
Girard, 2003). Additionally, according to Brewster et al. (2003), songs, rhymes and
chants can contribute to the child’s global development in many ways. As students
engaged in playful musical activities through the use of rhythm and rhyme, the students
seemed to magically increase learning, and singing frequently provides an emotional
hook that can engage students in learning routine facts (McIntire, 2007). The main
overall purpose is that singing, chanting, and acting together is fun and it stimulates the
child’s sense of humor which helps children play with the target language in a humorous
and fun filled environment (Bas, 2008).
Singing with songs and music is a language with powerful appeal to children of
all ages and even adults. Singing is not only enjoyable, but it also contributes immensely
to the development of language in children.
Music and reading go together because singing is a celebration of language.
Children’s language naturally has rhythm and melody. Children bring this
natural ‘music’ language with them to the task of learning to read, and so
using singing to teach reading draws on this natural understanding.
(Harp, 1998, p.454)
The more children sing, the more they develop language because through music, children experience the wholeness of language. One way to incorporate singing and music into the classroom is by singing everyday children’s songs from CDs which are found in stores or by singing songs that are related to the unit themes or seasonal themes. There are numerous children’s songs and school songs that have familiar tunes that anyone can 23
learn to sing. The use of songs is flexible. A song can be used in any stage of the class:
as a presentation tool, as a practice exercise or as a production activity (Bas, 2008).
Furthermore, as children learn to sing songs, recognize, and distinguish different melodies, their memory skills improve (Vernon, 1997). The students’ memory of words will expand because they are actively engaged in doing something that is already natural
to them. Teachers can provide activities such as “pointing to each word as it is sung,
locating words that appear in more than one place, and providing children with word
cards to match like words are excellent ways to reinforce the link between speech and
print” (Kolb, 1996, p. 76). Students can also compose songs for a storybook they have
read and then sing the song they composed in the classroom. Singing provides a high
level of engagement for high achieving students as well as scaffolding difficult
vocabulary for English Language Learners and struggling readers. It also helps students
internalize difficult vocabulary that can often show up in students’ writings.
In addition, singing songs in the classroom is a great way to foster the love of
reading in children. For many struggling readers, singing is a natural way to learn new
words and retain what they have learned. According to Kolb (1996), “The singing-
reading connection not only helps children learn to read but also fosters a love for
reading” (p. 77). One way for teachers to do this is by creating a stimulating
environment for learning and filling the classroom with attractive and eye-catching
posters, decorations, and creating learning centers where students will be ready to read
and sing their favorite songs. Teachers can also have students’ written reactions to
listening selections and classroom songs and original songs created by students posted on 24 bulletin boards for easy access. Once that is done, teachers can create a quiet reading center with a shelf of music-related books, books on tapes or CDs and books for children to read while they listen to music along with a small rug and comfortable cushions so students can sing and move around while they enjoy the centers (McIntire, 2007).
Teachers will be fostering the love of reading through singing while the students are developing literacy skills with lots of fun in a relaxed, warm, and stimulating environment.
Likewise, implementing drama or skits into the classroom is one of the great ways to help children improve concentrated thought and story comprehension. Adding drama into literature can enrich children’s understanding and excitement of a story and prepare them for a deeper exploration and appreciation of the story before, during, and after they read a story. It encourages children to speak and gives them the chance to communicate, even with limited language, using non-verbal communication, such a body movements and facial expressions (Bas, 2008). This is especially true when students are given the opportunity to act out the characters in a story. As they do so, they will “face the situations as the characters do and they are transported to other worlds, joining in the adventure and the excitement, freed of their own time and place---and somehow changed by the experience” (Kelin, 2007, p. 278). When students place themselves as the characters, they become the characters and they learn about the lives of others, thus learning more about themselves. They are emotionally and intellectually engaged in the story, making it personal and meaningful and in turn producing a deeper understanding of the story. Students can also gain a deep sense of connection with the characters when 25
they are given the chance to think, act, talk, and role-play the characters in the story.
Kelin (2007) also pointed out that when students are highly engaged in this kind of
learning, “they comprehend better when they think about the connections they make
between the text, their lives and the larger world” (p. 277).
Moreover, adding drama to the classroom also improves students’ attitude about learning because doing drama will grab their attention with an exciting, motivating, and
interesting learning environment. According to Peter (2003) who is a lecturer in early
childhood studies at Suffolk College, “Children of all abilities are more likely to be
interested in an activity over which they perceive ownership” (p. 25). For example,
instead of just reading about “Little Red Riding Hood,” students should role-play the characters in the story, making the story real and meaningful to their lives and giving them a sense of ownership of their learning.
Another contribution that drama can bring to students’ learning is when students are actively engaged in playing the characters in a story, they will also develop an understanding of social relationships and complex issues that the characters face in the story to their own experiences, thus making a text-to-self connection. Peter (2003) stated:
In drama, children develop their ability to think more creatively and flexibly
in situations and with a better understanding of their own behavior and that
of others. This may lead to improvements in their social interaction skills
and in their ability to communicate. (p. 26) 26
Therefore, drama can make a powerful contribution to the development of self-advocacy,
raising self-esteem, and bringing awareness to students’ own capability to influence
situations and develop sensitivity to the needs and feelings of others. For example, in the story Cinderella after acting out the characters, students might empathize with the character Cinderella and learn that deliberately hurting others is something that they should never do.
Role of Teachers in Arts Education
In order to develop students who are kind, sensitive, and empathetic, Eisner and
Arnstine urged that schools see art as integral to the education of the whole child. Eisner
(1998) asserted, “The school curriculum is a mind-altering device; it is a vehicle that is designed to change the ways in which the young think” (p. 64). In other words, teachers in schools have a duty to facilitate and nurture the minds of children and guide them to construct meanings for themselves, not merely receivers of the given information. For this to happen, teachers must provide students opportunities to engage and have aesthetic experiences. Eisner (1998) argued that, “The development of the sensibilities not only provides children with access to the qualities of the world, it is through the content of such experiences that they are able to perform two very important cognitive operation: remembering and imagining” (p. 24). What he meant was that if children’s experiences are limited, then their ability to imagine is likewise restricted. For example, children who have been to the beach will have a greater experience and understanding of what a beach is. In contrast, children who have never been to the beach will have limited ideas what a beach is. Experiences nurture the ability to imagine. Children will not be able to 27
imagine or remember something if they have not experienced it. Therefore, it is
important for teachers to implement the arts into the curriculum to allow for rich experiences that cultivate thinking, imagining, and remembering, so that learning is not
mechanical, but meaningful.
Unlike drilling students on multiple choice testing where information is quickly
forgotten after each test, learning in which students engage with each other in aesthetic
experiences will help students retain what they have learned (Eisner, 1998). Therefore,
teachers must change the way they assess students’ learning (Chapman, 1993). Eisner
(1998) offered eight criteria for creating and appraising new assessment practices in
education. They are as follows: (1) Assessments should not be limited to only schools,
but outside of schools. (2) Assessments should include how students arrive at their
answers so teachers are able to modify their programs or alter teaching strategies to better
help students. (3) Assessments should “aim to help students demonstrate that they have
grasped ideas as part of a larger field and as historically situated elements within a
community of discourse” (p. 142). (4) Assessments should be designed so group tasks
become part of the norms because the aim is to help students develop the skills they need
for life in the adult community. (5) New assessments should allow for more than one
correct answer because the problems that people face in their daily lives require many
solutions. (6) Assessment tasks should have curricular relevance, but not limited to the
curriculum as taught. Students should be able to use the skills they’ve learned in the
classroom as well as outside the classroom. (7) Assessments should allow students to go
beyond standardized achievement test questions and let students engage in a larger 28
problematic situations and giving them wide array of data to use when working through a
problem. (8) Assessments should allow students the opportunity to choose various ways
of showing what they have learned versus just one way. For example, Eisner (1998) stated:
…students should be given opportunities to construct their own responses to
what they have learned and given opportunities to select the medium through
which what they have learned can be made public. This means, for example,
that after a unit of study in history or social studies some students might elect
to create a ballad, or a poem, or write a story. After a study in biology some
students might elect to construct a three-dimensional model of evolution or
write a speculative piece on future of evolution. (p. 147)
Assessment alternatives include logs and journals, graphic organizers, observational
checklists, video samples, rubrics, miscue analyses, and portfolios will allow students to
show they understand and can use new information in unique ways. Such alternative
forms of assessment offer students the potential to demonstrate learning content in a variety of ways (Stanford, 2003).
In addition to adding the authentic assessments listed by Eisner, it is equally important that teachers understand the needs of their students first before they can begin to teach. Arnstine (1967) argued that “When a teacher understands what his students presently know, familiarity with his subject helps him to select what is appropriate for them to come to know, or be exposed to” (p.367). In order for teachers to know what to teach, they must first understand what it is that interests their students and how they 29
learn. Appropriate dispositions must be formed in order for students to acquire any meaningful sense. Once teachers have established students’ dispositions to learn and created a classroom conditions that foster aesthetic qualities, Arnstine (1995) indicated
that “students have the motivation that is provided by immediate satisfaction, while
teachers are able to promote the thoughtful effort and learning that they were aiming at”
(p. 80). Arnstine (1995) defined aesthetic experience as “an experience that is high in
quality and also involves thought” (p. 69). For example, playing games in the classroom
that challenges students to think and solve mysteries, plan strategies to win, and is highly
engaging is one way to facilitate aesthetic experiences. In fact, Arnstine (1995) stated
that “The use of games and the arts in schools is the most direct way to foster the
aesthetics” (p. 81).
Furthermore, Eisner emphasized the importance of choosing curriculum that
maximizes experienced-based learning which can only happen if teachers include the arts
into their daily teaching. Eisner (1998) indicated that “educators help shape minds, and
the curriculum they provide is one of the most important tools they use in this process”
(p.13). To illustrate this point, take for example, all seeds need good soil, sunlight, and
water to grow and like the seeds, children’s minds need nurturing, guidance, and
authentic experiences in order to fully develop their brains into minds. Therefore, Eisner
urged teachers to see themselves as the ultimate tool to sustaining and enriching
children’s lives by making sure that children are on the right track to becoming creative human beings (Eisner, 1998). 30
Similarly, Arnstine argued that teachers should be the ones to choose what
curriculum should and should not be included because they are the ones responsible for
implementing and dealing with the consequences of it. Teachers are in the forefront of
daily teaching and dealing with children, therefore, Arnstine (1967) stressed that “The
teacher becomes chiefly responsible for selecting the content that appears in the curriculum” (p. 362). However, with all the mandates from policymakers to implement the basic curriculum of language arts and math, teachers are not given the opportunity to teach what they want to teach. As a result, teachers are mandated to teach what someone
else tells them to teach (Arnstine, 1967). When this happens, authentic teaching is gone
and the students are the ones who end up suffering the consequences. Arnstine (1967)
argued that “the responsibility for many kinds of educational decisions must shift from
school boards and administrators to teachers” (p. 367). When teachers are given the
freedom and flexibility to teach the arts, everyone benefits, especially the students.
Education would be fun, exciting, and inviting because students would be actively
involved in their own learning and teaching would be enjoyable and rewarding. 31
Chapter 3
METHODOLOGY
Nature and Organization of the Project
The nature of the project was to create an Arts Supplemental Handbook to use in the author’s classroom. After teaching five years of the standards-based Open Court
Reading Program, the author realized that she needed to do something different for herself and her students. The author was getting burned out by having to follow the scripted curriculum which makes her feel like a robot. The author also was tired of teaching to the test and hammering her students about doing well on tests. Because her school is now in its fifth year as a program improvement school, the teachers at the school are constantly being pressured to get all their students to perform at or above proficiency on the annual California Standardized Test (CSTs) starting in second grade in language arts, math, science, and writing. The focus at the author’s school is to get out of program improvement status which means focusing on these core subjects. There is no time for anything else. The author’s principal and administrators from the district, including outside intervention groups such as Action Learning Systems (ALS), and Write
Tools are constantly coming into the classrooms to make sure that all teachers are doing their jobs. Because there is so much pressure put on teachers, teaching has become something extremely stressful, rather than enjoyable.
To solve this problem, the author has created an Arts Supplemental Handbook to use in her classroom. The Arts Supplemental Handbook is organized into three different art sections. The first section is the Art Activities. There are twenty different art 32
activities that focus on the basic art of drawing. The different art activities are easily
designed where anyone can teach it. Each art activity lesson begins with the materials
required and simple to follow directions on how to make the art.
The author developed these art activities based on instruction from Terry Joyce,
who was an art instructor for the University of San Diego, Division of Continuing
Education. One of the great things about doing these art activities is that teachers can
make a giant art portfolio using large construction papers and binding them into a booklet
as a way to store samples of each art activity. Once the art activities are completed, the
author has a collection of art to look at and show as examples to others.
The next section of the Arts Supplemental Handbook is a collection of songs that
the author has gathered through the Open Court Reading website and from a collection of
children songs that she bought from Lake Shore. Most of the unit songs are from
OpenCourtResources.com. These are the songs the author has chosen to put into the Arts
Supplemental Handbook that relate to Open Court Reading Program. Adding these
songs to her classroom will make learning for her students very engaging and enjoyable.
The author will also enjoy teaching because it is fun and exciting.
The last section of the Arts Supplemental Handbook is a collection of reader’s theater scripts that are highly engaging and effective for bringing stories to life for
students. The reader’s theater scripts are composed of classic children’s stories such as
Billy Goat Gruff, Cinderella, and Red Riding Hood.
33
Suggestions on How to Use the Arts Supplemental Handbook
There are many ways to use the Arts Supplemental Handbook and there is no right or wrong way to use it. For the Arts section of the handbook, teachers can begin by doing the first activity which is the Line Dictionary activity. This is a great beginning for teaching the basics of drawing using the various types of lines. Once students have completed this activity, they are ready to do the next activity which is applying their knowledge of various types of lines to create a unique art piece made up of lines. The author recommends doing a weekly art activity with the students. Sometimes, the art activity might take more than one week to complete. The author also recommends making an art portfolio or giving each student a folder or binder to store their completed art projects. By the time the students finish all the art activities, they will have a collection of art projects to take home. The art portfolio is also great to display during
Open House.
For the next section in the Arts Supplemental Handbook, teachers can begin by singing the Good Morning Song, Days of the Week Song, and the Months of the Year
Song. The author finds that the best time to sing these songs is in the morning during math meeting. Maybe handwrite the songs out in chart paper so that all students can see the words as they are singing. The unit songs are designed for second graders and follow the Open Court Reading unit themes. Teachers who teach second grade will enjoy singing these songs to introduce each unit themes and students will also benefit because they are learning new words and it will help them retain what they have learned.
Teachers who do not teach second grade can go to OpenCourtResources.com to copy or 34
print out the grade level songs for their grade. All the songs have familiar tunes and will lighten up students’ faces every time they sing them. The author also suggests that teachers add other songs to the handbook.
The last section of the Arts Supplemental Handbook is the reader’s theater scripts.
Incorporating drama into the classroom is a fantastic way to increase reading fluency by providing students with an authentic reason to reread. It also benefits reading comprehension by placing students inside stories. If students know that they are going to perform a story, they are more willing to practice. In addition, by having to follow someone else’s reading, students have to pay attention and follow what other people are reading to make sure they don’t miss their turn. Reader’s Theater is also fun and a good thing to have in the classroom.
Teachers can begin by passing out the scripts to students and have them highlight their assigned parts. When students are ready, meet back in a circle and read through the scripts together as a whole class. When reading the scripts the first time, focus on just reading it rather than acting out the scenes, acting comes later. At the end of the first read, it is good to give a mini-lesson on any common mistakes made in class. Focus on the specific mistakes your class might make during the first reading. Once that is done, you might want to read it again as a whole class and then let students practice during
Independent Work Time where they practice reading on their own. When students are able to read the scripts with few errors, then you can start giving them a little direction.
For example, the troll needs to use a scarier voice or the little Billy goat needs a tiny high 35
voice. Once they are ready, your class can perform for other classes for a special event
at school, or for the principal.
Limitations of the Project
Using the Arts Supplemental Handbook will definitely add creativity and sparks back into her teaching and her students will benefit from a highly engaging classroom.
Although, the Arts Supplemental Handbook is a great resource for her to use in her daily teaching, it is not enough. There are limitations to the Arts Supplemental Handbook.
For example, if the Arts Supplemental Handbook is not used, then it is worthless. The value of the handbook depends on its usage. The author has already begun to use it in her own classroom, but it needs to be used by more teachers.
In order for teachers to use the handbook, they must first have access to it. The author can make a few of the handbooks to loan out, but it can get expensive and time consuming to make the handbooks. The author can let teachers borrow the handbook, but they might not want to take the time to make copies for themselves.
Another limitation to the Arts Supplemental Handbook is that more materials such as CDs of all the songs should be included to help teachers know how to sing each of the song. Some teachers might not be familiar with some the tunes of the songs, so therefore, they might not be able to teach it.
Moreover, the art activities in the Arts Supplemental Handbook are self- explanatory, but some teachers might not be able to follow the instructions and can become reluctant to teaching it to their students. In order to do each of the art activities, teachers must also provide each student the materials required to do each art project. For 36
example, each child would need an art box of materials such as pencil, ruler, scissors,
glue stick, crayons, watercolor box, paint brush, paper towels, newspapers, and other materials in order to do the art projects. With budget cuts and layoffs of teachers, some schools do not provide materials such as art supplies for their students and some teachers do not want to spend their own money to buy it, thus, this Arts Supplemental Handbook might not be used.
Additionally, there should also be children’s popular story books to accompany each of the readers’ theater scripts so teachers can read aloud the stories before handing the students the scripts. When students are reading the stories in advance, they will be prepared to read the scripts when it is given to them. Most of the children’s book stories
can be found in libraries if it is too expensive to purchase the books.
37
Chapter 4
RELFECTIONS AND CONCLUSIONS
Reflection of Successes and Challenges
Among the successes of the project was that the author was able to gather all the materials that she wanted to put into her Arts Supplemental Handbook. The author was able to use the internet to research and gather most of her art lessons, songs, and reader’s theater scripts. She is happy with the result of her handbook because she was able to do it herself and she learned so much from researching and collecting the materials.
However, she did experience several challenges along the way. For example, as the author was researching for the arts materials, she was able to find numerous teacher- created websites where free art materials were found. However, she was not able to use most of the art materials that she found because it was difficult to download or copy onto word document because it was in PDF format or in a format that her computer did not have. In addition, she decided to not use some of the copyright materials because of legal issues.
Moreover, she also learned that most of the art materials that she found had to be scanned into the computer so that it can be formatted into the format required for completing this project. Since she did not have a scanner, she never learned how to use one. Because she had to scan most of the art materials into the computer, she had to buy an expensive scanner in order to have her art materials put into a word document so that it would satisfy the format for Sacramento State University, Sacramento. It was a long and tedious process of scanning all those art materials into the computer. However 38
painful, the author was able to scan everything into the computer and then discovered
that the qualities of the scanned materials were very bad. The fonts could not be changed
or adjusted. She could not move the pages the way she needed to or make corrections.
So after many days of scanning the materials, she realized that she needed to start over
and just retype everything into a word document. It took her about a week and many
hours to finish this part of the project.
After the art materials were all typed up, she had to struggle to align the reader’s
theater scripts that she had copied and pasted from a HTML format into word document.
She did not realized that when she copied from a HTML format onto word document that
every sentence was going to be misaligned. She almost wanted to cry because she knew
that she would have to align every single sentence in order to have it in the correct
format. Because she had over two hundred pages of scripts to aligned, she decided to
take some scripts out. It took her about two weeks of tedious and intensive hard work to get it done. Through this process, it forced the author to be patient and not give up even
though she was tempted to several times during this project.
