The Friendly Classroom for a Small Planet: a Handbook on Creative Approaches to Living and Problem Solving for Children

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ED 253 494 SO 016 235 AUTHOR Prutzman, Priscilla; And Others TITLE The Friendly Classroom for a Small Planet: A Handbook on Creative Approaches to Living and Problem Solving for Children. REPORT NO ISBN-0-89529-060-3 PUB DATE 78 NOTE 116p.; Developed as a part of the Children's Creative Response to Conflict Program. AVAILABLE FROMAvery Publishing Group Inc., 89 Baldwin Terrace, Wayne, NY 07470 ($7.95). PUB TYPE. Guides Classroom Use - Guides (For Teachers) (052) EDRS PRICE MF01/PC05 Plus Postage. DESCRIPTORS Class Activities; *Conflict Resolution; *Creative Thinking; *Creativity; *Critical Thinking; Decision Making Skills; Educational Games; Elementary Education; Evaluation Methods; Learning Activities; Media Adaptation; Preschool Education; *Problem Solving; Resource Materials; Teaching Methods ABSTRACT These learning activities are intended to help elementary school children learn how to communicate, cooperate, and prevent or solve conflicts through creative thinking. There are 17 chapters. The first five chapters provide background information for teachers, discussing the Children's Creative Response to Conflict (CCRC) Program, ways to create a cooperative environment, and tips and techniques for implementing the activities. Chapters 6 through 15 contain the class activities. Some examples follow. Ch.ldren play name games to have fun and loosen up. They learn to cooperate through group activities such as drama games. Listening skills necessary for good communication are taught through telephone and tel.agraph games. To develop a positive self image, children put together a book about themselves. Students learn to solve problems through skits, puppet shows, and role play. Chapter 16 contains evaluation techniques. The concluding chapter discusses how the activities can be used with other kinds of audiences, e.g., emotionally disturbed children. Appendices contain success stories of the CCRC, sample lessons,a chart indicating in which curriculum area the handbook's activities can be used, and listings of print and human resources. (MR)

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#' ; 1,;- THE FRIENDLY CLASSROOM FOR A SMALL PLANET

A Handbook on Creative Approaches to Living and Problem Solving for Children

Illustrated by Barbara Wilks and Paul Peabody

Priscilla Prutzman NI..Leonard Burger Gretchen Bodenhamer Lee Stern

Children's Creative Response to Conflict Program

Avr try uuutistimc cIRCUIP Wayne, New Jersey

3 Copyright 1978 by Avery PublishingGroup Inc. ISBN 0. 89529-069-3 reproduced, stored in o retrieval All rights reserved. No partof this publication may be mechanical, photocopying, system, or transmitted, in anyform or by any means, electronic, recording, or otherwise, withoutthe prior written permission ofthe publisher. Printed in the United Statesof America Contents

PREFACE 1

HOW TO USE THIS HANDBOOK 2

CHAPTER 1 CREATIVE RESPONSEMEETING THE CHALLENGE OF VIOLENCE 4 This chapter presents the philosophy of the CCRC Program, the themes on which it focuses, and the skills it seeks to develop. It includes a discussion of how to use this book and an introduction to the themes of cooperation,communication, affirmation and conflict resolution.

CHAPTER 2 AN IDEA GROWSTHE ROOTS OF VIOLENCE S This chapter gives a brief historical background of the project. It covers getting to the roots of conflict, the importance of transferring skills to everydaylife, and building a sense of trust.

CHAPTER 3 PREPARING AND PLANNING SOME PRELIMINARY CONSIDERATIONS 7 This covers the importance of creating a cooperative environment, offering three approachesworkshops; integration into doily classroom activities; integration of themes and activities into curriculum. It also suggests ways of diagnosing the needs of the class and hints for planning a workshop. Sample workshop plans are included.

CHAPTER 4 GETTING STARTEDYe At ROLE AS FACILITATOR 12 This chapter presents briefly some facilitation techniques and concepts including ways of beginning and ending sessions. Suggestions are givenfor working in small groups.

CHAPTER 5 THE CHALLENGE OF INTEGRATION- 'MOVING BEYOND.THE WORKSHOP APPROACH 13 This chapter gives examples of how teachers have integrated these techniques into their classrooms and curricula.

CHAPTER 16 LET'S GET ACQUAINTEDEXERCISES THAT HELP REMEMBER NAMES lb Name games are fun loosening-up activities that help to develop a sense of community. Several examples are given which can be used throughout the year.