Recommendations
In order for the Arts Supplemental Handbook to be effective and valuable, it must
be incorporated into everyday teaching. The author will definitely use it in her own
classroom, but her recommendation is for other teachers to also use this Arts
Supplemental Handbook in their own classrooms or supplement their own art materials to
enrich the learning experiences of their students. It is no secret that the arts are powerful
and it has always been a part of our lives. The arts have the power to inspire, inform, 39 challenge, raise self-esteem, provide pleasure and allow for self-expression to individuals, and can assist in the maintenance of sound mental-health. All students are entitled to reach their full potential and be themselves. One way is if the arts are incorporated as part of the core curriculum and all students have equal access to that curriculum. For this to happen, administrators who make the decisions for what to include in the curriculum need to see the importance of the arts in education and make the arts a priority to be implemented into the core curriculum to be taught in the K-12 public schools.
Additionally, teachers are the vital link to providing the arts to the students they teach every day. The author’s recommendation is for teachers to try to implement at least some form of art rather than no art at all. She also recommends that teachers start with something that they really enjoy or something that they’re already good in and focus on one area of the arts rather than multiple areas. By slowly adding the arts into their daily teaching, be it singing, music, or drama, they will eventually find that it is a natural habit.
Art doesn’t come naturally for everyone, but everyone can do it if they embrace it enough. For the teachers who are incorporating the arts into their daily teaching, the author says “bravo” and keep doing it. For those who are thinking about incorporating the arts, she says “just do it”. For those who are not sure or hesitant about teaching the arts because they feel that they do not have enough time in the day or that it is too hard to teach the arts, she says “just do it” because if they do not try, they will never know.
When teachers teach the arts, they benefit, their students benefits, and everyone wins. 40
To the parents, the author recommends that if your child has a love for the arts;
take him or her to join an arts program at your school. If there is no art program at your
school, then put your child in an arts program outside of school. You can also advocate
for the arts to be implemented at your school by talking to other parents, teachers, and
principal at your school. Your voice can make a big difference in getting the arts back
into the schools.
Next Steps
Now that the Arts Supplemental Handbook is complete, the author’s next step is
to use it in her daily teaching. Since the author has been a teacher, she always enjoyed
singing songs in her classroom. She noticed that her students are the most attentive
whenever they are singing. The author will continue to sing with her students and now
that she has the Arts Supplemental Handbook, it will be a lot easier whenever she needs to refer back to a song. The author also plans to blow up the lyrics for each of the songs on a large poster so that her students can see the words as they sing while at the same
time, she will be pointing to the words.
In addition to the singing, the author will also be doing weekly art activities that
are in her handbook. She will introduce each art lesson on a weekly basis and have each
student create his or her own individual art portfolio to store the finished art projects. By
the end of the school year, each student will have a complete set of finished art projects
to take home.
The author has already begun to tell her grade level team that she has been
working on developing an Arts Supplemental Handbook to be used in her classroom and 41
they are thrilled. Two of the three teachers in her grade level team are excited and cannot wait for her to show it to them so they can begin teaching it in their own classroom. She
will make copies for them and share the Arts Supplemental Handbook at the staff
meetings. The author also plans to share it with the principal and try to advocate for the
Arts Supplemental Handbook be sent to the district’s central printing office to have it
made for all the teachers at her school. There are only twenty-five teachers at her school,
so she is hoping that the principal will agree.
Beyond the author’s school, she will also share the handbook with teachers that
she knows from other schools and have them start teaching it in their own classroom.
She hopes that the school district will see the value of the arts and possibly adapt the Arts
Supplemental Handbook or create other Art Curriculum as part of the core curriculum.
The author hopes that her own school and the teachers that work there will see the value
of teaching the arts to their students and realize that art is everywhere and it is here to
stay.
Conclusion
Art has existed as the first written language since the beginning of time. Before the written word, people have painted images that served as a form of communication and told stories through dancing, singing, and creating pictures that were efficiently transferred through the generations. The arts have always been a way for people to express thoughts and feelings when there were no written words. In fact, art is actually people’s first language; they think in images and symbols first, before there was written language (Shepard & Booth, 2009). However, in today’s societies, the arts have taken a 42
back seat when it comes to education. High stakes testing has taken primary importance
where children are being transformed into robots who cannot think for themselves and
teachers are master robots who are mandated to teach to the test. What does all this
mean? It means that without the arts, multiple intelligences such as spatial, musical,
bodily-kinesthetic, interpersonal, and intrapersonal will be boxed into just logical- mathematical and linguistic, the arts could be endangered and headed for extinction in education, and teachers will create children with limited abilities and creativities who see themselves as powerless to change the world.
However, the arts will prevail because Art advocates such as educators, administrators, politicians, and parents are taking a stand against those who are trying to put an end to the arts. Art is essential to our everyday lives; without it, it is like living
without air!
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APPENDIX A
Handbook of Arts Activities 44
Activity 1: Line Dictionary
Vertical Horizontal Diagonal Straight Straight Straight Ziz-Zag Broken
Angie Curved Swirl Wavy Squiggly
Circle Dot Dotted Thick Dark
Thin Light 45
Activity 2: Line Design
Materials: 1. Half a sheet of 9x12 inch white construction paper
2. A black crayon or permanent marker
3. Crayons
Directions: With a black crayon, use the Five Members of the Line Family to
divide the paper.
1. Draw a straight line. Start on an edge and end on an edge.
2. Draw a curved line. Start on an edge and end on an edge.
3. Draw an angle. Start on an edge and end on an edge
4. Draw a circle.
5. Draw three dots.
6. Color in all the spaces. Each space should be completely
colored in and the same colors should not touch except at a
point.
Variation: With a black crayon, use the Five Line Types to divide the paper
as above. Then use watercolors to paint in each space. The black
crayon will resist the watercolors and keep them separate.
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Activity 3: Animal Drawing
Using the Five Lines to Draw Animal
I often do a directed drawing of an animal with my class. This reinforces the elements of line. I usually start with the nose or eyes and build out from there.
Lion
• Place your paper vertically. Start in the top third of the paper. • The Nose. Draw small curved “frown” line. (I use frown and smile to help my little ones know which way the curve goes.) Start at the end of the curve and bull down to make an angle that ends at the other end of the curved line. • The Muzzle. Start about 1” above the middle of the nose. Repeat on the other side. Make a small “smile” curve at the bottom. • The Eyes. Make two dots above the muzzle, one on either side of the muzzle. • The Head. Start at the side of the muzzle about level with the side of the nose. Make a curved line that goes up and around the eyes to form the top of head. • The Ears. Draw a curve on either side of the top of the head. Repeat the curve partially at the top edge of each ear to give the illusion of a little fold on the ear. • The Mane. Encircle the head with a corona of angles to form the mane. • The Front Legs. Draw two straight lines starting under the mane about the width of the muzzle. Draw on straight line down the middle to make it into two legs. Make a curved “smile” line at the end of each leg to form the paw. Three little curved lines may be drawn on the pay for claws. • The Back and Haunches. Starting about level with the eye, pull down and around even with the paws to for the back and rear end. Draw a “frown” curved line on the side to form the haunch. • The Tail. Starting at the lion’s bottom, draw a long curved line up. Repeat the line to form the other side of the tail. On the end, make several angles to form the tuft of hair on the end of his tail. • Ground Him. A lion is not a flyer, so he needs to be grounded. If a line is drawn under his feet, it looks like he sitting on the very edge of something. Draw a line about half way behind him. Start on one edge of the paper and stop at the lion. The start at the other side of the lion and continue on to the other edge. • Background. Put him somewhere. Add greases or trees or bars of the zoo or a hat and cane and put him downtown. 47
Activity 4 Kandinsky
Materials:
• Art Prints of the artist’s work • 9 x 12 inch white construction paper • A black crayon or permanent marker • Watercolors
Directions:
1. Examine the work of the artist. Pay special attention to the Line Elements used by the artist and the interesting use of color.
2. With a black crayon, using the Line Elements with variations to give the feeling of Kandinsky, divide the paper. Be sure to include all the Members of the Line Family.
3. Examine your piece. Do you want to repeat any lines? Do you want to add additional lines? If so, continue adding lines until you are pleased with the arrangement.
4. Apply a clear water wash to the entire paper.
5. Begin to drop in or paint in different areas with different colors. Do not paint over one color with another but be sure the edges touch. Use more than one color within a given space and draw the color across the lines Since the paper is wet, the colors should flow together giving interesting color patterns within the design.
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Activity 5 The City
Materials: • The book Abuela by Arthur Dorros • 9 x 12 inch white construction paper • A rule • Watercolors
Directions:
1. Read Abuela. Pay particular attention to the illustrations. Discuss the city scenes focusing on what makes them seem so busy. What did the illustrator do to give that feeling?
2. Apply a clear water wash over the entire 9x12 inch paper. While it is still wet, randomly drop in color over the entire page. 3. Allow to dry
4. Using a black crayon, draw a city scape on the now painted paper. Layer the buildings. Start with the buildings in the front and work toward the back. Vary the height of the buildings.
5. Use many variations for rooftops, doorways, and windows.
6. Add lots of details on the buildings and roofs.
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Activity 6 Mondrian
Materials • Art prints by the artist • 9x12 inch white construction paper • A ruler • A black crayon or permanent marker • A red, blue and yellow crayon
Directions:
1. Examine the artist’s prints. Discuss the dramatic and obvious difference in line design from Kandinsky. Mondrian is very structured with very straight lines. 2. Using a rule, guide the children to divide their papers into squares and rectangles of various sizes. 3. All lines should be drawn edge to edge or edge to line or line to line. Mondrian does not have floating lines. 4. With the crayons carefully color in the squares and rectangles. As many or as few of the each of the colors may be used, but there should be at least one square or rectangle of each of the colors and at least one of black and one of white.
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Activity 8 Color Wheel Activity
Primary Colors Secondary Colors
------
------
------
Complementary Colors
------
------
------51
Activity 9 Primary Play
Materials: • Red, blue, yellow, white and black tempera paint. • Waxed paper • Stiff brushes (half inch to one inch – 3 per student, if possible) • White construction paper (two per student) • Paper towels
Directions: 1. Give each student one sheet of white construction paper, one square of waxed paper (about a 1 foot square), and several paper towels. (The students do not use any water with this activity. They must use the same 3 brushes and wipe them as clean as possible with their paper towels when they want to switch colors.
2. On the waxed paper squirt one line each of red, blue and yellow paint. The students will use the waxed paper as their palettes.
3. On the first paper, allow students to experiment with mixing the primary colors to get secondary and intermediate colors.
4. After they have experimented a little, add a little white and black tempera to their palettes and allow them to continue to experiment and enjoy the experience of playing with color. Note: many students have never had the opportunity to “play” with color. They may need several sheets of paper before they have fully experienced their investigations.
5. When the experimenting is done, have the students place their brushes in a bucket of water to soak. Wad everything else up and throw it away.
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Activity 10 Primary Play II Animal Habitat
Materials: • Red, blue, yellow, white and black tempera paint. • Waxed paper • Stiff brushes • White construction paper (either 9x12 or 12x18 inch) • Paper towels • Animal picture cut from a magazine
Directions: 1. Give each student one sheet of white construction paper, one square of waxed paper (about a 1 foot square), and several paper towels. No water is used.
2. On the waxed paper squirt one line each of red, blue and yellow paint. The students will use the waxed paper as their palettes.
3. Have the students paint the entire white construction paper as a habitat for the animal they have chosen. The students mix and blend their colors to make new colors.
4. Allow to dry.
5. Glue the animal on to the painted habitat.
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Activity 11 Warm and Cool Colors
Materials: • Half sheet of 9x12 inch white construction paper • Black crayon or permanent marker • A trio of either warm or cool colored crayons (red, orange & yellow or green, blue & purple) • One other crayon of either the cool or warm set
Directions: 1. With a black crayon, using the Five Line Elements, divide the paper into spaces. (The same basic directions as for Activity 2 Line Design.)
2. Using only warm or cool colors, color in all the spaces except one. The same color should not touch side-by-side, but may touch at a point.
3. Color the remaining space with one of the colors from the opposite set. For example, if you choose warm colors, all spaces except one will be red, yellow, and orange. The one remaining space will be colored with one of the cool colors – purple, green or blue.
54
Activity 12 Warm and Cool Tissue Design
Materials: • Half a sheet of 9x12 inch white construction paper • 1 ½ inch squares of blue green, purple, red, orange, and yellow tissue paper • Liquid starch or white glue diluted with water (about 1/3 water to 2/3 glue) • Paint brush
Directions: 1. Choose either warm or cool tissue squares. 2. Using starch or glue mixture, paint of small area of the white construction paper. 3. Cover the area with the tissue paper squares. (Place the tissue squares flat. Use a mixture of the color selection and overlap the edges.) 4. Continue covering the construction paper with the tissue squares. Leave one small area blank. 5. Using the opposite set of colors, (warm or cool) cover the remaining space. 6. Paint over the entire design with the starch or glue mixture. 7. Allow to dry completely (usually overnight.) 8. When dry, trim the tissue edges that hang over and mount on construction paper of one of the colors used. 55
Activity 13 Complements by Design
Materials: • 9x12 inch white construction paper • Two 2” squares each of red, orange, yellow, green, blue, and purple construction paper • 1x9 inch strip each of red, orange, yellow, green, blue, and purple construction paper • Optional – decorative hole punches and edging scissors • Glue
Directions: 1. Using the 2” squares, glue 4 rows of complementary colors. Use two of one color and one of the other. (Red, green, red or green, red, green)
2. Use the 1” strip of each color to cut or tear decorative designs to glue on top of its complementary square. Designs may be three-dimensional.
3. Glue each complementary design on its complementary square. (Green design on red square, red design on green square, etc.)
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Vincent van Gogh Activity 14 Sunflowers:
Materials: • Artist print • 9x12 inch white construction paper • A black crayon or permanent marker • Crayons
Directions: Step-by-step, using the basic line elements, guide the students in drawing three to five sunflowers in a vase on a table.
1. Place youth paper vertically.
2. In the top half of the paper, draw three or five circles for the centers.
3. Start at one point on the circle and use curved lines to make petals encircle the center. A second row of petals may be added by drawing petals among the 1st rows. (Only the tips of the second row will show.)
4. Repeat drawing petals on the remaining two circles. Take care to stop lines when they come to an already drawn line and continue on the other side of that line. (This gives the illusion of being behind.)
5. Vase. Draw a “smile” curved line about an inch or two below the flowers for the top of the vase. (I use “smile” and “frown” curved line so the kids know which way the curve goes.) From each side of the “smile” curved line, draw a curved line down to near the bottom edge of the paper. Draw a line to connect the two sides. Draw a line behind the “smile” curved line to make the back side of the vase.
6. Draw stems from each flower down into the vase. Make sure the sterns have two sides each.
7. Leaves. Using “smile” and “frown” curved lines add three or five leaves. Draw a line down the center of each leaf to help distinguish it from the flower petals. (There’s a lot of curved lines going on!)
8. Table. Draw a line from about half way up each side of the vase to the edge of side of the paper. (If you draw the line under the vase, it looks like it is sitting on the very edge of the table and is about to fall off.)
9. Color 57
Activity 15 Sunflowers II: Impasto
Materials: • Artist print • 9x12 inch white construction paper • Tempera paints • Corn starch or powdered laundry detergent to thicken the paint • A black crayon or permanent marker
Directions: 1. Draw three or five sunflowers using the directions from Activity 14.
2. Mix small amounts of tempera paint with either cornstarch or powdered laundry detergent. (Cornstarch will leave a glossy, smooth finish. Detergent will leave a bumpy texture.) The mixture should be fairly thick.
3. Have students “dab” the “impasto” on their drawing. The thickness of the paint will allow the students to create visible brush strokes like va Gogh’s.
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Activity 16 Starry, Starry Night:
Materials: • Artist Print • 9x12 inch white construction paper • Crayons or Oil Pastels • Watercolors
Directions: 1. Place the paper horizontally.
2. Have the students make three or five yellow or orange “dots” on the top third of the paper. Space them randomly, not all in a line.
3. Using yellow and orange crayons, draw two or three rows of curved, wavy dashes beginning around the “dots” and proceeding out to the edges.
4. Using a green crayon, put in the foreground by using curved, wavy dashes to create a tall cypress type tree on one side of the paper. With the same strokes, add rolling hills.
5. Fill in the tree and hills with more curved, wavy dashes of green, blue, purple and black. Intersperse them. Do not color the paper solid.
6. Fill in the sky area using the same curved dashes of blue and purple.
7. Apply a water wash over the entire paper.
8. With watercolors, paint over the crayon drawing using the same color of watercolor as the crayon markings. (Paint yellow over the yellow lines, orange over the orange lines, etc.) Do not mix the paint, but be sure that the edges of color touch so that the colors bleed together slightly. 59
Activity 17 Large Flower
Materials: • Artist Print (one of O’Keeffe’s large flowers) • 9x12 inch white construction paper • Crayons & Watercolors • Black Crayon
Directions: 1. Revisit the artist’s prints. Notice how large she made the flowers – often extending the petals off the edge.
2. Lead students in drawing a large flower on their papers. Start with a large circle or oval near the center of the page.
3. Have the students use curved lines to draw the petals. Start from the center and go back to the center for each petal. Emphasize “going off the edge”.
4. Add leaves.
5. Have students color in the center and petals. Color the background (negative space) a different color. 60
Activity 18 Large Flower II
Materials: • Artist Print • 12x18 inch black construction paper (Sometimes I use 18x24 inch black paper when I can get it. It is very impressive.) • White crayon • School Glue • Drawing Chalks • Hair Spray
Directions: 1. Lead students in drawing a large flower with a white crayon. Emphasize “going off the edge”.
2. Depending on grade level, teacher or student outlines the white crayon lines with school glue.
3. Allow to dry completely. (Usually over night).
4. Starting from the center and working out, have students fill in center, petals, leaves, and negative space with chalk pastels. Apply the color by using the side of the drawing chalk and moving in a circular motion. In small areas, use the end of the chalk.
5. Using either your gingers or a paper towel blend the chalk to achieve a smooth, completely covered surface.
6. Spray with hair spray to fix.
Note: Sometimes drawing chalks have a shiny, glazed surface. To apply color easily and evenly you need to remove this hard, glazed edge. Usually just rubbing it on a paper towel will do it, but if it is resistant, rub the sides of the chalks lightly on a piece of sandpaper. 61
Activity 19 Matisse
Literature Connection: Henri Matisse by Jude Welton Henri Matisse Drawing With Scissors by Keesia Johnson & Jane O’Connor Getting to Know the World’s Greatest Artists by Mike Venezia When Pigasso Met Mootisse by Nina Laden Growing Vegetale Soup by Lois Ehlert Lives of the Great Artists Masterpieces, Messes (and What the Neighbors thought) by Kathleen Krull
Materials: • Artist Prints: Sadness of the King Beasts of the Sea Icarus The Snail The Sheaf • 12x18 inch black or white construction paper • Additional colored construction paper • Glue or glue sticks • Scissors
Directions: 1. Use the black or white 12x18 inch paper for the background on which to build your piece.
2. Cover the background paper with random size blocks of color (squares and rectangles) cut from the colored construction paper. The blocks of color may be arranged in such a way as to allow parts of the background paper to show through, or the background paper can be completely covered. (Revisit the artist prints to observe how Matisse broke the background field into colors).
3. Draw or free cut your design from colored construction paper. The design can be cut from all one color or from a variety of colors.
4. Arrange your cut pieces on your background. Take time to move the pieces around in order to find the most pleasing arrangement.
5. Glue pieces in place.
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Activity 20 Picasso Portrait
Materials • Artist Prints • 9x12 inch white construction paper • Crayons
Directions 1. With a black crayon or black permanent marker, draw a large, irregular oval.