CHAPTER 7 FREEING OURSELVES UP LOOSENING -UP ACTIVITIES 1$ These activities encourage people to laugh and interact with each other in a playful way. This relieves tension and helps to increase the energy in a group. Many of these games help to focus on what is happening. CHAPTER $ LET'S BUILD COMMUNITYLEARNING TO COOPERATE 22 These cooperation uctivities offer' an alternative to competitive games and help to develop a positive classroom atmosphere. Included are group cooperation drawings, drama games, and other projects to help people work together successfully toward a positive final goal.

CHAPTER 9 DO YOU HEAR ME ? LEARNING TO COMMUNICATE 30 Effective communication skills are important for resolving conflicts creatively. This chapter includes positive ways of improving listening skills, observation skills, and speaking skills.

CHAPTER 10 WE ARE ALL SPECIALAFFIRMATION OF OURSELVES AND OTHERS 35 Poor self-image is at the root of many conflicts. Affirmation activities encourage people to feel positive about themselves and others. This chapter includes exercises that can be used with large groups or with individuals.

CHAPTER 11 A NOTEBOOK ABOUT MECREATING A TREASURED POSSESSION 40 Did you ever want to record all the nice things about yourself? This chapter offers several examples of how to do this by means of affirmation sheets. These include drawings of what people like to do and what they are good at, and written pages which encourage self-awareness.

CHAPTER 12 LET'S MAKE AN INSTRUMENTAN AFFIRMING ACTIVITY FOR EVERYONE 41 This chapter gives examples of musical instruments that can be made out of simple, inexpensive materials.

CHAPTER SOMETIMES WE CAN ALL WINCREATIVE CONFLICT RESOLUTION 49 Often we think of conflicts as having only win-lose solutions. These activities help people see that there are many alternative ways of resolving problems, and that often we can find a win-win solution. Roleplaying, puppetry, and decision- making are some of the many conflict resolution activities suggested.

CHAPTER 14 HOW ABOUT THAT BULLY? SOME CONFLICT SCENARIOS 56 This chapter includes specific examples of conflicts that are common to children in school, at home, and outside of both: conflicts between children and children, teachers and children, parents and children, and conflicts between adults. These can be used as examples for creating your own scenarios, for skits, puppet shows, roleplaying, and problem-solving.

CHAPTER 1S DOESN'T ANYBODY UNDERSTAND? THE NEED TO SHARE FEELINGS 59 These activities help to develop a consciousness in a group where people are aware of affirmation and communication. When people can shore their feelings openly, creative conflict resolution can cccur. This chapter includes the sharing circle, trust games, activities that help people analyze the roles they play, and the effects of exclusion. CHAPTER 16 HOW DID IT WORK?LET'S EVALUATE 61 Evaluation activities help people feel that they are part of a group. They ore also helpful to the teacher or facilitator in planning subsequent sessions and meeting the needs of participants more directly.

CHAPTER 17 WHY JUST IN CLASSROOMS?EXPANDING OUR SKILLS TO MEET WIDER NEEDS 63 This chapter relates how CCRC ideas have been adapted to younger children, high school students, emotionally-disturbed children, and inmates of correctional facilities.

APPENDIX

KALEIDESCOPr--A Poem by Marge Rice 68

CLASS REVIEWS: 1972-1977 70

THE CITY COLLEGE OF NEW YORK EXPERIENCE 7$ Children's Growth Towards Cooperation, by Loren Weybright. Summary of the CCNY Course.

SONGS WE USE 7

SAMPLE WORKSHOPS 93

APPLYING TECHNIQUES TO CURRICULUM AREASA Chart 98

BIBLIOGRAPHY OF USEFUL BOOKS 91

A LIST OF RESOURCE GROUPS 106 Preface

Children are not born hostile, aggressive or violent. Neither are they born apathetic. From their environment and from their experiences, children learn to respond to the inevitable problems and conflicts of life; the learned attitudes and responses may be creative, constructive and caringor they may be harmful to others as well as to oneself.

Children have the right to grow up in schools that help them develop socially and morally, as well as intellectually. Children need to be affirmed as young people with many capabilities and helped to develop attitudes and skills which will aid them in living and working cooperatively with others, first in the classroom and home and later as citizens of the larger society.

There is an urgent need for effective educational responses to the growing concern among educators, administrators and parents over violence, vandalism and the interpersonal hostilities and conflicts that too often get in the way of effective learning in the classroom. It is also widely recognized that the educational needs of those children who fail to learn, although they may be docile rather than troublesome, may require special efforts. There has been a growth of program efforts to help teachers and students deal constructively with conflict situations and to build the kind of classroom community in which mutual respect forms a basis for acting responsibly. In spite of different forms and perspectives, these programs aim at a common goal: to help teachers and students create a classroom climate in which people respect themselves and each other, cooperation is the rule rather tK n the exception, learning can go forward unimpeded by squabbles and hostility, ell children are equally valued and get an equal chance to shine, and students and teachers learn specific skills of communication, cooperation, and conflict resolution that can be applied within and beyond the classroom.

This book has grown out of six years of work with children and teachers in many sections of the United States and in many types of school situations by the staff of the Children's Creative Response to Conflict Program. Our experience has been enriched by the nine years of involvement in nonviolence training in all kids of crises and potential:y violent situations by predecessors and colleagues with the Quaker Project on Community Conflict. Both projects have been under the auspices of the New York Yearly Meeting of the Society of Friends. Our program has also been enriched by several years of sharing ideas with the Nonviolence and Children Program of the Friends Peace Committee, Philadelphia, and by the numerous teachers, scholars and short-term colleagues who have shared our concerns.

The Children's Creative Response to Conflict Program has three main goals in the classroom: 1) to develop toward a community in which children are capable and desirous of open communication; 2) to help children gain insight into the nature of human feelings, capabilities, strengths, to share their own feelings and become aware of their own strengths; and 3) to help each child develop self-confidence about his or her ability to think creatively about problems and begin to prevent or solve conflicts.

Many teachers and educators recognize that they have not been prepared with tools and methods to achieve these goals, and even the most skilled find that additional strategies are welcome. We have received enthusiastic responses, often accompanied by some of their own parallel experiences for inclusion in our newsletter, Sharing Space, from many of the 7,000 purchasers of previous editions of this book. This is part of the sharing and mutual support philosophy inherent in the CCRC program.

We are grateful to the many friends who have contributed their skills and energies to the production of this book. To Paul Peabody's charming drawings have been added the sensitive sketches of Barbara Wilks. Kay Reynolds has given generously of her time and editorial skills. Susie Woodman worked with us for a year and shared many of her excellent ideas with us.

Jane Ann Smith Acting Project Director New York, N.Y. July, 1978 HOW TO USE THIS HANDBOOK

It is the authors' hope that this book will be used as a guide for creative experimentation in the classroom rather than as an authoritative How- To -Do-It manual. Teachers will recognize how an affirming, cooperative atmosphere in a friendly classroom can significantly reduce tensions and discipline problems, especially when combined with games and exercises that are both fun and valuable affective education techniques. Such a class atmosphere can enhance both the children's abilities to learn and the teacher's ability for effective and creative teaching. However, this is a Process which takes time, patience and careful planning. The devoted teacher will be rewarded by each small response in which a childoften quite unexpectedlyindicates that he has not only understood these ideas but is actually making them a part of his inner resources.

A word about the organization of this book. Chapters six through sixteen form what formerly was called the "Tool and Technique Guide." Here will be found the specific games, exercises and other tools which are the heart of the Children's Creative Response to Conflict Program. Although given here in a natural sequence with each chapter constituting a theme or part of a theme, there is much overlapping of themes in these techniques, and they may be used in quite different orders.

We hope that you will find the forty pages in the appendix a rich resource of materials for use in your classroom and for further personal development in the CCRC ideas as well as related ones.

In using this Handbook with your group, you will probably find new variations and additions of your own. Many of these may come from the children themselves. The author's lay no claim to originality of the ideas presented here. They come from many sources. The Creative Response approach belongs to all who use it. Please share your new insights with us so that we may incor- porate them into our newsletter thus helping to enrich the experiences of others.

A fin& word. Careful study of the planning chapters (three, four and five) should make implementation of the tools and techniques far more effective and successful. Prom the Introduction to the First Edition, November, 1924 (Preliminary. Handbook, Children's Workshops in Creative Response to Conflict.)

During nine years of involvement in nonviolence training in all kinds of crises and potentially violent situations, the staff of QPCC has become increasingly aware that the seeds of conflict become instilled at a very early age in the patterns of hostile or violent response to human situations learned by young children from adults, older children or from their peers. We have also become aware that teachers and educators have not been prepared with tools andmethods appropriate for changing these patterns.

Believing that the wider conflicts in our society and in the world will continue to threaten our civilization until we learn to deal with our personal andcommunity problems constructively and creatively, QPCC in 1972 set about tailoring the tools, skills and methods it had developed so they could be adapted to children at the grade school 'evel, hopefully before negative responses become ingrained. Our hope is to revolutionize their response*' to conflict situations, not by the usual teaching methods, but by actually(involving them in working out creative new approaches.