2. Divide the oval into two parts – top to bottom – with an irregular curved and angular line.
3. Add eyes – asymmetrically. (One can be straight on and the other a side view.) Add eyebrows. (They don’t have to be the same.)
4. Look at your dividing line. Can any of it be used for a nose? If so, add nostrils. If not, draw in a nose somewhere on the face.
5. Draw a mouth. Again, look at your dividing line. Can part of it be used as a mouth? If so, define it. If not, draw in one Part of it can be a side view and part straight on.
6. Add ears. Again, asymmetrically. (One high and one low).
7. Hair. Make it as wild or tame as you like. You can use more than one length or style on the same head.
8. Add a neck.
9. Color in your face using a variety of colors.
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Activity 21 Picasso II Portrait
Materials • 12x18 inch white construction paper • Drawing chalks • Hair spray • A permanent black market (optional)
Directions 1. Place your paper vertical.
2. With a black crayon or marker draw a large irregular “U” shape.
3. Somewhere on the face draw a large nose. It can be a combination of views (straight on and side). Add a nostril or two.
4. Draw in two eyes. They can be different shapes and sizes and can be placed asymmetrically on the face. Add eyebrows.
5. Draw a mouth. It can be partially open and partially closed or from different views or crooked.
6. Add ears if they will show. Again, place them asymmetrically on the face.
7. Draw hair.
8. Add a neck and shoulders.
9. Divide the background up into geometric shapes, stripes and swirls.
10. Starting from the center and working outward, color in the face, neck, shoulders and background. Use a variety of bright colors. Use the side of the drawing chalk to apply color and then blend it with your fingertips or with a paper towel wrapped around your fingers. Work in a circular motion. Gently blow off excel chalk dust.
11. Spray the completed piece with hair spray to keep it from smearing. (Hair spray works well if the piece is not going to be handled a great deal. If you wish something more permanent, use a pastel fixative an art store.
12. Trace over your original lines, if desired, with a permanent black marker to give a more defined look.
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Teaching Art to Children
Glossary, Color Terms, and Art Vocabulary 65
Glossary
Balance: Composition or placement of elements of design (such as color, line, and form) in a manner to create an art piece that is aesthetically and pleasing as a whole.
Color wash: To paint on a thin layer of color.
Contemporaries: Those living at the same time.
Contrast: Putting different forms, lines, or colors in a work of art to intensify each element’s properties and to produce a more dynamic effect.
Drop in color: To apply color, usually on a water wash, without regard to a particular pattern or picture.
Feeling: Emotion revealed by an artist in his work. The general impression conveyed by a work.
Impasto: A very thick paint. This can be made by adding a gel medium, available at art supply stores, or by adding corn starch or powdered laundry detergent to tempera paint.
Line: A mark made to define the contours of a shape, or to form hatching. A primary element in the formal structure of a work art.
Mood: A prevailing emotional tone.
Water wash: To paint the paper with just water. A water wash allows colors that are dropped in to bleed or spread giving a soft and blended edge.
66
Color Terms
1. Hue: Refers to the name of the color. Red, orange, green and purple are hues.
2. Value: Refers to the lightness or darkness of the hue. (Adding white produces a High Value color. Adding black produces a Low Value.)
3. Tint: Adding white to a color.
4. Shade: Adding black to a color.
5. Intensity: Refers to the brightness of a color.
6. Complementary Colors: Colors directly across from each other on the color wheel.
7. Warm Colors: Red, Yellow, Orange (Warm colors tend to advance.)
8. Cool Colors: Blue, Green, Purple (Cool colors tend to recede.)
Definitions taken from; Design Basics by David A Lauer and Stephen Pentak. Harcourt Brace College Publishers 67
Art Vocabulary
Medium Edges Positive shapes Neutral Rhythm Negative shapes Texture Mood Irregular shapes Movement Judge Component parts Rank Determine Three-dimensional Compare Analyze Background Contrast Unity Horizontal Vertical Diagonal Line Value Foreground Rich Lush Element Realistic Abstract Primitive Balance Resist direction Wash Form Hue Motion Overlapping Profile Proportions Contour Secondary Complementary Primary Straight Repeating Symmetry Thin Wavy Thick Shape Collage Mural Pattern Form Details Print Stencil Repeated Raised Warm Rubbing Fuzzy Brush strokes Cool Self-portrait Sculpture Portrait Model Join Clay Cityscape Light Dark Landscape Bright Still life Monoprint Design Glowing Original Artworks Center of interest Loom Strips Weaving Stain/dye Cloth Relief sculpture Mosaic radial
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BIBLIOGRAPHY
Aigner-Clark, Julie Baby Einstein The ABC’s of Art Hyperion
Ammons, Mark Great Artists & Musicians Mark Twain Media
Amholt, Laurence Camille and the Sunflowers Barron’s
Auch, Mary Jane Eggs Mark the Spot Holiday House
Baker, Alan White Rabbit’s Color Book Grisewood &Dempsey
Bang, Molly Picture This Sea Star Books
Barber, Phyllis Short Lessons in Art History J. Weston Walch
Brown, Anthony Willy’s Pictures Candlewick Press
Bucks, Brad Vincent van Gogh, Sunflowers Grosset & Dunlap
Carroll, Collen How Artists See People Abbeville Kids
Cavanaugh, Betty Multicultural Art Activities TCM
Cole, Joanna Magic School Bus-Rainbow Scholastic
Cowen-Fletcher, Jane Mama Zooms Scholastic
DePaola, Tomie The Art Lesson Putnam & Grosset
Dodds, Dayle Anne The Color Box Little, Brown & Co
Dorros, Arthur Abuela Trumpet Club
Ehlert, Lois Market Day Harcourt, Inc
Ehlert, Lois Growing Vegetable Soup Scholastic
Feliz, Monique The Colors American Education Publ.
Fox, Mem The Straight Line Wonder Mondo Publishing
Greene, Rhonda When A Line Bends, A Shape Begins Houghton Miffin 69
Hodge, Susie Artists in their Time-Monet Franklin Watts
Holub, Joan Vincent van Gogh-Sunflowers and Swirly Stars Grosset & Dunlap
Isom, Joan Shaddox The First Starry Night Charlesbridge Publishing
Kate, Karen The Colors of Us Scholastic
Krull, Kathleen Lives of the Artists Harcout Brace
Lacey, Sue Start with Art—People Copper Beech Bks.
Laden, Nina When Pigasso Met Mootisse Chronicle Books
Laidlaw, Jill A. Artists in Their Time-Paul Klee Franklin Watts
Lasky, Kathryn First Painter D.K. Ink
Lionni, Leo A Color of His Own Scholastic
Lionni, Leo Let’s make rabbits Knopf
Lowery, Linda Georgia O’Keeffe Carolrhoda Books
Mason, Antony Famous Artists---MONET barron’s
Mathews, Kate Molas! Lark Books
McPhail, David Drawing Lessons from Little, Brown & Co
Munsch, Robert Purple, Green and Yellow Annick Press Ltd
O’Connor, Jane Henri Matisse-Drawing with Scissors Grosset & Dunlap
O’Connor, Jane Mary Cassatt-family pictures Grosset & Dunlap
Packard, Simon Pablo Picasso-Breaking the Rules Grosset & Dunlap
Packard, Steven Claude Monet, Sunshine & Waterlilies Grosset & Dunlap
Peppin, Anthea Usborne Story of Painting Usborne Publishing Ltd.
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Prestel Books Dreaming Pictures-Paul Klee Prestel Books
Raczka, Bob Art is…. Millbrook Press, Inc
Rodgrique, George Why IS Blue Dog Blue? Stewart, Taboria
Simoades, Lorianne My Box of Color Boyds Mills Press
Sortland, Njorn Anna’s Art Adventure CarolhodaBooks
Spence, David Great Artists, Monet Barron’s
Spence, David Monet and Impression Barron’s
Stanley, Diane Michelangelo Harper Collins
Sterling, Mary Ellen Focus on Artists Good Apple
Venezia, Mike Getting to Know the World’s Greatest Artists Series Children’s Press
Walsh, Ellen Stoll Mouse Paint Trumpet Club
Watt, Fiona Art Across the Curriculum
Warwick, Karen Osborne Book of Art Ideas E. C. Publishing
Wellington, Monica Squeaking of Art Dutton Children’s
Williams, Karen L Tap-Tap Clarion Books
Williams, Rozanne Cat and Dog Creative Teaching Press
Williams, Vera B. Cherries and Cherry Pits Houghton Miffin
Wilson, April Magpie Magic Dial Books
Winter, Jeanette & Jonah Diego Knopf
Winter , Jeanette Josefina Harcourt Brace
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APPENDIX B
Handbook of Songs for Open Court Reading Program
http://www.opencourtresources.com http://www.usa-flag-site.org/song-lyrics/star-spangled-banner.shtml
http://www.woodyguthrie.org/Lyrics/This_Land.htm 72
Songs for Unit 1: Sharing Stories
Nursery Rhymes With Jack
Jack and Jill Jack and Jill went up the hill To fetch a pail of water; Jack fell down and broke his crown, And Jill came tumbling after. Little Jack Horner Little Jack Horner sat in a corner Eating a Christmas pie; He stuck in his thumb, And pulled out a plum, And said, “What a good boy am I!” The House That Jack Built This is the farmer sowing his corn that kept the cock that crowed in the mom that waked the priest all shaven and shorn and married the man all tattered and torn that kissed the maiden all forlorn that milked the cow with the crumpled horn that tossed the dog that worried the cat that killed the rat that ate the malt that lay in the house that Jack Built.
Jack Be Nimble Jack be nimble. Jack be quick. Jack jump over The candlestick. 73
Sharing Stories - Sound Off by Delores Jordan Saturn Street School
We just know what we've been told, Sharing stories is as good as gold, With fairy tales here and folktales there, Books and stories are everywhere.
Sound off ... fairy tales. Sound off ... folktales. Sound off ... 1-2-3-4 Sharing Stories!
Some stories we read are fantasy. Others we read are reality. Some are funny and make us laugh. We're having fun and learning too.
Sound off... fantasy. Sound off... reality Sound off ... 1-2-3-4 Sharing Stories!
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Ant and the Three Little Figs (Chant) by H. Nolan
If not a pig, How about a fig? If not banana, How about bandana? If not a wolf, How about a hoof? If not a chair, How about a fair? If not an eye, How about good-bye?
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Story Hour Starring Megan (Itsy Bitsy Spider) by H. Nolan
Megan had a wish She followed mother’s lead Everywhere she went She tried so hard to read
Helped her mother every day In the library But Megan had a wish To read so easily
Megan’s little brother Was crying all the time Wouldn’t even listen To words that she wouldn't rhyme
Megan started reading A book called “Fly Up High” And all the children listened Clapping by and by
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Nouns Chant By Kari Brewer 2nd grade teacher
Nouns, nouns they’re all around They’re people, places, and things. Mom, dad, Billy, Sally Are some people that you may know.
Nouns, nouns they’re all around They’re people, places and things. Cat, dog, mouse, frog Are some things that we have found.
Nouns, nouns they’re all around They’re people, places, and things. New York, Virginia, Atlanta Are some places we can go.
Verbs Chant By Kari Brewer
An action verb is a word That you may know. It lets you show Things that you can do. Run, hop, skip, jump Are some fun things you can do. Talk, Sing, Laugh, Yell Are some loud things you can do. Read, sleep, draw, breathe Are some quiet things you can do. An action verb is a word That you may know. It lets you show Things that you can do.
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Songs for Unit 2: Kindness
Kindness - Sound Off! by Dolores Jordan Saturn Street School
We just know what we've been told, Kindness is as good as gold, With sharing here and helping there, We need kindness everywhere!
Sound off...helping others. Sound off...being generous. Sound off...1-2-3-4 Kindness!
We can help by showing we care, Thinking of others everywhere, Sharing our talents big and small, We can do it one and all.
Sound off...helping others. Sound off...being generous. Sound off...1-2-3-4 Kindness!
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Corduroy (If You’re Happy and You Know It) by H. Nolan
If you have a bear you love clap your hands
If the bear you love loves you, clap your hands
If your bear loves you a lot
And you think he's pretty hot
Then your friend, the bear is now forever yours
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Mushroom in the Rain (Football Goodbye) by H. Nolan
Oh the mushroom, when it's raining Grows larger every time Little ant, butterfly Took their shelter from the rain Tiny mouse, little sparrow Towards the mushroom, they did go Came a rabbit who was running He was running from the fox Fox came by, looked around Only smelled him, couldn't see Then the frog came, he was laughing Told them how the mushroom grows They grow larger in the rain So the story ends that way
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Elvish Bugaloo by Jonathan Calderon Edison Elementary
We're two little elves and we’re here to say, We make a lot of shoes in the elvish way. The shoemaker and his wife keep wondering how Each pair of shoes keeps poppin’ up wow!
Big shoes, little shoes, shiny shoes too, Doing the funky Elvish bugaloo.
Sometimes we make black ones Sometimes we make blue ones too. Working with all our might, So that we can give 'em a fright!
White shoes, black shoes, brown ones too, Doing the funky Elvish bugaloo.
And then one lonely night as we worked at our task We had a funny feeling we'd been spied on by a mask. But without a quiver we kept working without a shiver. Until at last we had something ready for deliver.
Big shoes, little shoes, shiny shoes too, Doing the funky Elvish bugaloo.
One lucky day when we arrived at work not play Much to our gay we found packages in our way. We ripped them opened and put our new clothes on. And begin to dance the Irish Polka John.
Working elves, dancing elves, happy elves too, Doing the funky Elvish bugaloo.
Off into the forest we danced and sang the chorus That was the last time we worked for good old Horus. Never work nor poor happy forever more, We sang and shouted out the Shoemaker’s door.
Working elves, dancing elves, happy elves too, Doing the funky Elvish bugaloo. 81
The Story of Three Whales (Football Goodbye) by H. Nolan
Oh, the whales, lonesome whales
Left behind by those who fled
Siku, Poutu, and Kannick
Were the family, left behind
Lost their way, and breathing hard
Tried to shatter icy walls
Many people tried to help
Sliced some holes through frozen ice
Then a Russian breaker charged
Cut a channel, very wide
Soon, Siku, and Poutu
Journeyed south toward all their friends
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The Paper Crane (Acrostic Poem) by H. Nolan
C Cook needed more customers in his restaurant
R Rough looking man with gentle ways came to eat
A Always he folded a napkin and a magic crane came to life
N Never again was the restaurant empty
E Every day people came to hear the story of the dancing crane
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Cinderella Bugaloo By DeAnne Wiley Edison Elementary
My name is Cinderella and I'm here to say I cook, clean, and sew everyday Sometimes I'm dressed in rags Sometimes I'm treated mean But mostly I just sit by the fire and dream
Stepmothers, stepsisters, and lots of work too Doing the Cinderella Bugaloo!
And then one day there was a ball I wondered why I couldn’t go at all But when my Fairy Godmother appeared I knew that she should not be feared
Magic, kindness, and wishes too! Doing the Cinderella Bugaloo!
I looked so pretty with my gown and all I could not believe that I was off to the ball It was there that I met a handsome man Turns out he was the prince of the land
Princes, castles, and kingdoms too! Doing the Cinderella Bugaloo!
I had to leave before it was midnight Or else my carriage would disappear from sight But I forgot the time and it was too late I ran from the ball and away from my date
Running, hurrying, and really late too! Doing the Cinderella Bugaloo!
I did not know that I had lost my glass shoe The prince was looking for the girl he knew He wanted to make his princess and wife And when it fit me, I started a new life
Fairy tales, dreams, happy endings too! Doing the Cinderella Bugaloo 84
Guinea Fowl Bugaloo by Jonathan Calderon
I’m a Guinea Fowl and I’m here to say, How I got speckles on my glossy back “Hey!” Listen to the tale and I’ll tell you how I was saved by my best friend cow.
Friendships, spots and speckles too! I’m doing the guinea fowl bugaloo!
As I said before here’s how the story rolls Cow crunched grass and I was on patrol. Slinking in the grass crossing over the river Along came lion hungry for some liver.
Crossing, twitching, prowling too I’m doing the guinea fowl bugaloo!
Right away I saw I was no match at all I whirred up and flew at him like a ball. Water sprayed as I whirled in my race I got the old lion wet in the face.
Kicking, flapping, tumbling too I’m doing the guinea fowl bugaloo!
Now here’s how I was saved from attack Cow splattered creamy milk on my back She said I am grateful for all you’ve done I just chuckled and had to run.
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Songs for Unit 3: Look Again
Oh, Camouflage Lyrics by Emily Fuhr
Tune: "Oh, Christmas Tree"
Oh, Camouflage, Oh, Camouflage, you blend with your surroundings. Oh, Camouflage, Oh, Camouflage, you blend with your surroundings.
The snowshoe rabbit on snow so white. A spotted fawn hidden out of sight. Oh, Camouflage, Oh, Camouflage, you blend with your surroundings
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Butterfly House (Itsy Bitsy Spider) by H. Nolan
Saved a tiny worm, I did, saved it from a jay Carried it inside, I hid, quickly on that day Laid the larva carefully, in an empty jar And put a twig for it to climb Though it couldn’t go far Grandpa made a lid, he did paper soft and white Put it in a box, he did, keeping down the light Drew some pretty flowers then flowers purple-blue A garden twig inside the box Gave her quite a view Hanging free inside, she did, in the chrysalis Grew so fast inside, she did it was not amiss Saw her swings all painted: orange and black and brown And the little Painted lady Flew all around the town
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Look Again (Chant) by Cassandra Elliot Saturn Street School
Is it there?
I don't know.
Perhaps if I look again it will show.
Oh, there's an owl.
It looks like the tree.
Watch out a snake is slithering by me!
Prey blends to hide.
Predators blend to spy.
The food chain happens in the blink of an eye.
Some creatures stand out as a warning to all.
I'm stinky! I'm poisonous! I'm just fooling you all.
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Songs for Unit 4: Fossils
Fossil Bugaloo by Emily Fuhr Othello School District Adapted from "I'm a Crustacean" by Andy Brechtel
I’m a paleontologist and I’m here to say I love to dig for fossils everyday Sometimes I find a skeleton with lots of bones Or just a small leaf that’s turned to stone
Dinosaur eggs, animal bone, hardened tracks too Looking for fossils, Bugaloo.
Fossils can be found all around In rocks or mountains in the ground They tell about life long ago How things lived so now we know
Hardened shells, footprints, skeletons too Looking for fossils, Bugaloo.
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Fossils Marine Cadence (Sound off) by second grade team at Saturn Street School
We just know what we’ve been told, Fossil bones are very old. With plants here and animals there, Fossil bones are everywhere.
Sound off...dinosaurs. Sound off...camouflage. Sound off...1-2-3-4 Fossils!
Some dinosaurs are herbivores Quietly grazing during the day Eating grass and ferns away. Watching out for carnivores.
Sound off...dinosaurs. Sound off...camouflage. Sound off...1-2-3-4 Fossils!
Some dinosaurs are carnivores Stalking, hunting herbivores Sharp teeth, claws, and strong tails, too. Tyrannosaurs Rex would eat you too!
Sound off...dinosaurs. Sound off...camouflage. Sound off...1-2-3-4 Fossils
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Paleontologists by: L. Madison @ Charles White E.S. Verna Akwa @Union Avenue E.S.
(tune: Twinkle Twinkle Little Star)
Pa-le-on-to-lo-gists look around,
Digging deep into the ground
Bones, shells, leaves, and skeletons they find
Helping us to define mankind,
Paleontologists look around,
Digging deep into the ground.
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Mesozoic
Tune: ("My Darling Clementine")
Mesozoic! Mesozoic! Mesozoic was the time When the world was full of dinosaurs Of ev'ry shape and kind!