The present workshops cover a broader scope than conflict resolution. It soon became apparent that to develop creative responses to conflict, children (and adults, too) need to begin to understand both their own feelings and the feelings of others. They need to become aware of the advantages of working together, rather than against one another, to solve problems. Cooperation and community building exercises, therefore, occupy a significant part of this Hand- book, and almost always precede exercises in conflict resolution. They are part of our effort to provide a suitable, humane, "life-support system" for children in our educational structures.

Our particular program has three main goals in the classroom: 1)to develop growth towards a community in which the children are capable and desirous of open communication; 2) to help children gain insights into the nature of human feelings and to share their own feelings; and 3) to explore with the child the uniquely personal ways in which he or she can respond to problems and begin to prevent or to solve conflicts.

As trainers, we know it requires the greatest humility to become involved in a child's life. Conflict resolution requires a great deal of careful reflection as negative overtones often develop where violence is suppressed. Indeed, some aggression and anger are desirable. The aim in working on conflict is not to abolish it but to enable children to deal with it creatively over a period of time and to direct it into constructive channels.

While there has been considerable growth and change in the Program (even in name!) since, the first edition was published, the basic ideas given above still form the foundation of the Children's Creative Response to Conflict Program.

10 4

Chapter One CREATIVE RESPONSE Meeting the Challenge of Violence

Violence in our society continues to rise. The schools have experienced a buildup of tension and unresolvedconflicts. Vandalism, assaults on chiZdren and teachers have allin- creased. Educational institutions which could and should provide a positive environment for overcoming the drift towards violence seldom find effective methods of deal ngwith the causes of antisocial behavior. They therefore often re- treat to measures of security or takehostile actio against the offenders.

Yet the very attempt to stamp out violence bymethods which are themselves violenttowards the deviant child can only confirm in that child the notion that violence is anadcept- able, if not preferable, method of problem solving. Such actions deny the humanity of the child instead ofaffirming it in ways that will heZp him to emerge out ofnegative patterns of behavior. Our experience shows that children -- especially young children -- will learn far more from the examples we set in our responses to aggression and conflict than they wiZZ learn from our words. We see teaching moral behavior, there fore, as a matter of how we act more than of what we say. It is not that what we say is unimportant,but rather that it must be in unity with what we do.

This is the basic philosophy of the CCRC approach, in which children and adults are involved together in a warm, affirming support system. It is through this that they learn humane and affirming ways of dealing with each other and with their problems and conflicts.

1 5

Chapter Two AN IDEA GROWS The Roots of Violence

GETTING TO THE ROOTS tions they have; what amazingly creative solutions they sometimes come up with! So Many people have inferred from our name the process itself is the CCRC philosophy that we are basically a conflict resolu- in action. It then follows that the most tion group. However, we have sought to effective way to understand the theory be- deal with the roots of conflict by help- hind the process is to experience it! ing teachers and others to develop a positive dynamic rather than just trying to This approach of creating an environ- solve crisis situations. Eliminating or Ment conducive to positive value': and "solving" the immediate cA,isis whethe' creative responses may lead some who hake in the classroom, in the community, or be- not experienced these methods toconclude tween nations -- is often like cutting that the children involved receivetheir off a weed at the soil line, while under- education in a sheltered atmosphere that neath the ground the hidden roots contin- renders them incapable of dealing with ue to send up new vigorous shoots. These the "real world". Our experience shows roots may lie deep in our culture: in the quite a different result. When children stress on the winner/loser concept; in so- ale given a loving,supportive environ- cial approval of hostile responses to any ment they seem better able to meetin a person who seems to act aggressively or creative and reconciling manner whatever engenders fear; in the all-too-familiar situation might arise, whether ithe a put down heard a thousand times a day in conflict situation inside or outsidethe the rooms, corridors and playfields of al- classroom. most any school. It is not that we are opposed to all We have found that children learn open- conflict as evil. Sometimes our most ness, sharing, positive self-concepts, and signifidant growth comes through con- cooperation not by being told about them flict, especially when we learn to deal but by becoming part of a community in with it constructively. But many con- which these attributes are the norm.. It flicts are unnecessary, wasteful and is in this atmosphere that they discover serve no purpose. This type of con- better ways to relate to one another. And flict often disappears when we deal to themselves! effectively with the roots. How much more eloquent is a child's Thus parents have told us of ways in participation in a circle structure emphasizing the equal importance of everyone in which a child who had participated in the group than any attempt to express e- CCRC workshops had changed from belliger- relation quality in words while maintaining an out- ent to considerate behavior in And a participant in our ward system that engenders favoritism! to siblings. she Thus, we do not teach children that vi- CCNY. course for teachers told us that felt that CCRC's presence in her public olence is wrong or evil by telling them school was one of the influences contrib- this. We try to build a positive class- had room environment in which violence seems uting to the decrease in fights she Where fights still did occur, totally out of place and in which our ac- observed. tions become examples of constructive ap- she noticed that students would attempt they were proaches. We present children with tools to stop them, whereas formerly around and -- enjoyable tools -- that encourage them more likely to either stand to discover for themselves solutions to watch, or to encourage them. problems and conflicts that come out of their own real-life experiences. It is SKILLS ARE NOT ENOUGH thf,y who decide which of these will be most helpful to them in terms of what they This carryover of positive att;tud. end arc really seeking for themselves and skills into the children's reallifesit- their world. And what fertile imagina- uations was not apparent in our earlist 2 work. As we had not sensed the depth or When we asked the teacher what she complexity of our task -- how children meant, she said that children -- can develop the seeds ofcompassion rath- even very young children -- learn -r than the seeds of violence -- wehad very quickly the kinds of answers endeavored to teach conflict resolution that teachers like and therefore without concern for a supportive provide the teacher with such ans- Hassroom atmosphere, We had had a long wers experience of working with adults in con- We held one-to-one conferences resolution to develop new thought with all of the children in the and action patterns. We came to under- class and discovered that the teach- !,tand through our work in the classroom er's perceptions were in many cases that a child learns effectively t:Irough correct. Using a different conflict, t'xperiencing. Thus the environment in the children were asked what would which the child learns is of paramount happen in their homes. Some chil- importance. We also came to understand dren's answers parroted back almost that the teacher has a key role in the word-for-word what they had been creation of the proper environment. taught, indicating no real absorp- The following account by one of our tion of the contents, while others facilitators illustrates one of the answered in ways more like: "I'd ,ays in which we learned this. punch him in the nose . . .", "I'd go into his room and take something

At thu beginning ofthe year we were of his . . .". doing only "conflict resolution" ex- ercisos with the classes. At first U. ''LNG A SENSE OF TRUST observation these seemed to be going very well. In a skit using puppets, Obviously this was a time for re- a conflict involving an older sister evaluation. We realized that in and a younger brother was presented order for conflict resolution tech- to a second grade class. The skit o- niques to become real to the child- pined with the puppet portraying the ren, they needed to be in an envir- nunger brother on stage holding a onment of cooperation and trust. book. The older sister (puppet) ar- Thus we set about creating this rived on stage looking for "her" book. supportive atmosphere. During the The conflict ensued as the sister de- last half of 1973-74, we therefore ::landed the book and the brother re- developed and tested many exercises rased to give it up.At this point that involved the themes of coopek- tho puppet show halted and the chil- action, aiiiii4mation and communication. lren were directed (by a puppet) to Through this, we were able to build a orm small groups and come up with sense of group and a feeling of trust ;olutions for the problem. The chil- within the group. We could then real- lren with their adult facilitators istically hope that the children would itm, up with solutions and then pre- understand and accept these techniques ;owed these skits to the entire into their real lives. ../ith their puppets. The solu- ions were heart-warming: the sister This example reflects the experimental ,,ading the book to her brother, nature of our approach. Many changes have ?oaking her brother into her room to occurred in the CCRC program since its in- holp him choose a much better book, ception in 1972. It has been a period of taking the brother to the library to learning and of growth, We have learned from the teachers with whom we have worked. et him pick out his own books. We vere delighted with the .uiuLions. We have learned from the writings and ex- however, one of the teachers asked periences of many otl-er groups working to us a provocative question, "Do you develop creative interpersonal relations. think the children really believe in But most of all, we have learned from the the solution,: t-hou come up with?" children. 7