First Triassic! Then Jurassic! Then Cretaceous! and I hear They were rulers on the planet 160 million years!
You will meet them In our program, Maybe even hear them ROAR! We are proud to Introduce you To the mighty DINOSAURS!
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The Hungry Allosaurus
Tune: ("She'll Be Comin' Round the Mountain")
There's a hungry Allosaurus on the prowl! There's a hungry Allosaurus on the prowl! There's a hungry Allosaurus, There's a hungry Allosaurus, There's a hungry Allosaurus on the prowl!
She'd prefer a Stegosaurus. Yes, she would! She'd prefer a Stegosaurus. Yes, she would! She'd prefer a Stegosaurus, She'd prefer a Stegosaurus, She'd prefer a Stegosaurus. Yes, she would!
But a stegosaur can hurt her with his tail! But a stegosaur can hurt her with his tail! But a stegosaur can hurt her, But a stegosaur can hurt her, But a stegosaur can hurt her with his tail!
She is gonna try to get him anyway! She is gonna try to get him anyway! She is gonna try to get him, She is gonna try to get him, She is gonna try to get him anyway!
'Cause she has to feed a fam'ly! Yes, she does! 'Cause she has to feed a fam'ly! Yes, she does! 'Cause she has to feed a fam'ly! 'Cause she has to feed a fam'ly! 'Cause she has to feed a fam'ly! Yes, she does! (That's why...)
There's a hungry Allosaurus on the prowl! (Be-ware!) There's a hungry Allosaurus on the prowl! (Watch out!) There's a hungry Allosaurus, There's a hungry Allosaurus, There's a hungry Allosaurus on the prowl!
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Tyrannosaurus rex
(To the tune: "B-I-N-G-O")
There was a savage dinosaur and T. rex was his na-ame! T - dot - R - E - X ! T - dot - R - E - X ! T - dot - R - E - X ! Tyrannosaurus rex!
Forty feet from head to tail--Tyrannosaurus rex! (clap!) - dot - R - E - X ! (clap!) - dot - R - E - X ! (clap!) - dot - R - E - X ! Tyrannosaurus rex!
Scavenger or predator? Tyrannosaurus rex! (clap!) - (clap!) - R - E - X ! (clap!) - (clap!) - R - E - X ! (clap!) - (clap!) - R - E - X ! Tyrannosaurus rex!
Six-inch teeth for ripping meat! Tyrannosaurus rex! (clap!) - (clap!) - (clap!) - E - X ! (clap!) - (clap!) - (clap!) - E - X ! (clap!) - (clap!) - (clap!) - E - X ! Tyrannosaurus rex!
Duckbills were his favorite prey! Tyrannosaurus rex! (clap!) - (clap!) - (clap!) - (clap!) - X ! (clap!) - (clap!) - (clap!) - (clap!) - X ! (clap!) - (clap!) - (clap!) - (clap!) - X ! Tyrannosaurus rex!
Tyrant king of dinosaurs! Tyrannosaurus rex! (clap!) - (clap!) - (clap!) - (clap!) - (clap!) (clap!) - (clap!) - (clap!) - (clap!) - (clap!) (clap!) - (clap!) - (clap!) - (clap!) - (clap!) Tyrannosaurus rex!
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Songs for Unit 6: Our Country and Its People
Our Country and Its People by Cassandra Elliot Saturn Street School
Immigrants are people like you and me. They move around the globe to different countries. From prehistoric times to today. Immigrants have arrived in the U.S.A. Our country is diverse, eclectic, and free. Individuals have the right to be happy. So make your contribution to our country, To keep peace and freedom for you and me.
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Immigration Bugaloo by DeAnne Wiley Edison Elementary
I'm an immigrant and I'm here to say I've traveled a great distance from far away
Sometimes I had my family Sometimes I was alone But mostly I was looking for a brand new home
Freedom, beginnings, and a better life too Doing the immigration bugaloo!
As an immigrant, I began a new life It was often filled with hardship and a lot of strife
Sometimes we were enslaved Sometimes treated bad But mostly we were happy for the new lives we had
Freedom of religion, education too Doing the immigration bugaloo!
Many immigrants come to the U.S.A. To find good jobs and better pay
Sometimes we fled from war Sometimes we were too poor But mostly for our families we just wanted more
Citizenship, government, and a melting pot too! Doing the immigration bugaloo!
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The Star Spangled Banner By Francis Scott Key 1814
Oh, say can you see by the dawn's early light What so proudly we hailed at the twilight's last gleaming? Whose broad stripes and bright stars thru the perilous fight, O'er the ramparts we watched were so gallantly streaming? And the rocket's red glare, the bombs bursting in air, Gave proof through the night that our flag was still there. Oh, say does that star-spangled banner yet wave O'er the land of the free and the home of the brave?
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This Land Is Your Land
words and music by Woody Guthrie
This land is your land. This land is my land From California to the New York island; From the red wood forest to the Gulf Stream waters This land was made for you and Me.
As I was walking that ribbon of highway, I saw above me that endless skyway: I saw below me that golden valley: This land was made for you and me.
I've roamed and rambled and I followed my footsteps To the sparkling sands of her diamond deserts; And all around me a voice was sounding: This land was made for you and me.
When the sun came shining, and I was strolling, And the wheat fields waving and the dust clouds rolling, As the fog was lifting a voice was chanting: This land was made for you and me.
As I went walking I saw a sign there And on the sign it said "No Trespassing." But on the other side it didn't say nothing, That side was made for you and me.
In the shadow of the steeple I saw my people, By the relief office I seen my people; As they stood there hungry, I stood there asking Is this land made for you and me?
Nobody living can ever stop me, As I go walking that freedom highway; Nobody living can ever make me turn back This land was made for you and me.
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Good Morning Song
Good morning, good morning, good morning to you. (2x) Our day is beginning, there’s so much to do. Good morning, good morning, good morning to you.
Days of the week song:
Sunday, Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, these are the days of the week, how many days a week, seven days a week!
Months of the year song:
January, February, March, and April, May and June and July, August, September, October, November, December… These are the months of the year, oh! These are the months of the year. Fill them with joys and cheers, the months of the year.
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Song (to the tune of “twinkle, twinkle, little star)
January has begun! Now it’s time for winter fun! Put some warm socks on your toes! Feel the snowflakes on your nose! Celebrate the brand new year! Wintertime is finally here!
Song (to the tune of “Clementine”)
February, February, full of cold and windy days! Wear a heavy scarf and jacket when you go outside to play! February, February, 28 days or 29! We remember all the presidents and give our loved ones valentines!
Song
(to the tune of “The Muffin Man”
The month of March will welcome spring. The trees will bud. The birds will sing. Your kite will soar high on a string and rainbows paint the sky!
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Song
(to the tune of “Pop goes the weasel”)
April can be cold and gray. Sometimes it rains all day long! When I cannot go out and play, I smile and sing this song: In April, the ground gets wet from all the gentle showers. Then the sleeping seeds wake up and grow into flowers.
Song
(to the tune of “Three Blind Mice”)
When it’s May, When it’s May, Clouds float high in the sky. Fruit is growing in the trees. Hear the busy bumblebees. Feel the warm and gentle breeze. When it’s May, When it’s May.
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Song
(to the tune of “London Bridge”)
The days get longer when it’s June. Stars don’t come out so soon. Evening feels like afternoon. Let’s play outside. June is when the school year ends. Now we have hours to spend. With our family and our friends, Let’s play outside!
Song
(to the tune “The bear went over the mountain”)
My family went on a picnic. My family went on a picnic. My family went on a picnic---on the fourth of July. We ate some melon and hot dogs. We ate some melon and hot dogs. We ate some melon and hot dogs--- And saw fireworks in the sky! Fireworks in the sky! Fireworks in the sky! My family went on a picnic—on the fourth of July!
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Song
(to the tune of “Are you sleeping?”)
It is August, It is August. Let’s all play, By the bay! Building castles with moats, playing with our toy boats. We’ll have fun, In the Sun!
Song
(to the tune of “Old McDonald”)
In September, summer ends. A new school year begins. We go back to school to learn, and play with our old friends. We see friends we knew, and make more friends too! Who are you? I am new! Let’s find something fun to do! In September, summer ends…A new school year begins!
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Song
(to the tune of “Skip to my Lou”)
Pick, pick, pick a fat pumpkin. Pick, pick, pick a fat pumpkin. Pick, pick, pick a fat pumpkin. October brings the harvest! Tomatoes, corn, and apples, too… We’ll have a feast when we are through. Now I am hungry, how about you? October brings the harvest!
Song
(to the tune of “On top of old Smokey”)
The month of November has Thanksgiving Day. We gather for dinner, watch football, and play! With turkey and stuffing and cranberries, too. We’re thankful for family and friends just like you!
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Song
(to the tune of “I’ve been working on the railroad”)
Oh, the month of December is filled with holidays! Kwanzaa, Hanukkah, and Christmas are marked in special ways! Celebrating with our loved ones, no matter how it’s done… Sharing gifts and lighting candles, we all have lots of fun!
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Spring Song: (to the tune of “Do your ears hang low?”)
You can tell it’s spring, when you hear the bluebirds sing. As the flowers bloom, you can smell their sweet perfume. When you see drops of rain on a sunny windowpane, You can tell it’s spring!
Summer Song: (to the tune of “This old man”)
Stand and cheer! Summer’s here! It’s my favorite time of year! Long, hot days beneath the yellow sun… Summer is the time for fun! Let’s go swim in the creek. Let’s play tag or hide and seek. On summer days, there is so much to do. I know you love summer, too!
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Winter Song: (to the tune of “Itsy Bitsy, Spider”)
In winter, I go sledding and down the hill I slide! When it gets too cold to play, I have to come inside. I sit under a blanket by the fireplace. Sipping on hot cocoa as I warm my hands and face.
Autumn Song
“Tune: Sing a Song of Sixpence”
Autumn is the season
When leaves turn red and brown,
When the wind starts blowing,
The leaves fall to the ground.
When it’s time to rake them,
We do it with a smile.
And when we’ve made a giant heap,
We jumped into a pile.
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Colors Song
Tune: “Have You Ever Seen a Lassie?”
There are colors all around you,
Around you, around you
There are colors all around you,
And none look the same!
There’s dark red and light blue,
Green, yellow, and orange, too!
There are colors all around you.
Which ones can you name?
Numbers Song
Tune: “She’ll be coming round the mountain”
1, 2, 3, 4, 5, 6, 7, 8, 9, 10
That was perfect!
Shall we do it once again?
You have shown us
That you know how,
So let’s count from one to ten now!
1, 2, 3, 4, 5, 6, 7, 8, 9, 10.
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Alphabet Song:
Tune: “The farmer in the dell”
A, B, C, D, E…
Sing along with me
F, G, H, I, J, and K
It’s easy as can be!
L, M, N, O, P,
Q, R, S, T, U, V,
W, then X and Y,
And the last letter is Z!
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Days of the Week Song
Tune: “Mary had a little lamb”
Every week has seven days,
Seven days, seven days!
Every week has seven days.
Can you name them all?
Monday, Tuesday, and Wednesday…
Thursday, Friday, Saturday…
Sunday is the seventh day.
We can name them all!
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APPENDIX C
Handbook of Reader’s Theater Scripts
http://www.opencourtresources.com 111
The Ant and The Grasshopper
An Aesop's Fable
Parts (5): Narrator 1 Narrator 2 Narrator 3 Ant Grasshopper <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
Narrator 1: On a beautiful summer day a grasshopper sat and sang a sweet song.
Narrator 2: The grasshopper saw an ant working hard carrying grain to his house.
Grasshopper: Look at that silly ant. All day long he works hard and never enjoys the sunshine.
Narrator 3: The grasshopper laughed at the ant and then he continued his song. He basked in the warm sun all summer long without a care in the world.
Narrator 1: As summer turned to autumn the grasshopper continued to sing his song and enjoy the sunshine. The ant, on the other hand, continued to gather food and store it in his house.
Narrator 2: When winter came the cold winds blew hard and the snow covered the meadow with a thick blanket of white.
Narrator 3: The grasshopper tried to find food, but of course he found nothing.
Narrator 1: It didn't take long for the grasshopper to knock upon the ant's door and beg...
Grasshopper: Please help me! I have nothing to eat! I shall starve without your help.
Ant: My dear Mr. Grasshopper, all summer long I worked hard carrying food to my home while you played in the sunshine. I will not share my food with someone who is so lazy.
Grasshopper: I was busy singing my song. I was making beautiful music. What should I do now?
Narrator 2: The ant thought for a moment and then said...
Ant: I suggest you dance.
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Narrator 3: And the moral of this fable is...
Ant: You must do the work before you take the time to play.
All: The End.
Scripted by Lisa Blau
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A BAD CASE OF THE STRIPES
By David Shannon
Parts (18): Camilla Narrator 1 Narrator 2 Narrator 3 Narrator 4 Mr. Harm Mother Father Dr. Bumble Old Woman Environmental Therapist Dr. Grop Dr. Gourd Dr. Sponge Mr. Mellon Dr. Cricket Dr. Young
Narrator 1: A BAD CASE OF THE STRIPES By David Shannon
Narrator 2: Camilla Cream loved lima beans. But she never ate them.
Narrator 3: All of her friends hated lima beans, and she wanted to fit in. Camilla always worried about what other people thought of her.
Narrator 4: Today she was fretting even more than usual. It was the very first day of school, and she couldn't decide what to wear. There were so many people to impress!
Narrator 1: She tried on forty-two outfits, but none seemed quite right. She put on a pretty red dress and looked in the mirror. Then she screamed.
Narrator 2: Her mother ran into the room, and she screamed, too.
Mother: "Oh my heavens! You're completely covered with stripes!"
Narrator 3: she cried. This was certainly true. Camilla was striped from head to toe. She looked like a rainbow.
Narrator 4: Mrs. Cream felt Camilla's forehead.
Mother: "Do you feel all right?"
Narrator 1: she asked.
Camilla: "I feel fine, but just look at me!"
Narrator 2: Camilla answered.
Mother: "You get back in bed this instant. You're not going to school today."
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Narrator 3: her mother ordered. Camilla was relieved. She didn't want to miss the first day of school, but she was afraid of what the other kids would say. And she had no idea what to wear with those crazy stripes.
Narrator 4: That afternoon, Dr. Bumble came to examine Camilla.
Dr. Bumble: "Most extraordinary! I've never seen anything like it! Are you having any coughing, sneezing, runny nose, aches, pains, chills, hot flashes, dizziness, drowsiness, shortness of breath, or uncontrollable twitching?"
Narrator 1: he asked.
Camilla: "No, I feel fine."
Narrator 2: Camilla told him.
Dr. Bumble: "Well then, I don't see any reason why she shouldn't go to school tomorrow. Here's some ointment that should help clear up those stripes in a few days. If it doesn't, you know where to reach me."
Narrator 3: Dr. Bumble said, turning to Mrs. Cream. And off he went.
Narrator 4: The next day was a disaster. Everyone at school laughed at Camilla. They called her "Camilla Crayon" and "Night of the Living Lollipop."
Narrator 1: She tried her best to act as if everything were normal, but when the class said the Pledge of Allegiance, her stripes turned red, white, and blue, and she broke out in stars!
Narrator 2: The other kids thought this was great. One yelled out,
Narrator 3: "Let's see some purple polka dots!"
Narrator 4: Sure enough, Camilla turned all purple polka-dotty. Someone else shouted,
Narrator 1: "Checkerboard!"
Narrator 4: and a pattern of squares covered her skin. Soon everyone was calling out different shapes and colors, and poor Camilla was changing faster than you can change channels on a T.V.
Narrator 2: That night, Mr. Harms, the school principal, called. 115
Mr. Harms: "I'm sorry, Mrs. Cream, I'm going to have to ask you to keep Camilla home from school. She's just too much of a distraction, and I've been getting phone calls from the other parents. They're afraid those stripes may be contagious."
Narrator 3: he said. Camilla was so embarrassed. She couldn't believe that two days ago everyone liked her. Now, nobody wanted to be in the same room with her.
Narrator 1: Her father tried to make her feel better.
Father: "Is there anything I can get you, sweetheart?"
Narrator 2: he asked.
Camilla: "No, thank you,"
Narrator 3: sighed Camilla. What she really wanted was a nice plate of lima beans, but she had been laughed at enough for one day.
Dr. Bumble: "Hmm, well, yes, I see. I think I'd better bring in the Specialists. We'll be right over.²
Narrator 4: said Dr. Bumble to Mr. Cream on the phone. About an hour later, Dr. Bumble arrived with four people in long white coats. He introduced them to the Creams.
Dr. Bumble: "This is Dr. Grop, Dr. Sponge, Dr. Cricket, and Dr. Young."
Narrator 1: Then the Specialists went to work on Camilla. They squeezed and jabbed, tapped and tested. It was very uncomfortable.
Dr. Grop: "Well, it's not the mumps."
Dr. Sponge: "Or the measles."
Dr. Cricket: "Definitely not chicken pox."
Dr. Young: "Or sunburn."
Narrator 2: replied the Specialists.
Specialists: "Try these. Take one of each before bed." 116
Narrator 4: said the specialists. They each handed her a bottle filled with different color pills. Then they filed out the front door followed by Dr. Bumble.
Narrator 1: That night, Camilla took her medicine. It was awful.
Narrator 2: When she woke up the next morning, she did feel different, but when she got dressed her clothes didn't fit right. She looked in the mirror, and there, staring back at her, was a giant, multi-colored pill with a face on it.
Narrator 3: Dr. Bumble rushed over as soon as Mrs. Cream called. But this time, instead of the Specialists, he brought the Experts.
Narrator 4: Dr. Gourd and Mr. Mellon were the finest scientific minds in the land. Once again, Camilla was poked and prodded, looked at and listened to.
Narrator 1: The Experts wrote down lots of numbers. Then they huddled together and whispered. Dr. Gourd finally spoke.
Dr. Gourd: "It might be a virus,"
Narrator 2: he announced with authority. Suddenly, fuzzy little virus balls appeared all over Camilla.
Mr. Mellon: "Or possibly some form of bacteria,"
Narrator 3: said Mr. Mellon. Out popped squiggly little bacteria tails.
Dr. Gourd: "Or it could be a fungus,"
Narrator 4: added Dr. Gourd. Instantly, Camilla was covered with different colored fungus blotches. The experts looked at Camilla, then each other.
Experts: "We need to go over these numbers again back at the lab. We¹ll call you when we know something,"
Narrator 1: said the Experts. But the Experts didn't have a clue, much less a cure.
Narrator 2: By now, the T.V. news had found out about Camilla. Reporters from every channel were outside her house, telling the story of "The Bizarre Case of the Incredible Changing Kid."
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Narrator 3: Soon a huge crowd was camped out on the front lawn.
Narrator 4: The Creams were swamped with all kinds of remedies from psychologists, allergists, herbalists, nutritionists, psychics, an old medicine man, a guru, and even a veterinarian.
Narrator 1: Each so-called cure only added to poor Camilla's strange appearance until it was hard to even recognize her. She sprouted roots and berries and crystals and feathers and a long furry tail. But nothing worked.
Narrator 2: One day, a woman who called herself an Environmental Therapist claimed she could cure Camilla. She said,
Environmental Therapist:
"Close your eyes, breathe deeply, and become one with your room." Camilla: "I wish you hadn't said that,"
Narrator 3: Camilla groaned. Slowly, she started to melt into the walls of her room. Her bed became her mouth, her nose was a dresser, and two paintings were her eyes. The therapist screamed and ran from the house.
Mother: "What are we going to do? It just keeps getting worse and worse!"
Narrator 4: cried Mrs. Cream. She began to sob.
Narrator 1: At that moment, Mr. Cream heard a quiet little knock at the front door. He opened it, and there stood an old woman who was just as plump and sweet as a strawberry.