Chapter Three PREPARING AND PLANNING Some Preliminary Considerations

CREATING A COOPERATIVE ENVIRONMENT THREE APPROACHES

The thematic arrangement of the following There are several ways to use these chapters reflects their interrelationship techniques with your gtoup. First, >ou to a common goal. That goal is to build can have workshops that take place as a an environment which will enable the distinct and separate activity in your group members to know individual worth, class. These are planned o,qt beforehand build a sense of community, and develop in detail, and may not relate to curricu- creative conflict resolution awareness lum or other things going on in the and skills. Without a relaxed, comfort- classroom. They could start out with able environment, it is difficult for several "Loosening-up Exercises", the people to experience cooperation and com- main goal being to have fun and build a munity. Without a sense of community, it sense of community. This format is de- is hard to be positive about oneself and scribed in more detailin "Planning a others. To achieve more creative resolu- Wor:.shop". tion of conflict, we have to improve our A second approach is an integration of communication skills within a cooperative these ideas into the daily classroom ac- environment. Thus all the Handbook tivities of the group. Here there is an themes and exercises work in a process of interrelationship between the teacher's growth and all relate to each other. In goals for the class, and these CCRC goals this kind of environment, it is hoped and techniques. This integration can be that the child will be able to internal- done at a regular time during the day or ize these concepts and thus be able to week, or throughout the day as you see act from them in situations that will a- fit. For instance, when children come rise throughout his life. in in the morning, you might ask them Creative conflict resolution is an on- what good thing happened to them on the going process. It takes place during a way to school. Or, when they are going person's entire lifetime, and we should on vacation, ask them something that not be crushed by occasional failures. they would like to do on vacation. For Many of the techniques are experiential. an example of this second approach, see Not all the insights that come from car- p.15. rying out these techniques are mentioned A third approach is integration of in this Handbook.There are many new in- the themes and techniques into curricu- sights that you will find. The main lum For instance, a writing assignment point is for you to look at the activi- can be planned with the goal of affirm- ties that you feel your group needs. ing the individual. A science experi- These techniques are processes which ment can be done with the goal of people need constant evaluation by the user. cooperating. An example of this ap- They should not be regarded as solutions proach is given on p.15. to problems. There are some problems We have had our major experience with that in themselves may not be able to he the workshop model and have found that resolved. But these techniques will help it does provide an introductory format to give the teacher an idea of how to for teachers, We hope that those who be- build a more positive atmosphere in the gin with this approach will be challenged class, and to solve those conflicts to start to integrate these techniques which participants are willing to solve, into other activities and into the cur Just as itis important to have partici- riculum work, so that in this way, a sup- pation voluntary in these exercises, it portive atmosphere may be built into the is also important for people to really child's total classroom experience rather want, or volanteer, to solve conflicts. than provided only during a specific It will be found that interest in finding workshop period. creative solutions will grow as the ad- Teachers who have had experience with vantages are observed. As the group pro- related forms of group process may devel- gresses. Creative problem solving can be- op confidence quickly in integrating come a natural response. .14 these techniques into their class activ- These questions should give you an over- ities and curriculumif indeed they have all view of what is going on in your class, not alceady done soin another context. and can help you to focus on how the main It's helpful to realizethat most of CCRC themes relate to your group. You these techniques areexperiential. With- might ask yourself questions that deal di- out some previous exposureto similar ac- rectly with these themes: tivities,it might be difficult to grasp of the exercises the full significance Is there a cooperative mood in class? and carry them outeffectively. Teachers Do people feel good about themselves and might want to get together totry out others? techniques or discuss plans. The follow- Do children listen? Do they communicate clearly? ing sections are designed togive sugges- How are conflicts resolved? tions on planning andfacilitating which goals and activities wouldbe best for If there is not a sense of community, your group you might want to start out with Coopera- tion Games. If children have a low level of confidence, personal affirmation may be- DIAGNOSING NEEDS OF THE CLASS come an important goal. If students have communication problems, a series of plans ihe first thing to do before making a might be made to work on listening, observ- plan is to have an understanding of the inging, and speaking skills. If the group nature of the group. This can be a- is positive, cooperative, and communicates chieved in several ways. It will be easily, you may want to begin working on found helpful to keep a log of what hap- conflict resolution. pens in the classroom over aperiod of several days. Also, the following questions can be asked: PLANNING A WORKSHOP

What is the atmosphere of the classroom? To plan a workshop, the following questions How do you feel about the children? should be considered: How do the children feel about you? How much do the children know about each other and you? Do children like each other? What is the goal? Do they have fun? What do you want to accomplish with the Do you have fun? session? Do actOrities happen spontaneously? Is it an introduction to ideas? How much freedom do the participants To a definition of conflict? have? To build cooperation? Are there emotionally disturbed chil- To help with communication skills? dren? To find solutions to the Teal problems Are children ranked? of the participants? Are there age differences in the classroom? goal. For ex- Do participants create any of the pro- There may be more than one children with a spe- grams? ample, to familiarize roleplaying or iiho has the most power? cific technique such as cooperation and Are there put downs? puppetry, and to work on The goal may also re- Are there personality probiems? conflict resolution. theme ouch as find- Are there cliques? volve around a specific Do students fight? ing creative alternativesto problems chil- Are there actions behind your back? dren may face daily, Do children behave differently in your The next step is to find specific absence? techniques which apply to the goal. The How do children react to substitute techniques are presented according to teachers? goal in this Handbook but an overall re- To visitors? view is recommended before selecting spe- What is the parent involvement? cific techniques. It is usually more ef- What is the atmosphere of the school? fective to plan with someone else in the Is it different from your classroom? group. This could be a student, a stu- How do students feel about the adminis- dent aide, parent, student teacher. One tration? way to get ideas for the planis to Is there a punishment system? 5 9

brainstorm (see p. 54 possible activities. An Exampte 06 Ptanning The various activities should be discussed and analyzed with the following Here is an example of a goal and the questions in mind: way it might be reached. It is early in the school year. The teacher has met three days with the class. People are Do the techniques all apply to the not cooperating with each other and there main goal? seems to be a sense of isolation in the Is there progression from easier to group. One thing you would like to do is more difficult exercises? to get people to learn each other's names. Are the exercises related to each oth- You would also like to build a sense of e'r and do they build on each otherso community in the group. You are afraid that there is an obvious flow to the that cliques might be developing, espe- session? cially between the boys and girls. Your Is there enough change of pace, alter- class has the same age level although nating talking with doing? there are varying degrees of reading and Do children have opportunity to be in writing skills. All of these observa- both large and small groups? tions might be translated into the fol- Are there opportunities for everyone to lowing goals: 1. To relax the group. speak? 2. Te help people to learn each other's Or is there a possibility that a few names. 3. To develop a sense of commun- might dominate? ity. Do children have the opportunity to You think about various 'activities in move around? the Handbook which relate to your goals. Does the structure allow for the par.- ticipants' input? They might include "Name Gam Song", "In- Will participants have fun? troducing Through a Puppet", "Memory Name Are these exercises that everyone will Game", or "Introductory Name Game". participate in? You don't know how to sing, so you Have you allowed for evaluation? don't want to do the "Name Game Song". You're afraid that the children might find puppets babyish. You'd like to do the "Introductory Name Game" but you want Etements in a Plan people to really learn each other's names, so you decide that the "Memory Name Game" So far we have dealt only with the is the best exercise to do. goals and techniques. There are several You also want to do some "Loosening- other things that need to be considered Up" activities to relax the group. You when making up a plan including how to consider pantomime games such as "Herman" begin and to end a session. Does the and "Pantomime This Object" and also -ome class need a warm-up exercise? If so, "Light and Livelies"-- "Zoom" and ":-- which one is best for the class? Would phant and Palm Tree". Since people 4A1

the class like a patterned experience of have been sitting for a long time, -y:).2 starting each session with a game? A feel that "Elephant and Palm Tree" will be ritual of holding hands in a circle? good to do. This involves everyone st.Ind- Most teachers have a good idea of what ing up in a circle and being fairly a( t- will work with their class. In general, ive. Also, there is an element of coop- if a class is bored easily, or has group eration in this exercise. This relates problems, an exciting group-building ac- to the third goal which you have cho!;rn. tivity is important. If a class does not You'd like to do one more exciting respond well to a ritual, vary the intro- game to be sure the group is relaxi.d ductory exercises t.nd apply them specifi- having fun. You still like the idea of cally to the goal or theme of the work- doing pantomime. So you choose "Herman". shop. Other activities such as singing, This has everyone sitting in a a- or "Light'and Livelies", might be part of gain. You want to emphasize the ido )f the plan to add energy or to create a cooperation and want this session to d al more relaxed atmosphere in the group. mostly with that goal so you think about The plan should consider whether some of longer cooperation exercises. "Tinker the activities will be most effective in Toys". "Group Drawing". "Grab Bag Dra- the full group or in small groups. 16 matics". "Machines". "Monster Making". 10

These are the activities that occur to HexibiZity in Yam Ptan4 you. You feel that machine building and monster making assure the most coopera- The first thing to remember is that your tion, Of the two, you feel that monster plan should be flexible. The plan is a making is the least threatening since the means to an end, not an end in itself. worse the drawing is the better it willbe Therefore, changes that.are made should as a monster. So you deOde on monster meet the needs of the group more nearly making. Since that isal fairly long ac- than the original plan. Changing the tivity, you consider that all you need is plans to meet the needs of the group shows a closing or an evaluation. Your final that the session is uniquely for them plan looks like this: rather than a standardized procedure into "Memory Name Game" which the group must fit. Where people "Elephant and Palm Tree" have a say in what happens, there will be "Herman" more sense of participation and therefore "Monster Making" a more supportive environment. Changes Evaluation in the plan can be made either at the be- You are not sure how to do the evalua- ginning, or as the session develops. tion. You decide on a very simple verbal evaluation, Ask: What is one thing you For further notes on amending your plans, liked about the session? What .is one see Agenda Setting, p. 12. thing you would like to see changed? You think you would like to achieve a good closing mood for the group but you SAMPLE WORKSHOP PLANS are not sure that the mood will be right. So you leave it open to perhaps do a If you have chosen to use the workshopfor- closing circle where you will ask what is mat, it is helpful to pick aspecific time one thing you like about the monsters. for the workshops &ring the day orweek. You can decide on that after the evalua- Here are two sample plans. Others will be tion. found in the appendix.