Old Woman: "Excuse me, but I think I can help."
Narrator 2: she said brightly.
Narrator 3: She went into Camilla's room and looked around.
Old Woman: "My goodness, what we have here is a bad case of the stripes. One of the worst I've ever seen!"
Narrator 4: she said with a shake of her head. She pulled a container of small green beans from her bag. She said,
Old Woman: "Here. These might do the trick." 118
Mother: "Are those magic beans?"
Narrator 1: asked Mrs. Cream. The old woman replied,
Old Woman: "Oh my, no, there's no such thing. These are just plain old lima beans. I'll bet you'd like some, wouldn't you?"
Narrator 2: she asked Camilla. Camilla wanted a big, heaping plateful of lima beans more than just about anything, but she was still afraid to admit it. She said,
Camilla: "Yuck! No one likes lima beans, especially me!"
Old Woman: "Oh, dear, I guess I was wrong about you."
Narrator 3: said the old woman sadly. She put the beans back in her bag and started toward the door.
Narrator 4: Camilla watched the old woman walk away. Those beans would taste so good. And being laughed at for eating them was nothing, compared to what she'd been going through. She finally couldn't stand it.
Camilla: "Wait! The truth is...I really love lima beans."
Narrator 1: she cried. The old woman smiled, popping a handful of beans into Camilla's mouth, and said,
Old Woman: "I thought so."
Camilla: "Mmmmmmm,"
Narrator 2: said Camilla. Suddenly the branches, feathers, and squiggly tails began to disappear. Then the whole room swirled around. When it stopped, there stood Camilla, and everything was back to normal.
Camilla: "I'm cured!"
Narrator 3: she shouted. The old woman said,
Old Woman: "Yes, I knew the real you was in there somewhere."
Narrator 4: She patted Camilla on the head and went outside and vanished into the crowd.
119
Narrator 1: Afterward, Camilla wasn't quite the same.
Narrator 2: Some of the kids at school said she was weird, but she didn't care a bit.
Narrator 3: She ate all the lima beans she wanted, and she never had even a touch of stripes again.
Scripted by Jill Jauquet
120
The Three Billy-Goats Gruff
by Paul Galdone
Parts (6): Storyteller 1 Storyteller 2 Billy-goat 1 Billy-goat 2
Billy-goat 3 Troll <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
Storyteller 1: Three Billy Goats Gruff : A Norwegian Folktale Once upon a time there were three Billy-goats who wanted to go up to the hillside to make themselves fat. The name of all three was "Gruff."
Storyteller 2: On the way up was a bridge. And under the bridge lived a great ugly Troll, with eyes as big as saucers and a nose as long as a poker.
Storyteller 1: The littlest Billy-goat Gruff was the first to cross the bridge.
All: TRIP, TRAP! TRIP, TRAP!
Troll: WHO'S THAT tripping over my bridge?
Billy-goat 1: Oh, it's only I, the tiniest Billy-goat Gruff. I'm going up the hillside to make myself fat.
Storyteller 1: Said the first Billy-goat Gruff in his small voice.
Troll: Now I'm coming to gobble you up!
Billy-goat 1: Oh no! Please don't take me. I'm too little, that I am. Wait for the second Billy- goat Gruff. He's much bigger.
Troll: Well, be off with you!
Storyteller 2: A little while after came the second Billy-goat Gruff across the bridge.
All: TRIP, TRAP! TRIP, TRAP! TRIP, TRAP!
Troll: WHO'S THAT tripping over my bridge?
Billy-goat 2: Oh, it's the second Billy-goat Gruff. I'm going up to the hillside to make myself fat.
Storyteller 2: Said the second Billy-goat Gruff in his not-so-small voice. 121
Troll: Now I'm coming to gobble you up!
Billy-goat 2: Oh no! Don't take me. Wait for the third Billy-goat Gruff. He's much bigger, that he is!
Troll: Very well, be off with you!
Storyteller 1: Just then came the third Billy-goat Gruff.
All: TRIP, TRAP! TRIP, TRAP! TRIP, TRAP!
Troll: WHO'S THAT tripping over my bridge?
Billy-goat 3: IT'S I! THE THIRD BILLY-GOAT GRUFF.
Storyteller 2: Said the Billy-goat in his very loud voice!
Troll: Now I'm coming to gobble you up!
Billy-goat 3: Well, come along! I've got two spears, and I'll poke your eyeballs out at your ears. I've got besides two great, flat stones, and I'll crush you to bits, body and bones.
Storyteller 1: That was what the big Billy-goat said. And that was what the big Billy-goat did.
Storyteller 2: And after that he went up the hillside. There the three Billy-goats got so fat they could hardly walk home again. And if the fat hasn't fallen off of them, why they're still fat.
All: And so snip, snap, snout, this tale's told out.
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The Three Billy Goats Gruff
Parts: (6) Little Billy Goat Gruff Middle-Sized Billy Goat Gruff
Narrator Big Billy Goat Gruff
Troll Bridge
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Narrator: "Welcome to our show. The play is The Three Billy Goats Gruff.
Narrator: Little Billy Goat Gruff sees a rickety, old bridge. On the other side of the bridge is a meadow with green, green grass and apple trees.
Little BGG: "I'm the littlest Billy goat. I have two big brothers. I want to go across this bridge to eat some green, green grass and apples so that I can be big like my two brothers."
Narrator: Little Billy Goat Gruff starts across the bridge.
Bridge: "Trip, trap, trip, trap, trip, trap."
Narrator: Just as Little Billy Goat Gruff came to the middle of the bridge, an old troll popped up from underneath.
Troll: "Who is that walking on my bridge?"
Little BGG: "It's only me, Little Billy Goat Gruff."
Troll: "I'm a big, bad troll and you are on my bridge. I'm going to eat you for my lunch."
Little BGG: "I just want to eat some green, green grass and apples in the meadow. Please don't eat me. I'm just a little Billy goat. Wait until my brother comes along. He is much bigger than me."
Troll: "All right. I guess I will. Go ahead and cross the bridge."
Little BGG: "Thank you very much, you ugly old troll."
Troll: "What did you call me? Come back here!"
Little BGG: "Bye!" 123
Bridge: "Trip, trap, trip, trap, trip, trap."
Narrator: Little Billy Goat Gruff ran across the bridge. He ate the green, green grass and apples. The troll went back under his bridge and went to sleep.
Narrator: Before long Middle-Size Billy Goat Gruff walks up to the rickety, old bridge. He too sees the meadow with the green, green grass and apple trees.
Middle BGG: "I'm the middle-size Billy goat. I have a big brother and a little brother. I want to go across this bridge to eat some green, green grass and apples so that I can be big like my brother."
Narrator: Middle-Size Billy Goat Gruff starts across the bridge.
Bridge: [Louder, as Middle BGG is bigger] "Trip, trap, trip, trap, trip, trap."
Narrator: Just as the Middle-Size Billy Goat Gruff came to the middle of the bridge, an old troll popped up from under the bridge.
Troll: "Who is that walking on my bridge?"
Middle BGG: "It is I, Middle-Size Billy Goat Gruff."
Troll: "I'm a big, bad troll and you are on my bridge. I'm going to eat you for my lunch."
Middle BGG: "I just want to eat some green, green grass and apples in the meadow. Please don't eat me. I'm just a middle-size Billy goat. Wait until my brother comes along. He is much bigger than I am."
Troll: "I guess I will. Go ahead and cross the bridge."
Middle BGG: "Thank you very much, you great big, ugly troll."
Troll: "What did you call me? Come back here!"
Middle BGG: "Oh, Nothing. Bye!"
Bridge: "Trip, trap, trip, trap, trip, trap."
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Narrator: Middle-Size Billy Goat Gruff ran across the bridge. He ate the green, green grass and apples. The troll went back under his bridge and once again fell fast sleep.
Narrator: After a while, Big Billy Goat Gruff sees the rickety, old bridge. On the other side of the bridge is a meadow with green, green grass and apple trees.
Big BGG: "I'm the biggest Billy goat. I have two brothers. I want to go across this bridge to eat some green, green grass and apples just as they did.
Narrator: So Big Billy Goat Gruff starts across the bridge.
Bridge: [Even louder this time] "Trip, trap, trip, trap, trip, trap."
Narrator: Just as Big Billy Goat Gruff got to the middle of the bridge, an old troll popped up from under the bridge."
Troll: "Who is that walking on my bridge?"
Big BGG: "It is I, Big Billy Goat Gruff."
Troll: "I'm a big, bad troll and you are on my bridge. I'm going to eat you for my lunch."
Big BGG: "Really" [SMILES AT AUDIENCE] "Well, come right on up here and have a feast then."
[AGAIN GRINS AT AUDIENCE]
Narrator: The troll climbs onto the bridge. Big Billy Goat Gruff lowers his head and charges the troll! Big Billy Goat Gruff knocks the troll clean off the bridge!
Big BGG: "That ugly old bully won't bother us again. I've done my job and from now on we can come and go in peace. Now, I'm going to go and eat some of that green, green grass and some apples."
Bridge: "Trip, trap, trip, trap, trip, trap."
Narrator: Big Billy Goat Gruff ran across the bridge. He ate the green, green grass and apples. That mean, ugly, old troll never came back to the bridge. He learned that being mean never pays. 125
Chicken Little
Characters: (7) Narrator Chicken Little Cockey-Lockey Ducky-Lucky Goosey-Loosey Turkey-Lurkey Foxy-Loxy <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><> Narrator: One bright, sunny day, Chicken-Little was picking up corn in the Barnyard. Suddenly, an acorn from the big oak tree fell down and hit Chicken-Little right on the top of her head.---kerrrr flop.
Chicken: Oh! The Sky is falling! The Sky is falling! I am going to tell the King!
Narrator: And away she went. Chicken-Little went on and on. After a while she came to Cockey-Lockey.
Cockey: Where are you going, Chicken-Little?
Chicken: Oh, Cockey-Lockey. The sky is falling! I am going to tell the king.
Cockey: I will go with you!
Narrator: The went on and on and on. After a time, they came to Ducky-Lucky.
Ducky: Where are you going, Chicken-Little and Cockey-Lockey?
Chicken: Cockey: Oh, Ducky-Lucky! The sky is falling! We are going to tell the king!
Ducky: Wait! I will go with you.
Narrator: And they hurried off. They went on and on and on! Soon they came to Goosey-Loosey.
Goosey: Hey, where are you two going?
Chicken: Cockey: Ducky: Oh, Goosey-Loosey! The sky is falling! We are going to tell the king.
Goosey: Then I will go with you!
Narrator: And so they went on and on and on. Before long they came to Turkey- Lurkey. 126
Turkey: Where are you-all going in such a rush?
Goosey: Oh, Turkey-Lurkey. The sky is falling! We are going to tell the king.
Turkey: Well, hey, wait for me! I will go with you.
Narrator: They went on and on and on. After a while they came to Foxy-Loxy.
Foxy: Say, where are you all going?
Chicken: (All) Cockey: Ducky: (together) Goosey: Turkey: Foxy-Loxy! Foxy-Loxy! The sky is falling! We are going to tell the king.
Foxy: Well, I know a short cut to the king's palace. Follow me.
Cockey: Ducky: Goosey: Turkey: Oh, goody, goody! He knows a short cut to the king's palace!
Narrator: They went on an on and on. Then they came to Foxy-Loxy's cave.
Foxy: This is the short cut to the palace. I'll go in first and then you come in after me...one at a time. Cockey: Ducky: Goosey: Turkey: Of course. Why not?
Narrator: In went Turkey-Lurkey. Sssssnap! Off went Turkey-Lurkey's head. In went Goosey-Loosey. Kerrrr-POP! Off went Goosey-Loosey's head. In went Ducky-Lucky. Kerrrr-unch! Off went Ducky-Lucky's head.
Cockey: (Excitedly) Go Home, Chicken-Little! Go Home!
Narrator: Can you guess what happened next? (pause) Kerrrrr-Aaaack! Off went Cockey-Lockey's head. Chicken-Little ran home. She did not tell the king that the sky was falling. And until this day the others have never been seen. And the poor king has never been told that the sky is falling! 127
Christmas Everywhere
By Phillip Brooks
Parts(8): Solo 1 Solo 2 Solo 3 Solo 4 Solo 5 Solo 6 Solo 7 Solo 8
<><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
All: Everywhere, everywhere, Christmas to-night!
Solo 1: Christmas in the lands of the fir and pine
Solo 2: Christmas in the lands of the palm tree and vine
Solo 3: Christmas where snow peaks stand solemn and white
Solo 4: Christmas where cornfields lie sunny and bright
Solo 5: Christmas where children are hopeful and gay
Solo 6: Christmas where old men are patient and gray
Solo 7: Christmas where peace lie a dove in his flight
Solo 8: Broods o'er brave men in the thick of the fight
All: Everywhere, everywhere, Christmas to-night
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The City Mouse and the Country Mouse
Parts (5) Narrator 1 Narrator 2 Narrator 3 City Mouse Country Mouse <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
Narrator 1: One day the city mouse went to visit her cousin who lived in the country.
Narrator 2: The country mouse was very happy to see her cousin. She set out a few crumbs of bread and a tiny piece of cheese.
Narrator 3: Then the country mouse said...
Country Mouse: Welcome, cousin! Come and eat some of my tasty food.
City Mouse: This is not what I would call tasty food. Why, in the city I eat cakes, pies, and fancy goodies all day long.
Narrator 1: The city mouse told the country mouse.
Narrator 2: Then the city mouse said...
City Mouse: Why don't you come to the city with me and see what you have been missing.
Narrator 3: So the country mouse followed her cousin back to the city.
Narrator 1: The two mice climbed on top of a table piled high with all kinds of fancy foods.
Narrator 2: There were cakes, pies, and cookies.
Country Mouse: Oh, my! How I have wasted my time in the country. I like the city. This is great!
Narrator 3: The country mouse told her cousin.
Narrator 1: Just then the doors to the dining room opened and a huge cat ran right toward the two little mice.
City Mouse: Hurry! Run! Run! It's the cat!
Narrator 2: The city mouse called out to her cousin. 129
Narrator 1: The two mice ran to the nearest hiding place.
Narrator 2: As soon as the cat went away the country mouse said...
Country Mouse: Good-bye, cousin. You're welcome to your city life. It is not for me. I will be happy with my simple country life. Your life may be fancy, but it's just not safe.
Narrator 3: And so the country mouse ran all the way home and never again returned to the city.
All: And today's fable has this moral:
Country Mouse: A simple life lived in peace is better than a life of luxury lived in fear.
Adapted by Lisa Blau
130
Daisy-Head Mayzie
By Dr. Seuss
Parts(16): Narrator 1 Narrator 2 Narrator 3 Mr. Grumm Miss Sneetcher Mr. McGrew Butch Doc Einstein Patient Finch Mayzie Mayor Finagle Officer Mom <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
Narrator 1: Daisy-Head Mayzie
Narrator 1: It's hard to believe such a thing could be true, and I hope such a thing never happens to you. But it happened, they say, to poor Mayzie McGrew. And it happened like this...
Narrator 2: She was sitting one day, at her desk, in her school, in her usual way, when she felt a small twitch on the top of her head.
Narrator 3: So Mayzie looked up. And she almost dropped dead. Something peculiar was going on there... A daisy was sprouting right out of her hair!
Narrator 2: Behind her was sitting young Herman (Butch) Stroodel.
Butch: "This looks like a daisy up here on her noodle! It doesn't make sense! Why, it couldn't be so! A noodle's no place for a daisy to grow!"
Narrator 3: Then up spoke another boy, Einstein Van Tass, the brightest young man in the whole of the class,
Einstein: "It's a very odd place to be sprouting a daisy. But, nevertheless, one IS growing on Mayzie!"
Butch: "Hey! Lookit,"
Narrator 1: cried Butch,
Butch: "right here in this room! Daisy-Head Mayzie! She's bursting in bloom."
Narrator 1: Miss Sneetcher, the teacher, came rushing up quick. 131
Miss Sneetcher: "Such nonsense! Some child here is playing a trick! Which one of you boys stuck that thing in her hair? You know that a daisy could never grow there!"
Butch: "But, Teacher,"
Narrator 2: said Butch,
Butch: "I saw the thing rise right out of her head with my very own eyes. Just give it a yank if you think I tell lies!"
Narrator 3: But Miss Sneetcher had heard quite enough of this talk.
Miss Sneetcher: "Mayzie! Hold still! Let me get at that stalk!"
Mayzie: "OUCH!"
Narrator 1: hollered Mayzie.
Butch: "Quit yanking,"
Narrator 2: Butch said.
Butch: "You're giving her pains. I'll bet that those roots go way down in her brains!"
Narrator 3: The kids in the class started shouting like crazy:
Butch and Einstein: "Daisy-Head! Daisy-Head! DAISY-HEAD MAYZIE!"
Miss Sneetcher: "Children, be quiet! Good grief and alas!"
Narrator 1: Miss Sneetcher was shocked by the noise in her class.
Miss Sneetcher: "I've taught in this room twenty years. Maybe more. But I've never seen anything like this before! I'll have to report it. You'll just have to come To the Principal¹s office and show Mr. Grumm!"
Narrator 2: Now the Principal, good Mr. Gregory Grumm, was a very nice man, just as smart as they come. He knew more than anyone else in this nation. 132
About long division and multiplication. He knew all the answers. Why oceans are deep. Why skies are so high, and why mountains are steep. He should have the answer to this thing on Mayzie.
Mr. Grumm: "My word!"
Narrator 3: he declared.
Mr. Grumm: "It's a genuine daisy! I've seen them quite often in fields growing wild. But never before on the head of a child. Now what in the world ever made this thing sprout? I have no idea. But I'm going to find out!" It says here...it says, daisies grow on the land. They grow between rocks. They grow also in sand. It mentions right here they can grow in a pot. But mention the head of a girl, it does not! Daisies, it says, sometimes grow in Alaska. Also Missouri, Rhode Island, Nebraska. They grow in Japan and in Spain and Peru, In India, France, and in Idaho, too. They grow in South Boston. And also in Rome. But WHY should they grow on this little girl's dome?"
Mayzie: "Say, lookit!"
Narrator 1: said Mayzie.
Mr. Grumm: "It's wilting! It's drooping! How wonderful, Mayzie! It soon will be dead! You'll be rid of that daisy! In just a few minutes, our troubles will pass,"
Narrator 2: declared Mr. Grumm.
Mr. Grumm: "Take her back to the class."
Narrator 3: Then the principal saw a most terrible sight. The daisy was dying. (And THAT was all right.) But that daisy was part of poor Mayzie McGrew, And Mayzie was starting to wilt away, too!
Mr. Grumm: "Teacher,"
133
Narrator 1: said Grumm,
Mr. Grumm: "you know what I think! They¹re both going to die! Hurry! Bring them a drink! That daisy! That girl's the worst problem in town! You take her away and you make her lie down! You lock her up tight in that room down the hall. There are quite a few numbers that I've got to call! Get Mayzie's parents on the end of the line. I need them here quickly while there is still time!"
Narrator 2: On the phone Mayzie's mom asked,
Mom: "What's all the fuss?"
Narrator 3: Then:
Mom: "Goodness to Betsy! I'll catch the next bus!"
Narrator 1: A call to the shoe store reached Mr. McGrew. He answered while holding a customer¹s shoe.
Mr. McGrew: "Yes, this is...Oh, no! I really must go!"
Mr. Grumm: "A doctor should see her,"
Narrator 2: the Principal said,
Mr. Grumm: "And an expert on plants like the one on her head."
Narrator 3: So he called Dr. Eisenbart, who said,
Doc: "What a trick! My stethoscope¹s packed, I'll be there in a tick!"
Patient: "Wait Doc!"
Narrator 1: said his patient,
Patient: "I'll come along too. My brother's a vet. And he knows this McGrew."
Narrator 2: When he heard, Finch the Florist grabbed for his shears,
134
Finch: "I'll be there just as soon as my truck can shift gears!"
Narrator 3: Meanwhile, poor Mayzie lay down on a couch, The daisy slumped down on its leaves in a slouch. But the window was open, because it was warm, And the sweet-smelling daisy attracted a swarm of bees.
Narrator 1: BUZZ! Bees, bees! The faster she ran, the faster they flew. So Mayzie kept running. What else could she do?
Narrator 3: She attempted to hide behind Officer Thatcher, Who cupped out his hat like a bumblebee catcher.
Narrator 1: The bees took his hat. Thatcher said,
Officer: "I'm no fool!"
Narrator 2: And ran after Mayzie back to the school.
Narrator 3: Principal Grumm didn't know what to do.
Miss Sneetcher: "It's worse!"
Narrator 1: cried Miss Sneetcher.
Miss Sneetcher: "Much worse than we feared. The daisy and Mayzie have both disappeared!"
Narrator 2: Behind her came charging Mr. McGrew, Chased by a customer chasing his shoe, Finch the Florist, Dr. Eisenbart, too. Dr. Eisenbart's patient, and Mrs. McGrew.
Narrator 3: Then through the window with Officer Thatcher, Who slammed the pane shut so the bees couldn't catch her, Jumped Mayzie McGrew to the floor in a splatter, With the daisy still there, except taller and fatter!
Mom: "My poor little daughter! The daisy! It's true! I'm going to faint!"
135
Narrator 1: cried Mrs. McGrew.
Finch: "Tut, tut,"
Narrator 2: said the Florist,
Finch: "there's no need for tears just because there's a daisy between her two ears. I'll snip it right off with my sharp pruning shears."
Doc: "She's my patient, don't touch her! You must stand apart! We have to have room,"
Narrator 2: said Doc Eisenbart.
Doc: "I think that Mayzie and her plant could help me get a research grant!"
Narrator 3: Then the door opened wide And the Mayor stepped inside. At meetings and greetings there was none to compare. He was best at long speeches, chock-full of hot air!
Mayor: "I promise, my friends, that if I'm re-elected, this daisy on Mayzie will be disconnected. The law of our fathers is simple and sound, Daisies belong and should stay in the ground. The rest are illegal. We'll bar them from town!"
Narrator 1: From the back came a voice, sometimes loud, sometimes slick, Of a wheeler and dealer, who knew every trick!
Finagle: "I'm Finagle the Agent. You've heard of me, I'm sure. I represent young what's-his-name, and others, now on tour. But, Mayzie, you're so special, please let me shake your hand. Your talent is a wondrous thing- unique in all the land. 'Daisy-Head Mayzie' spelled out in bright light will draw kids in the day, and parents at night! Daisy-Head Mayzie, you've got quite an act! Just stick with me, kid, and sign this contract.
Mom: "Your flower needs to sign too.²
Narrator 2: Her mother said, 136
Mom: "Mayzie! Don't be a fool!"
Narrator 3: And the Principal begged her not to leave school. But Mayzie didn't stop to blink. She signed her name in think-proof ink. And the daisy signed too.
Narrator 1: Daisy-Head fever was gripping the nation. It had quickly become a worldwide sensation! Daisy-Head burgers, and Daisy-Head drinks. Daisy-Head stockings, and Daisy-Head sinks. Daisy-Head buttons, and Daisy-Head bows. Mayzie was famous, the star of her shows.
Narrator 2: Fame had knocked on Mayzie's door. Now she had it all‹and more. Piles of money stacked in tens, But what is money without friends? A dream had led her far astray. That was the price she had to pay.
Narrator 3: Mayzie McGrew ran night and day, Nowhere to go, nowhere to stay. Because she was sure that everyone must have written her off in total disgust, over and over again in her head, These are the words that poor Mayzie said:
Mayzie: "I can never go home. Nobody loves me. Nobody loves me."
Narrator 1: Nobody loved her...? Poor Mayzie McGrew! It's hard to believe such a thing could be true. And maybe that's why, then, this daisy above, When Mayzie below began talking of love... Well, you know about daisies. When love is in doubt, the job of a daisy is, Try and Find Out!
Narrator 2: They love her...They love her NOT! They love her...They love her NOT! Don't worry, Mayzie. They love you.
Mayzie: "They love me!"
137
Narrator 3: Well...That's how it all happened. The thing went away. And Mayzie McGrew is quite happy today, Back at her studies, and doing just great In all her subjects in Room Number 8.
Narrator 1: And concerning that daisy...you know that it never Grew out of the top of her head again ever!
Narrator 2: Err...well, it practically never popped up there again. Excepting, occasionally. Just now and then.
Mom and Mr. McGrew: TING!
Scripted by Jill Jauquet
138
Dinorella
By Pamela Duncan Edwardsa
Parts (11): Narrator 1 Narrator 2 Narrator 3 Narrator 4 Dora
Doris Dinorella Fairydactyl Deinonychus Duke Dinosaurs
<><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
Narrator 1: DINORELLA, A PREHISTORIC FAIRY TALE
Narrator 2: Dora, Doris, and Dinorella lived down in the dunes in a dinosaur den.
Narrator 3: Dora and Doris did nothing all day. They dumped debris around the den. They never did the dusting or the dishes.
Narrator 4: Dinorella was dainty and dependable. Dora and Doris were dreadful to Dinorella. All day they demanded...
Dora: "DINORELLA, dig the garden."
Doris: "DINORELLA, fetch us drinks."
Dora: "DINORELLA, start the dinner."
Narrator 1: One day a card was delivered to the den:
Narrator 2: Dinosaur Dance Duke Dudley's Den At Dusk Hors d'oeuvres, Dandelion Cola Dancing Until Dawn
Narrator 3: Duke Dudley was the most dashing dinosaur in the dunes.
Dora: "I would die for a date with the duke,"
Narrator 4: said Dora, decorating herself with dinosaur jewels.
Doris: "Definitely,"
Narrator 1: sighed Doris, dolling up for the dance.
139
Dinorella: "A dance, how divine,"
Narrator 2: said Dinorella diffidently. Doris said,
Doris: "YOU can't go to the dance, YOU'RE too dowdy."
Dora: "YOU'RE too dull, and you don't have decent dinosaur jewels. Of course you can't go to the dance."
Narrator 3: agreed Dora. Poor Dinorella felt down in the dumps as she watched her stepsisters depart.
Narrator 4: Suddenly, Dinorella heard a droning noise.
Fairydactyl: "Don't be dismay, you shall go to the dance"
Narrator 1: cried Fairydactyl. Dinorella said,
Dinorella: "But I'm so drab, and I don't have decent dinosaur jewels."
Narrator 2: Fairydactyl declared,
Fairydactyl: "I'll soon deal with that. These will outdazzle all other dinosaur jewels."
Dinorella: "Darling Fairydactyl!"
Narrator 3: exclaimed Dinorella in delight. With her diamonds dangling, she set out for the dance.
Narrator 4: Dusk had fallen when Dinorella heard a deafening disturbance coming from the direction of Duke Dudley's Den.
Narrator 1: A dastardly deed was taking place! A deinonychus was dragging off the duke.
Duke: "I'm done for! He will devour me!"
Narrator 2: cried the Duke. The deinonychus laughed,
Deinonychus: "Indeed I will! I¹ll be digesting you by daybreak."
Narrator 3: Dinorella was not a daring dinosaur, but something drastic had to be done. 140
Dinorella: "I may become dessert, but I¹m determined to drive away that dreaded carnivore."
Narrator 4: Dinorella climbed to the top of the dune. She roared,
Dinorella: "YOU DISGUSTING DUMMY, DROP THE DUKE!"
Narrator 1: Dinorella began to hurl dirtballs at the deinonychus.
Narrator 2: The dumbfounded deinonychus stopped in disbelief.
Deinonychus: "Who called me a dummy?"
Narrator 3: He demanded. The moon¹s light caught Dinorella¹s dangling diamonds.
Narrator 4: Dots and dabs of light darted toward the deinonychus. The deinonychus cried,
Deinonychus: "A DEVIL! See its dreadful demon eyes!"
Narrator 1: Dinorella detached a diamond and directed it toward the deinonychus.
Narrator 2: The diamond hit the deinonychus HARD in his dentures.
Deinonychus: "The devil will destroy me with its deadly eyes,"
Narrator 3: bellowed the distraught deinonychus. He dumped Duke Dudley and departed double-quick.
Narrator 4: The den was dense with dinosaurs dashing about in distress. They cried,
Dinosaurs: "A demon, we're DOOMED."
Duke: "DIMWITS! Demons don't throw diamonds. It was a damsel who defended me with her dazzling dinosaur jewel."
Narrator 1: roared Duke Dudley through the den.
Duke: "When I discover her, I shall ask her to be my darling."
Narrator 2: All the dinosaur dames were delirious. They each declared, 141
Doris: "The jewel is mine! MINE!"
Dora: "NO, DEFINITELY MINE. I am the damsel you desire,"
Narrator 3: bellowed Dora, giving Doris a dig.
Duke: "I DOUBT it. Your dinosaur jewels don't match,"
Narrator 4: declared Duke Dudley. Just then, Fairydactyl arrived at the dance. She quickly saw the dilemma. She demanded,
Fairydactyl: "Where is Dinorella?"
Dora: "Dinorella! That dopey domestic,"
Narrator 1: scoffed Dora. Doris laughed,
Doris: "Dinorella! She's back at the den."
Narrator 2: But Fairydactyl spied Dinorella dodging behind the dune. She directed,
Fairydactyl: "Dinorella, come down."
Narrator 3: So down came Dinorella, looking distracted. The Duke cried,
Duke: "She wears but one dazzling jewel! Dinorella, you are adorable. You're definitely quite a dish. I beg you to be my dearest."
Dinorella: "DREAMY!"
Narrator 4: said Dinorella as they danced off into the dawn. Dora and Doris said,
Dora and Doris: “DRAT!”
Scripted by Jill Jauquet,
142
Dinosaur Land
Parts (2): Meat Eater Plant Eater <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
Meat Eater: (Looking At Plant Eater) Is That All You Ever Eat?
Plant Eater: Why Not? I Happen To Like Plants.
Meat Eater: You'll Never Grow Up To Be Big And Strong Like Me!
Plant Eater: At Least I Don't Go Around Eating Poor Helpless Little Animals.
Meat Eater: You Would, Too, If You Weren't Such A Sissy!
Plant Eater: A Sissy! Watch It, Buster, Or I'll Throw This Tree At You!
Meat Eater: You Plant Eaters Ruin The Countryside.
Plant Eater: At Least Plants Grow Back. Animals Never Do!
Meat Eater: Well I Have To Eat, Don't 1?
Plant Eater: I Suppose. But So Do I. So Stop Pestering Me. Besides, I'm On A Diet This Month.
Meat Eater: You Should Be! (Lookin6 Upwards) Look How B1g You've G0tten.
Plant Eater: Look Who's Talking. I May Be Taller, But You're Certainly B1gger Around The Middle.
Meat Eater: Lucky For You I Don't Like Plant Eating Animals.
Plant Eater: Oh, Yeah? And Lucky For You You're Not A Plant.
Meat Eater: Oh, Yeah? (Puffs Out Chest And Struts)
Plant Eater: Yeah! (Also Puffs Out Chest)
Meat Eater: One Of These Days . . . (Raises Fist)
Plant Eater: One Of These Days You Won't Be Around Any More! 143
Hansel and Gretel
Version by Dom DeLuise
Parts (12): Narrator 1 Narrator 2 Narrator 3 Narrator 4 Narrator 5 Narrator 6 Hansel Gretel Angela Bruno Widow Blut Annie <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
Narrator 1: Dom DeLuise's HANSEL & GRETEL
Narrator 2: Once upon a time, there lived a poor family who worked very hard to keep themselves in food and clothing. They lived from hand to mouth, and, let's face it, that's a very short distance.
Narrator 3: The mother and father, Angela and Bruno, had two children. Hansel and Gretel, who were not only brother and sister, they were also best friends. Every day they would play together and every night they would wish each other Hansel and Gretel: "Sweet Dreams."
Narrator 4: Angela wanted Hansel and Gretel to grow up strong and healthy. She fed them fresh vegetables, fresh fruits, non-fat dairy products, fish, grains, and beans..Ah but we'll hear from the beans later.
Narrator 5: Every morning they ate healthy, delicious hot oatmeal with skim milk, and they shared some fresh fruit. For lunch they ate vegetables and fat-free chicken soup. After lunch the children would ask for apple pie a la mode with chocolate sauce.
Angela: "Oh my, no. Have some healthy strawberries, an apple, or a banana for dessert."
Narrator 6: said their mother. Hansel and Gretel said,
Hansel/Gretel: "Ah. We just want a sugar fix!"
Narrator 1: Their mother said,
Angela: "I don't think so."
Narrator 2: Then one day their mother became very ill, and soon after, she died. Their father was very sad. Hansel and Gretel missed their mother so much, they would cry themselves to sleep. 144
Narrator 3: Now, next door there lived the Widow Brown, who wanted to marry their father in the worst way. Why, she brought him chicken soup every single day. If you're looking for a new husband, chicken soup is a must. Bruno really liked the Widow Brown's chicken soup, so they were married soon. Unfortunately, the Widow Brown was not very fond of children. Oh, dear!
Narrator 4: One evening, while Hansel and Gretel were asleep, a beautiful butterfly landed on Gretel's nose and woke her up. Gretel heard the Widow Brown talking to her father.
Widow: "There's not enough money and food in this house for all of us. Let's take the children for a picnic and leave them in the woods. Another family will find them, take them home, and care for them. The children will be so much happier and so will we."
Bruno: "No, no. I love my children. I couldn't. I just couldn't."
Narrator 5: said Bruno. The very next night both Hansel and Gretel heard the Widow Brown talking.
Widow: "Take them to the woods, I tell you! Make some excuse and leave them there. Someone will find and care for them. Not to worry."
Narrator 6: Bruno said nothing. But Hansel and Gretel started to guess what was Happening to them.
Gretel: "We need a plan,"
Narrator 1: said Gretel. Hansel agreed.
Narrator 2: Remember the beans from before? Well, early the next morning Hansel and Gretel filled their pockets with dry beans to drop along the path. Those beans would help them find their way home.
Widow: "Children, we are going on a picnic in the woods,"
Narrator 3: said the Widow Brown. They started walking. Hansel and Gretel lagged behind dropping beans along the way. Soon they were deep in the woods.
Widow: "Let's have our picnic here. You children rest. Your father and I will get some firewood."
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Narrator 4: said the Widow Brown. And they left. Hansel and Gretel caught each other's eye. They were alone. Alone! Oh my!
Narrator 5: It got so quiet they could hear the crickets chirping and the leaves rustling. Why, they could even hear a dewdrop drop!
Gretel: "Don't worry. We've got a plan. We'll find our way back. We'll just follow our trail of beans."
Narrator 6: said Gretel. They started home, but most of the beans had been eaten by squirrels, rabbits, and who know what else!
Hansel: "Our bean trail has been eaten! Oh, what to do?"
Narrator 1: cried Hansel. They both sat down and started to cry.
Gretel: "Wait, Hansel! I smell cookies baking."
Narrator 2: said Gretel.
Hansel: "It's coming from over here!"
Narrator 3: cried Hansel. They climbed a small hill and came to a fence that was made of gum drops, lollipops, lady fingers, glazed donuts, and a giant chocolate covered pretzel gate. The gingerbread house was full of junk food. It had a cholesterol count of 888, which is high, even for a house. The children were so hungry. They started to eat.
Gretel: "This lady finger fence is absolutely delicious!"
Hansel: "Yum! Have some chocolate windowsill."
Narrator 4: Suddenly the cupcake doorknob turned, the door flew open, and there stood Glut Annie Stout, a woman as wide as she was tall.
Glut Annie: "Who's eating my house?"
Narrator 5: she called.
Gretel: "Oh, we're lost,"
Narrator 6: said Gretel.
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Glut Annie: "Lost? Don't worry; I'll take good care of you. Come in. I'm making some sweet apple and blueberry pies. Come in!"
Narrator 1: said Annie.
Narrator 2: Glut Annie gave them strawberry malteds, apple pie a la mode with chocolate sauce, banana cream pie, and a big piece of chocolate, not five not six--, but seven-layer cake. Well, the children ate and ate. They were very tired, so they said their prayers, wished each other
Hansel and Gretel: "Sweet Dreams,"
Narrator 2: put their heads on marshmallow pillows, and fell fast asleep.
Narrator 3: Early the next day the butterfly gently woke the children.
Hansel and Gretel: "Good morning,"
Narrator 4: said Hansel and Gretel. Glut Annie Stout served them a very big breakfast of eggs Benedict, bacon, ham, sausage, pancakes, and French toast, all smothered in butter and maple syrup. A calorie counter she wasn't. Hansel and Gretel couldn't finish their food. Glut Annie, however, tasted everything twice.
Narrator 5: After breakfast, the children said good-bye and started to leave, but the door was locked.
Glut Annie: "And just where do you good-for-nothings think you're going?"
Narrator 6: asked Glut Annie.
Hansel and Gretel: "Home, we want to go home,"
Narrator 1: said the children.
Glut Annie: "Home? Ha, ha. Never! You'll live here and help me make puddings, cakes, and pies.
Narrator 2: The children trembled. It was clear that Miss Glut Annie Stout was (a) completely unaware of how unhealthy all that fat and sugar is! And (b) not very nice not very nice, indeed! So the children worked as hard as they could helping Glut Annie while she cooked and cooked and cooked.
147
Narrator 3: Later that night the children gathered some fireflies from the open window and had a family meeting under the blanket. What to do? What to do? Glut Annie was so disagreeable, so mean and so cruel. The children made a plan a plan to run away!
Narrator 4: The next day the children licked a hole in one of the lollipop windows. Gretel boosted Hansel up to unlock the latch. They climbed out, jumped down, and started to run. But Glut Annie Stout was waiting and swooped Hansel and Gretel up in a sticky net made of cotton candy, which clung to their arms, legs, and hair. Glut Annie washed them off in the pond and brought them back into the house. She put Hansel in the kitchen pantry.
Glut Annie: "That ought to keep you,"
Narrator 5: she said as she locked the gate. She put the key in her apron pocket and said to Gretel,
Glut Annie: "You won't run away again. You won't leave your brother here, locked up. Now get back to work!"
Narrator 6: Oh, she was so-o-o-o-o mean!! Gretel worked and pondered. She needed another plan.
Gretel: "Oh, the key! The key is the key!"
Narrator 1: thought Gretel. Days went by. Unhappy days. Nights went by. Unhappy nights. Gretel helped the wretched woman cook, and thought about ways to get that key. Every day Glut Annie sat down to a fat-filled feast.
Narrator 2: And every night Gretel had all those dishes, pots, and pans to clean. Glut Annie baked and baked and baked, using lots of cream and butter and eggs, oh my! Then one day came the straw that broke the camel's back Glut Annie burped so loud it stopped the clock, and she didn't even say, "Excuse me!"
Narrator 3: Well, Gretel knew it was time to set her plan in motion. So the very next day she took all the sugar and hid it in a picture of the Good Ship Lollipop almost sinking it.
Narrator 4: Later, when Glut Annie Stout was ready to make her cakes and pies, she shouted, 148
Glut Annie: "Sugar! There's no more sugar."
Narrator5: She took the key and unlocked the gate. Gretel's plan was working! As Glut Annie entered the pantry, Gretel signaled Hansel to step to one side. She picked up the broom, swung it wa-a-a-a-ay back, and with all her might let Glut Annie have it right on her rump roast. Ba‹rump‹bump!
Narrator 6: Oh, what a loud thump she made. Hansel ran out. Gretel slammed the gate shut.
Glut Annie: "Why, you little‹"
Narrator 1: Glut Annie snarled. Oh! But the key was inside. What to do? What to do?
Narrator 2: Just then, as if by magic, the butterfly picked up the key from the floor of the pantry and flew to Gretel, who took it and locked the gate just in time. Hansel and Gretel hugged and kissed each other.
Narrator 3: Using the key, Gretel opened the front door, and they ran through the woods to a recently installed public telephone. Thank goodness Alexander Graham Bell lived in the neighborhood. They called 911.
Narrator 4: The police soon came and took Glut Annie Stout into custody. She was charged with kidnapping, being mean to children, and eating an entire smorgasbord without a license.
Narrator 5: Now, months before, Bruno, realizing he had made a mistake, had sent the Widow Brown packing. She was never heard from again. Good riddance! So when the police told Bruno that Hansel and Gretel had been found and were safe, he cried,
Bruno: "My dream has come true!"
Narrator 6: And oh, how happy he was to see Hansel and Gretel, his children that he loved so much.
Bruno: "I'll never let you out of my sight again! I'll always be your loving father."
149
Narrator 1: he said. This was music to the children's ears.
Hansel/Gretel: "Oh, thank you, Father, thank you! We love you so. We are so glad to be home!"
Narrator 2: said Hansel and Gretel.
Bruno: "This calls for a celebration. Let's have apple pie a la mode with chocolate sauce."
Narrator 3: said Bruno. The children turned green at the thought.
Hansel and Gretel: "No thanks, Dad, just a plain banana would be fine."
Narrator 4: Just then the beautiful butterfly appeared.
Hansel and Gretel: "She's our guardian angel,"
Narrator 5: said Hansel and Gretel.
Bruno: "Oh, I thought it was a butterfly."
Narrator 6: said Bruno. The children laughed as they all had some fat-free chicken soup.
Narrator 1: Their loving father opened a very successful health food store called "Bruno's Golden Dream." He took excellent care of his children for many years, and every night they all wished each other not sweet, but golden dreams (fewer calories). They were a family again. A loving, fat-free, healthy family who lived happily ever after.
Scripted by Jill Jauquet
150
GOLDILOCKS AND THE THREE BEARS
Retold by James Marshall
Parts (10): Narrator 1 Narrator 2 Narrator 3 Townsperson Neighbor Mother Goldilocks Papa Bear Mama Bear Baby Bear <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
Narrator 1: GOLDILOCKS AND THE THREE BEARS
Narrator 1: Once there was a little girl called Goldilocks.
Townsperson: "What a sweet child,"
Narrator 2: said someone new in town.
Neighbor: "That's what you think,"
Narrator 3: said a neighbor.
Narrator 1: One morning Goldilocks's mother sent her to buy muffins in the next village.
Mother: "You must promise not to take the shortcut through the forest. I've heard that bears live there."
Narrator 2: she said.
Goldilocks: "I promise,"
Narrator 3: said Goldilocks. But to tell the truth Goldilocks was one of those naughty little girls who do exactly as they please.
Narrator 1: Meanwhile in a clearing deeper inside the forest, in a charming house all their own, a family of brown bears was sitting down to breakfast.
Papa Bear: "Pootie! This porridge is scalding! I've burned my tongue!"
Narrator 2: cried Papa Bear.
Baby Bear: "I'm dying!"
Narrator 3: cried Baby Bear.
151
Mama Bear: "Now really,"
Narrator 1: said Mama Bear, who was of medium size.
Mama Bear: "That's quite enough."
Papa Bear: "I know, why don't we go for a spin while the porridge is cooling?"
Narrator 2: said Papa Bear.
Mama Bear: "Excellent,"
Narrator 3: said Mama Bear.
Narrator 1: So they got on their trusty old bicycle and off they went. A few minutes later Goldilocks arrived at the bears' house.
Narrator 2: She walked right in without even bothering to knock. On the dining room table were three inviting bowls of porridge.
Goldilocks: "I don't mind if I do,"
Narrator 3: said Goldilocks, helping herself to the biggest bowl.
Goldilocks: "Pootie!"
Narrator 1: cried Goldilocks. And she spat it out.
Narrator 2: Next she tasted the porridge in the medium-sized bowl. But that porridge was much too cold.
Narrator 3: Then Goldilocks tasted the porridge in the little bowl, and it was just right-neither too hot nor too cold. In fact she liked it so much that she gobbled it all up.
Narrator 1: Feeling full and satisfied Goldilocks thought it would be great fun to have a look around. Right away she noticed a lot of course brown fur everywhere.
Goldilocks: "They must have kitties,"
Narrator 2: she said. In the parlor there were three chairs.
Goldilocks: "I don't mind if I do," 152
Narrator 3: she said, climbing into the biggest one. But the biggest chair was much too hard, and she just couldn't get comfortable.
Narrator 1: Next she sat in the medium-sized chair. But that chair was much too soft. (And she thought she might never get out of it.)
Narrator 2: Then Goldilocks sat in the little chair, and that was just right neither too hard nor too soft. In fact she liked it so much that she rocked and rocked until the chair fell completely to pieces!
Narrator 3: Now all that rocking left Goldilocks quite tuckered out.
Goldilocks: "I could take a little snooze,"
Narrator 1: she said. So she went to look for a comfy place to nap. Upstairs were three beds.
Goldilocks: "I don't mind if I do,"
Narrator 2: said Goldilocks. And she got into the biggest one. But the head of the biggest bed was much too high.
Narrator 3: Next she tried the medium-sized bed. But the head of that bed was much too low.
Narrator 1: Then Goldilocks tried the little bed, and it was just right. Soon she was all nice and cozy and sound asleep. She did not hear the bears come home.
Narrator 3: The three bears were mighty hungry. But when they went in for breakfast, they could scarcely believe their eyes!
Papa Bear: "Somebody has been in my porridge!"
Narrator 1: said Papa Bear.
Mama Bear: "Somebody has been in my porridge!"
Narrator 2: said Mama Bear.
Baby Bear: "Somebody has been in my porridge, and eaten it all up!"
Narrator 3: said Baby Bear. 153
Narrator 1: In the parlor the three bears were in for another little surprise.
Papa Bear: "Somebody has been sitting in my chair!"
Narrator 2: said Papa Bear.
Mama Bear: "Somebody has been sitting in my chair,"
Narrator 3: said Mama Bear.
Baby Bear: "Somebody has been sitting in my chair, and broken it to smithereens!"
Narrator 1: said Baby Bear.
Narrator 2: The three bears went upstairs on tiptoe (not knowing what they would discover). At first everything seemed fine. But then Papa Bear lay down on his big brass bed.
Papa Bear: "Somebody has been lying in my bed!"
Narrator 3: he cried. And he was not amused.
Mama Bear: "Egads! Somebody has been lying in my bed!"
Narrator 1: cried Mama Bear.
Baby Bear: "Look! Somebody has been lying in my bed. And she's still there!"
Narrator 2: cried Baby Bear.
Papa Bear: "Now see here!"
Narrator 3: roared Papa Bear. Goldilocks woke up with a start. And her eyes nearly popped out of her head. But before the bears could demand a proper explanation, Goldilocks was out of bed, out the window, and on her way home.
Baby Bear: "Who was that annoying little girl?"
Narrator 1: asked Baby Bear.
Mama Bear: "I have no idea,"
154
Narrator 2: said Mama Bear.
Mama Bear: "But I hope we never see her again."
Narrator 3: And they never did.
Scripted by Jill Jauquet
155
Humpty Dumpty
by Anna McKeay
Parts(16): Narrator Policeman Jack Jill Little Boy Blue Old King
Cole Mary Mary Bo Peep Queen Mother Hubbard Duke
Duke of York 3 or more soldiers <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
Narrator: Did he fall or was he Pushed? - The True Story of Humpty Dumpty
Narrator: Humpty Dumpty fell off the wall. Was he pushed or did he fall? As he lay there on the ground Policeman came to look around.
[Enter Policeman, Jack and Jill]
Policeman: Mr. Humpty has had a fall; Did you see anything at all?
Jack: We were up there on the hill getting water.
Policeman: So it was you! I heard it said. Someone fell and hurt their head.
[Enter the Grand Old Duke of York, with soldiers]
Policeman: Mr. Humpty has had a fall. Did you see anything at all?
Duke: I was busy with all my men. Going up the hill and down again.
[Little Boy Blue enters and lies down in the corner.]
Narrator: The Policeman went along his way. And found Little Boy Blue asleep in the hay.
Policeman: Mr. Humpty has had a fall. Did you see anything at all?
Little Boy Blue: Oh, oh, I was fast asleep. Where are the cows? Where are the sheep?
[He runs off. Enter Old King Cole and fiddlers.]
Policeman: Mr. Humpty has had a fall. Did you see anything at all?
Old King Cole: I saw nothing - no, not me! You'd better ask my fiddlers three. 156
[Fiddlers shake their heads. Georgie Porgie runs in.]
Policeman: Mr. Humpty has had a fall. Did you see anything at all?
Narrator: But Georgie Porgie ran away - The girls were chasing him that day!
[Enter Little Bo Peep]
Narrator: Bo Peep was looking everywhere. A bonnet on her pretty hair.
Bo Peep: Where are my sheep? They've gone away; I'll keep on looking, if it takes all day!
[Enter Mother Hubbard.]
Narrator: Mother Hubbard looked so sad.
Policeman: Mrs. Hubbard, this is very bad ...
Mother Hubbard: I know, I know. Don't you see? There's no food for dog and me!
[Enter Queen of Hearts and her ladies.]
Policeman: Mr. Humpty has had a fall. Did you see anything at all?
Narrator: The Queen of Hearts was quite irate. Waving around her empty plate.
Queen: My tarts! My tarts have gone! How do I know what went wrong?
[Enter Mary Mary Quite Contrary.]
Narrator: In her garden was Mary Mary. With the flowers all contrary
Policeman: Mr. Humpty has had a fall. Did you see anything at all?
Mary Mary: I saw it happen, I did. You know, you should have asked me long ago! You know Dish ran away with Spoon? Well, Cow kicked Humpty as she jumped over the moon!
Narrator: There was the answer to Humpty's fall, it really wasn't a mystery at all! Finish by bringing on the Cow, Dish, Spoon, Cat (with fiddle) and the Little Dog (who laughed), sing 'Hey Diddle Diddle'. Humpty Dumpty lies on the stage throughout, clutching his head, but gets up at the end to show he¹s all right. 157
The King's Wish
Parts (7): Narrator 1 King of Tam Son One Son Three Narrator 2 King's Man Son Two <><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
Narrator 1: The King of Tam was a very good king. All day and every day he rode around Tam to see that all were well and happy.
Narrator 2: One day the king saw a man with some fish. The king said:
King: Oh, it must be fun to fish! How I wish I had time to fish.
Narrator 1: The three sons of the king heard his wish. Son One heard it. Son Two heard it. And Son Three heard it, too.
Narrator 2: That night the three sons went to see their father, the king.
Son One: Father, we heard your wish. We want you to have time to fish. Go and fish. We will do your work.
King: Why, you are just boys! But maybe you could do a king's work. Let's find out. I'll give you a test - - the "King Test." Come with me. I'll take you to the King Test Room.
Narrator 1: Now the three sons were in the King Test Room. They looked all around. The king closed the door and called to them from outside.
King: I have shut this door. This is the test. You must not open this door, but you must get out of the room. Can you pass the test?
Narrator 2: Could they do it? They saw there was just one door. The king had said they could not open that door. Then how could they get out?
Son Two: We'll have to find some other way. (SON TWO LOOKS UP AT A HIGH WINDOW ON THE WALL AND POINTS TO IT.) Look, maybe we can get out that way. Let's try!
Narrator 1: Son Three got up on top of Son Two. Son One got up on top of Son Three. Now Son One could see out.
Son One: We can't get out this way. We are all too big. We'll have to find another way.
158
Narrator 2: But could they find another way out? Son Two and Son Three looked way down low. All they found was a hole. It was just a little mouse hole.
Son Three: Look! I found something! I found some red ink. Maybe we can get out with this. This ink will help us to get out. We can do the "King Test" now! The King's man will look in here. He'll see us.
Narrator 1: Soon the King's man did look in the "King's Test Room."
King's Man: Open the door! Open that door! The king's sons are in there. I see that they are sick. Get the king! Quick! Hurry!
Narrator 2: The men opened the door. They ran into the "King's Test Room" and saw the king's sons. The sons had red spots all over them. They certainly looked very sick.
Narrator 1: The king saw that his sons were out of the room. He saw that the spots were just red ink.
King: You did it! You got out of the room and you didn't open the door. My men did! You are just boys, but you can do a king's work. So I name you all Kings!
Narrator 2: Then the king said good-bye to his sons.
King: Thank you. You gave me my wish. Now I can go away. Now I can fish.
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The Magic Carpet Ride
Parts (2): STAR 1, STAR 2 <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><> SETTING: TWO CHILDREN ARE PLAYING IN A FIELD. THEY FIND A DIRTY OLD CARPET.
STAR 1: HEY, LOOK AT THIS.
STAR 2: HELP ME SHAKE THE DIRT OFF.
STAR 1: DID YOU FEEL THAT?
STAR 2: YEAH. THIS THING IS ALIVE! LET'S GET OUT OF HERE!
STAR 1: NO, WAIT. MAYBE THIS IS A MAGIC CARPET.
STAR 2: WELL, THERE'S ONLY ONE WAY TO FIND OUT. HOP ON!
STAR 1: IT'S MOVING! WE'RE GOING UP!
STAR 2: WOW! THIS IS GREAT. WHAT A RIDE!
STAR 1: LOOK DOWN THERE. (POINTING) I CAN SEE MY HOUSE, AND OUR SCHOOL.
STAR 2: SURE, AND LOOK AT ALL THOSE CARS ON THE FREEWAY! (MAKE UP AT LEAST TWO MORE THINGS THAT YOU SEE AS YOU FLY.)
STAR 1: UH, OH! WE'RE GOING DOWN.
STAR 2: WE'RE HEADING BACK TO THE FIELD. (BUMP TO A LANDING AND GET OFF.)
STAR 1: HEY, IT DISAPPEARED! (POINTING AT CARPET) DID YOU SEE THAT?
STAR 2: BOY, IT MUST HAVE BEEN MAGIC!
STAR 1: WAIT TILL WE TELL THE OTHER KIDS!
STAR 2: I DON'T THINK THEY'LL BELIEVE US.
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STAR 1: YEAH, YOU'RE RIGHT. SO WE'LL JUST KEEP THIS AS OUR LITTLE SECRET.
(WALK OFF WITH ARMS AROUND EACH OTHER'S SHOULDERS.)
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Sleeping Beauty (Briar Rose)
Adapted by Rick Swallow
Parts:(10) Narrators 1 Narrator 2 Narrator 3 Narrator 4 Frog
King Queen Princess Prince Old Woman <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
Narrator 1: Once upon a time there were a king and queen who said every day,
King and Queen: "Ah, if only we had a child!"
Narrator2: but they never had one.
Narrator 3: It so happened that once when the queen was bathing, a frog leaped out of the water onto the land, and said to the Queen,
Frog: "Your wish shall be fulfilled, before a year has gone by, you shall have a daughter."
Narrator 4: What the frog had said came true, and the queen had a little girl who was so pretty that the king could not contain himself for joy, and ordered a great feast. He invited not only his kindred, friends and acquaintances, but also the wise women, in order that they might be kind and well-disposed towards the child.
Narrator 1: There were thirteen of them in his kingdom, but, as he had only twelve golden plates for them to eat out of, one of them had to be left at home.
Narrator 2: The feast was held with all manner of splendor and when it came to an end the wise women bestowed their magic gifts upon the baby - one gave virtue, another beauty, a third riches, and so on with everything in the world that one can wish for.
Narrator 3: When eleven of them had made their promises, suddenly the thirteenth came in. She wished to avenge herself for not having been invited, and without greeting, or even looking at anyone, she cried with a loud voice,
Old Woman: "The king's daughter shall in her fifteenth year prick herself with a spindle, and fall down dead."
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Narrator 4: And, without saying a word more, she turned round and left the room.
Narrator 1: They were all shocked, but the twelfth, whose good wish still remained unspoken, came forward, and as she could not undo the evil sentence, but only soften it, she said,
Woman 12: "It shall not be death, but a deep sleep of a hundred years, into which the princess shall fall."
Narrator 2: The king, who would fain keep his dear child from the misfortune, gave orders that every spindle in the whole kingdom should be burnt. Meanwhile the gifts of the wise women were plenteously fulfilled on the young girl, for she was so beautiful, modest, good-natured, and wise, that everyone who saw her was bound to love her.
Narrator 3: It happened that on the very day when she was fifteen years old, the king and queen were not at home, and the maiden was left in the palace quite alone. So she went round into all sorts of places, looked into rooms and bed-chambers just as she liked, and at last came to an old tower.
Narrator 4: She climbed up the narrow winding-staircase, and reached a little door. A rusty key was in the lock, and when she turned it the door sprang open, and there in a little room sat an old woman with a spindle, busily spinning her flax.
Princess: "Good day, old mother. What are you doing there?"
Old Woman: "I am spinning,"
Narrator 1: said the old woman, and nodded her head.
Princess: "What sort of thing is that, that rattles round so merrily?"
Narrator 2: the Princess asked the old woman, and she took the spindle and wanted to spin too. But scarcely had she touched the spindle when the magic decree was fulfilled, and she pricked her finger with it.
Narrator 3: And, in the very moment when she felt the prick, she fell down upon the bed that stood there, and lay in a deep sleep. And this sleep extended over the whole palace.
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Narrator 4: The king and queen who had just come home, and had entered the great hall, begin go to sleep too, as did the whole of the court with them.
Narrator 1: The horses, too, went to sleep in the stable, the dogs in the yard, the pigeons upon the roof, the flies on the wall, even the fire that was flaming on the hearth became quiet and slept.
Narrator 2: The roast meat left off sizzling, and the cook, who was just going to pull the hair of the scullery boy, because he had forgotten something, let him go, and went to sleep. And the wind fell, and on the trees before the castle not a leaf moved again.
Narrator 3: But round about the castle there began to grow a hedge of thorns, which every year became higher, and at last grew close up round the castle and all over it, so that there was nothing of it to be seen, not even the flag upon the highest tower.
Narrator 4: But the story of the beautiful sleeping Briar-Rose, for so the Princess was named, went about the country, so that from time to time kings' sons came and tried to get through the thorny hedge into the castle.
Narrator 1: But they found it impossible, for the thorns held fast together, as if they had hands, and the youths were caught in them, could not get loose again, and died a miserable death.
Narrator 2: After long, long years a king's son came again to that country, and heard an old man talking about the thorn-hedge, and that a castle was said to stand behind it in which a wonderfully beautiful princess, named Briar-Rose, had been asleep for a hundred years, and that the king and queen and the whole court were asleep likewise.
Narrator 3: He had heard, too, from his grandfather, that many kings' sons had already come, and had tried to get through the thorny hedge, but they had remained sticking fast in it, and had died a pitiful death.
Narrator 4: Then the Prince said,
Prince: "I am not afraid, I will go and see the beautiful Briar-Rose."
Narrator 1: The good old man tried to talk the prince out of it, but the Prince just would not listen to him. By this time the hundred years had just passed, and the day had come when Briar-Rose was to awake again.
164
Narrator 2: When the king's son came near to the thorn-hedge, it was nothing but large and beautiful flowers, which parted from each other of their own accord, and let him pass unhurt, then they closed again behind him like a hedge.
Narrator 3: In the castle yard he saw the horses and the spotted hounds lying asleep. On the roof sat the pigeons with their heads under their wings. And when he entered the house, the flies were asleep upon the wall, the cook in the kitchen was still holding out his hand to seize the boy, and the maid was sitting by the black hen which she was going to pluck.
Narrator 4: As the Prince went farther on he entered the great hall, saw the whole of the court lying asleep, and up by the throne lay the king and queen. Then he went on still farther, and all was so quiet that even the quietest breath could be heard, and at last he came to the tower. He opened the door into the little room where Briar-Rose was sleeping.
Narrator 1: There she lay, so beautiful that he could not turn his eyes away, and he stooped down and gave her a kiss. But as soon as he kissed her, Briar- Rose opened her eyes and awoke, and looked at him quite sweetly.
Narrator 2: Then they went down together, and the king awoke, and the queen, and the whole court, and they looked at each other in great astonishment.
Narrator 3: The horses in the courtyard stood up and shook themselves, the hounds jumped up and wagged their tails, the pigeons upon the roof pulled out their heads from under their wings, looked round, and flew out into the open country
Narrator 4: The flies on the wall buzzed again, the fire in the kitchen burned up and flickered and cooked the meat, the joint began to turn and sizzle again, and the cook gave the boy such a box on the ear that he screamed, and the maid finished plucking the fowl.
Narrators (all): And Soon the marriage of the Prince and Briar-Rose was celebrated with great splendor, and they lived contented to the end of their days.
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ABC's of The First Thanksgiving
Marci McGowan
Parts(30): Narrator 1 Narrator 2 Narrator 3 Narrator 4
Assign Readers for Letters A-Z <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
Narrator 1: Thanksgiving is one of our favorite holidays. We have been learning about early America and the very first Thanksgiving celebration.
A is for Americans: Some of the earliest Americans were the Pilgrims. They wanted to be free to have their own religion.
B is for Big Ship: The Pilgrims sailed across the Atlantic Ocean in a big ship called the Mayflower.
C is for Cramped: The ship was very cramped or crowded. There was little room for children to play. Many people became sick.
D is for Danger: The trip was filled with danger. Often there were storms with great winds. Everyone was afraid.
E is for Explore: After 66 days the happy Pilgrims reached land. Some of the men went to shore to explore. They wanted to see what was there.
F is for Fields: They found forests and fields where the native people had planted corn. They found clean water to drink.
G is for Grateful: Everyone was happy and grateful. They found a safe place to live the way they wanted.
H is for Hard: That first winter was very cold and hard for the Pilgrims. There was not enough food. Many people got sick and died.
I is for INDIAN: (Now we say Native American.) A friendly Indian named Squanto helped the Pilgrims. He showed them how to plant corn and where to find fish.
J is for JONES: In the spring, Captain Jones, the captain of the Mayflower, went back to England. The Pilgrims stayed in their new home, America.
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K is for KEPT: The Pilgrims kept working hard. They planted gardens and built houses and furniture.
L is for Land: They learned how to hunt and fish in the new land.
M is for MANY: By summer, the Pilgrims had built many houses. Their vegetable gardens grew well.
N is for NO ONE: By November, there was plenty to eat. No one would be hungry this winter.
O is for ONE: One day, Governor Bradford said, "We should be thankful for our harvest."
P is for Pilgrims: The Pilgrims harvested pumpkins, corn, squash, beans, and carrots. They found nuts and berries in the woods.
Q is for QUAIL: The men hunted for wild quail, turkey, geese, and deer. They caught fish in the rivers.
R is for READY: They caught lobsters, clams, and oysters in the ocean. They got everything ready for a big celebration.
S is for SHARE: The Pilgrims wanted to share what they had with the Indians, their new friends.
T is for THANKFUL: The Pilgrims were thankful. Now they had food, homes, and friends.
U is for US: The Pilgrims said to their new friends, ³Please join us!²
V is for VISIT: They invited the Indians to visit them for their special harvest celebration.
W is for When: When everyone came, they ate together and played games.
X is for EXCITED: The Pilgrims were EXCITED and very happy. Their celebration lasted for three days!
Y is for YELLED: The children played and laughed and yelled.
Z is for Zany: The children acted zany, running all around with their new friends. They had a wonderful time.
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Narrator 2: Most people don't know that the Pilgrims did not celebrate again the next year. Later on, several Presidents, including George Washington, made one-time Thanksgiving holidays.
Narrator 3: It became an official holiday in 1863, when President Abraham Lincoln, said to set aside the last Thursday in November to give thanks.
Narrator 4: In 1941, Congress made Thanksgiving an annual national holiday to celebrated on the 4th Thursday of November. Now it's a time for family and friends to give thanks together, eat lots of good food, watch parades football games. It's also the start of the winter holiday season!
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The Stonecutter
A folktale from Japan by
Lisa Blau
CHARACTERS: (6) Narrator 1 Narrator 2 Narrator 3
Narrator 4 Narrator 5 Stonecutter <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
Narrator 1: Once upon a time there was a Stonecutter.
Narrator 2: Every day the Stonecutter cut stones from the mountain and put them in his cart.
Narrator 3: The Stonecutter worked hard all day with his chisel and his hammer.
Narrator 4: All day, every day, the Stonecutter worked. He cut the stones and he put them in his cart.
Narrator 1: One day the hot sun beat down upon the Stonecutter.
Stonecutter: How I wish I could be strong and powerful like the Sun.
Narrator 1: Said the Stonecutter.
Narrator 5: Now it just so happened that a mountain spirit lived nearby.
Narrator 2: When the mountain spirit heard the Stonecutter's wish, he decided to grant him the wish.
Narrator 3: The Stonecutter became the Sun!
Stonecutter: Look at me! I am the Sun! I am powerful! I am strong! I am the most powerful thing in the world!
Narrator 4: Just then a Cloud floated in front of the Stonecutter.
Stonecutter: With that Cloud in front of me, I cannot shine brightly. The Cloud is more powerful than the Sun. How I wish I were a Cloud!
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Narrator 2: And as before, the wish was granted and the Stonecutter became a Cloud.
Stonecutter: It is fun to be a Cloud. I can rain upon the mountains and gardens. I am very powerful.
Narrator 3: Just then a strong Wind blew and pushed the Cloud across the sky.
Stonecutter: The Wind is so strong. It is stronger than a Cloud. How I wish I could be the Wind!
Narrator 1: And as before, the wish was granted and the Stonecutter became the Wind!
Stonecutter: It is grand being the Wind, for I am so strong and powerful!
Narrator 2: Then the Wind bumped into the Mountain.
Stonecutter: Aha! The Mountain is stronger than the Wind! I wish to be a Mountain!
Narrator 3: And just like that, the Stonecutter became a Mountain!
Stonecutter: Look at me! I am a strong and powerful Mountain!
Narrator 4: Just then, the Stonecutter felt something. He looked down and saw a man with a chisel and a hammer. The man was cutting the stones from the Mountain and placing them in his cart.
Stonecutter: Who dares to cut away at this Mountain? I see now that the Stonecutter is stronger than any Mountain. How I wish that I could be a mighty Stonecutter!
Narrator 5: His wish was granted.
Narrator 2: The Stonecutter cut stones from the mountain and put them in his cart.
Narrator 4: He worked hard all day with his hammer and his chisel and he said...
Stonecutter: I am a mighty Stonecutter. I am strong and powerful!
Narrator 1: And then the Stonecutter never made another wish.
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The Three Little Pigs
Retold by James Marshall
Parts (14): Narrator 1 Narrator 2 Narrator 3 Narrator 4 Narrator 5
Narrator 6 Pig 1 Pig 2 Pig 3 Wolf
Mama First Man Man 2 Man 3 <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
Narrator 1: Once upon a time, an old sow sent her three little pigs out into the world to seek their fortune.
Mama: Now be sure to write! And remember that I love you.
Narrator 2: The first little pig met a man with a load of straw.
Pig 1: I know! I'll buy your straw and build a house.
First Man: That's not a good idea.
Pig 1: Mind your own business, thank you.
Narrator 3: And he bought the straw and set about building a house.
Narrator 4: It took him no time at all.
Narrator 5: Very soon a lean and hungry wolf happened by.
Narrator 6: Pig was just about his favorite food in the world. So he knocked on the door.
Wolf: Little pig, little pig let me come in!
Pig 1: No, no, no! Not by the hair of my chinny, chin, chin!
Narrator 1: This annoyed the wolf to no end.
Wolf: Then I'll huff and I'll puff and I'll blow your house in!
Pig 1: Go right ahead!
Narrator 2: So the wolf huffed and he puffed and he blew the house in. 171
Narrator 3: And he gobbled up the little pig.
Narrator 4: The second little pig met a man with a load of sticks.
Pig 2: I've got it! I'll buy those sticks and build a house.
Man 2: I'd think twice about that!
Pig 2: Oh Pooh! What would you know?
Narrator 5: And he bought the sticks and went to work building a house.
Pig 2: Very pretty.
Narrator 6: No sooner had the little pig settled into his pretty house than the wolf happened by.
Narrator 1: The wolf was still hungry.
Wolf: Little pig, little pig let me come in.
Pig 2: No, no, no! Not by the hair of my chinny, chin, chin.
Narrator 2: The wolf didn't care for that at all.
Wolf: I'll huff and I'll puff and I'll blow your house in.
Pig 2: Ha, ha, ha.
Narrator 3: So the wolf huffed and he puffed and he blew the house in.
Narrator 4: And he gobbled up the little pig.
Narrator 5: Now the third little pig met a man with a load of bricks.
Man 3: These bricks will make a fine sturdy house.
Pig 3: Capital idea, my good fellow!
Narrator 6: So he bought the bricks and set about building a house.
Narrator 1: It took him quite a bit of time, but it was well worth it.
Pig 3: Nice and solid; nice and solid. 172
Narrator 2: But no sooner had the little pig move in than he noticed the wolf loitering about.
Narrator 3: And the wolf was still hungry.
Wolf: Little pig, little pig, let me come in!
Pig 3: No, no, no. Not by the hair of my chinny, chin, chin.
Narrator 4: Well the wolf had heard that before!
Wolf: Then I'll huff and I'll puff and I'll blow your house in.
Narrator 5: But the wolf huffed and he puffed and huffed and he puffed until he was quite blue in the face.
Narrator 6: The house stood quite firm.
Wolf: (muttering) Hmmmmm, I'll try another approach.
Narrator 1: He put on his most dazzling smile.
Wolf: Little pig, I was only teasing. By the way, I hear tell that Farmer Jones has the most scrumptious turnips. Shall we go pick a few?
Pig 3: Oh, I'm much too busy now. What about tomorrow morning?
Wolf: Excellent! I'll come for you at six.
Narrator 2: The next morning the little pig got up at five, hurried off to Farmer Jones's turnip field, picked a basketful of scrumptious turnips and dashed back home.
Narrator 3: When the wolf arrived at six the turnips were already boiling in the pot.
Pig 3: Sorry I couldn't wait.
Narrator 4: The wolf tried not to show his displeasure.
Wolf: No harm done. By the way, there is a lovely apple tree down in Merry Meadow. Shall we go help ourselves to a few apples?
Pig 3: I must cook my turnips. Let's meet there tomorrow morning. 173
Wolf: Splendid. Shall we say at five?
Narrator 5: The next morning the little pig was up at four and went off for the apples.
Narrator 6: It took longer than he'd expected to reach Merry Meadows, and while he was gathering apples in the highest trees, he saw the wolf approaching.
Pig 3: Do try one of these.
Narrator 1: The third little pig threw an apple as far as he could.
Narrator 2: When the wolf chased after the apple, the little pig shimmied down the tree and made if safely home.
Narrator 3: The next day the wolf came again.
Narrator 4: Really he was quite put out.
Wolf: There's a fair today on Hog Hill. Would you care to go?
Pig 3: Why don't we meet there? Would three o'clock suit you?
Wolf: Colossal!
Pig 3: Three it is.
Narrator 5: Just to make sure, he would be there at two.
Narrator 6: At one in the afternoon the little pig went to the fair and had a fine time-so fine that he lost track of the hour.
Narrator 1: Suddenly, out of the corner of his eye he saw the wolf coming up the hill. Without a minute to spare, the little Pig jumped inside an empty butter churn and rolled down the hill toward the wolf.
Narrator 2: Well, the wolf was so scared, he ran all the way home.
Narrator 3: That evening the wolf went to the little pig's house and told him how frightened he'd been by a great round thing that came down a hill.
Pig 3: Frightened you did I? That great round thing was a butter churn, and I was inside! 174
Narrator 4: This was simply too much for the wolf to stand.
Wolf: I've been nice long enough! I'm going to eat you up right now!
Narrator 5: So the wolf climbed up onto the roof. When the little pig saw this, he put a big iron pot in the fireplace and quickly stoked the fire.
Wolf: Here I come! Dinnertime!
Pig 3: You can say that again!
Narrator 6: The wolf dropped directly into the pot and the pig cooked that mean old wolf and gobbled him up!
All: And that was the end of the big, bad wolf!
------
Scripted by Jennifer Wells
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Three Wishes
An Old Folktale
Parts(6): Narrator 1 Narrator 2 Narrator 3 Fairy Woodcutter Wife
<><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
Narrator #1: Once upon a time a poor woodcutter headed into the forest to chop down a few trees and sell the wood in the nearby town.
Narrator #2: Just as the woodcutter was about to cut down an old oak tree, he heard a voice.
Fairy: Please, kind woodcutter. Do not cut down this tree.
Narrator #3: The woodcutter said,
Woodcutter: And why not? I need the wood to sell in the town so that I have money to buy food.
Fairy: I cannot tell you why, but I promise if you do as I ask, good luck will be yours.
Woodcutter: Very well. I will not cut down this tree.
Narrator #2: Then the fairy said,
Fairy: Dear woodcutter, you have a good and kind heart. I will grant your next three wishes.
Narrator #1: The fairy flew into the forest. The woodcutter headed home to tell his wife of their good fortune.
Woodcutter: Wife! Wife! I have a fine story to tell you.
Narrator #2: The woodcutter's wife was very happy when she heard about the three wishes.
Wife: What a wonderful thing it is to have three wishes! Let's not be hasty. Let's wait until morning before we make a single wish.
Woodcutter: A wise idea. That way we will be able to think more clearly. But for now I'm a hungry as a bear. When's supper? 176
Wife: Supper will be ready in one hour.
Woodcutter: One hour! But I'm starving! I wish I had a big sausage right now.
Narrator #3: Now, no sooner had the woodcutter said the words when a sausage appeared on the table.
Wife: You fool! Look what you've done! You've wasted one wish! How could you be so foolish?
Narrator #2: The woodcutter's wife scolded her husband.
Narrator #1: Now the woodcutter was not pleased by his wife's nagging, so he said:
Woodcutter: I wish that this sausage was stuck on your nose.
Narrator #3: And the sausage stuck to his wife's nose!
Wife: You fool! Look what you have done! Do something!
Narrator #1: The woodcutter tried and tried to remove the sausage, but it was no use. It was stuck there for good.
Narrator #2: Then the woodcutter said:
Woodcutter: There's only one thing to do. I wish the sausage was back on the plate.
Narrator #3: The sausage landed back on the plate. The woodcutter and his wife sat down and ate the sausage.
Wife: And that's the story of the three wishes.
Adapted for Readers Theater Script by Lisa Blau
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The Very Hungry Caterpillar
By Eric Carle
Readers (5) <><><><><><><><><><><><><><><><><><><><><><><><><><><><>
1: In the light of the moon a little egg lay on a leaf.
2: One Sunday morning the warm sun cam up...
3: and POP, out of the egg came a tiny, very hungry caterpillar.
1: He started looking for some food.
5: On Monday he ate through one apple. But he was still hungry.
4: On Tuesday he ate through two pears, but he was still hungry.
2: On Wednesday he ate through three plums, but he was still hungry.
3: On Thursday he ate through four strawberries, but he was still hungry.
5: On Friday he ate through five oranges, but he was still hungry.
1: On Saturday he ate through one piece of chocolate cake,
3. One ice-cream cone,
4: One pickle,
2: One slice of Swiss cheese, The Very
5: One slice of salami,
3: One lollipop,
2: One piece of cherry pie,
4: One sausage,
1: One cupcake,
4: And one slice of watermelon 178
5: That night he had a stomach ache!
3: The next day was Sunday again.
2: The caterpillar ate through one nice leaf, and after that he felt better.
5: Now he wasn't hungry anymore--and he wasn't a little caterpillar anymore.
3: He was a big fat caterpillar.
1: He built a small house,
2: Called a cocoon,
1: Around himself.
3: He stayed inside for more than two weeks.
5: Then he nibbled a hole in the cocoon, pushed his way out and...
4: He became a beautiful butterfly!
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The Wizard, The Fairy and The Magic Chicken
By Helen Lester
Parts(6): Narrator 1 Narrator 2 Narrator 3 Wizard Fairy Chicken <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
Narrator 1: The Wizard, The Fairy and The Magic Chicken
Narrator 2: There once lived a Wizard, a Fairy, and a Magic Chicken. Each thought, "I am the greatest in the world." And each was very jealous of the other two.
Wizard: "MY wand has a MOON on it,"
Narrator 3: said the Wizard.
Fairy: "MY wand has a STAR on it,"
Narrator 1: said the Fairy.
Chicken: "MY wand has a PICKLE on it,"
Narrator 2: said the Magic Chicken.
Wizard: "I can kiss a pig and turn it into a bicycle,"
Narrator 3: said the Wizard. The Fairy said,
Fairy: "That's nothing, I can kiss a bicycle and turn it into a bowl of soup."
Narrator 1: The Magic Chicken said,
Chicken: "I can do better than that, I can kiss a bowl of soup and turn it into a singing frog."
Narrator 2: Each one always tried to outdo the others.
Wizard: "I can make a hairy monster with sharp teeth!"
Narrator 3: bellowed the Wizard. The Fairy screeched,
Fairy: "I can make a bumpy monster with nine legs!"
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Chicken: "I can make a dotted monster with buggy eyes!"
Narrator 1: yelled the Magic Chicken.
Narrator 2: The monsters glared at the magicians and loudly said, "GRRRRRROLPH!"
Narrator 3: For the very first time the magicians agreed. They shouted,
Wizard, Fairy, and Chicken: "RUN FOR YOUR LIVES!"
Wizard: "I will make a cloud to hide behind,"
Narrator 1: gasped the Wizard, but that didn't stop the monsters.
Fairy: "I will make thunder to scare them,"
Narrator 2: puffed the Fairy, but the monsters were not frightened.
Chicken: "I will make lightning. That will make them go away,"
Narrator 3: cried the Magic Chicken, but they would not go away. Nothing worked.
Wizard: "We'd better..."
Narrator 1: said the Wizard.
Fairy: "...try something...."
Narrator 2: said the Fairy.
Chicken: "...together!"
Narrator 3: said the Magic Chicken. So they chanted,
Wizard, Fairy, and Chicken: "One, two, three, GO!"
Narrator 1: The cloud and the thunder and the lightning came together.
Narrator 2: Suddenly it rained.
Narrator 3: It rained so hard and the monsters got so wet that they shrank until they were only very little monsters and not scary at all. 181
Wizard, Fairy, and Chicken: "We did it!"
Narrator 1: cheered the Wizard, the Fairy, and the Magic Chicken.
Wizard: "I must say, though, my cloud made the rain,"
Narrator 2: said the Wizard. The Fairy said,
Fairy: "Well, it was because of my thunder."
Chicken: "But not without my lightning,"
Narrator 3: said the Magic Chicken.
Narrator 1: There once lived a Wizard, a Fairy, and a Magic Chicken.
Narrator 2: They argued a lot, but deep down they were very good friends.
Scripted by Jill Jauquet
182
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