A SAMPLE WORKSHOP ON AFFIRMATION (See Appendix OA Welt 4ampte wokkAhop4)

Theme - Affirmation

Goal - To make affirmation notebook covers which willencour- age children to feel good about themselvesand others.

Materials -2 sheets of oak tag for each child,crayons, magic markers, hole punch, brass fasteners.

PI an 1. Singing in circle 2. Zoom 3. Musical laps 4. Demonstration of symbol ideaand making affirmation notebooks (See p. 40 ) S. Give children the followinginstructions: a) Draw a symbol of yourself(something that represents you) or of somethingyou like to do. If you want, you can trace your hand. b) Go around to others and writedown one nice thing about them on their books.Sign your name ifyou want but you don't have to. 17 c) Hole punching should be done after this process to make sure holes will be in correct position relative to drawings. 6. Ask someone to paraphrase the directions. 7. Return to circle and ask children to readone comment they liked about themselves. 8. Evaluation 9. Singing

Comments It is important for notebook instructionsto be clear and simple. Children should beencouraged to help each other with spelling, tracing, and sharing markers andcrayons. If someone does write something negative about anotherperson, tt should be clearly stated that this isan affirnation notebook. Either erase the commentor start over. Be sure to affirm anyone who is put down.

A SAMPLE WORKSHOP ON COOPERATION (See Appendix Son Othen.4)

Theme - Cooperation

Goals - 1. To give children a successful experience in cooperation 2. To improve listening skills

Materials - One tape recorder for each small group

Plan - l. Open with a song with the whole class in a circle 2. "Telephone" game, in circle 3. Give directions for "storytelling" 4. Break into small groups 5. Facilitators repeat directions to their groups, start tape recorders, and begin storytelling. Play back stories to see if people listened to each other and cooperated. 6. Return to large group to hear brief reports from each group, or if time allows or plan allows play back the recordings of all or some of the stories for the large group 7. Evaluation 8. Closing song

Comments The tape recorders add a new dimension to storytelling. Playing the tapes back helps people see how well they listened to each other. Be sure each group has a working taperecorder. Allowing each participant the choice of deciding when he or she is finished and who continues the story gives students more input. . 18 12 Chapter Four GETTING STARTED Your Role as a Facilitator

There are books and books written GROUND RULES. It is also very important on facilitation. Wemention here only a co mention Ground Rules which are very few points that may provehelpful. simple. 1. Everyone has a chance to parti- One important role for the facilitator cipate. 2. Everyone is listened to and re- is to keep things moving. Sometimes it is spects others' contributions. more valuable to continue agood discus- VOLUNTARY PARTICIPATION in these acti- sion than to move on to a newactivity. Facilitation involves asking the group vities is equally important. If the ses- whether it is more important to go on or sions are affirming and fun, probably every- to continue thediscussion. Often opin- one will want to participate. If there ions in a group need to beclarified and are those who do not want to participate, summarized. The facilitator does thisin find an activity that they can do quietly a way that helps torelate discussions to in another part of the room. Just as they the goal of the session. The facilitator can choose to leave, they can also choose should also check periodically to seeif to return. Similarly, participants can the session is moving in a wayagreeable pass during any activity. to the group. A second important functionof facilitation is to set a tone for the group SOME SPECIAL TECHNIQUES where everyone's point of viewis listened Here are some helpful ideas for begin differences becomes a to, and looking at ning and ending your sessions. positive learning experience ratherthan He or contending to prove who is right. AGENDA SETTING is important at the be- she should provide an example,showing ginning. It is a process for sharing the for the partic- warm concern and interest goals and the plan with the group, and contribu- ipants, affirming them and their getting group consensus to proceed. As tion. Thus the facilitator often becomes some participants may notunderstand the the mediator, one who maintains the co- activities, it is best to give a brief hesiveness of a group. description of each one. It is important for the facilitator to For example: "Monster Making is a co- balance the individuals' needs withthe operative drawing exercise where we all People should feel group goals andneeds. draw parts of a monster and put them to- comfortable in their roles in the group gether." After going over the plan, ask contribute. and that they have something to people if they feel comfortable going a- of There should be an equal distribution If the plan took into con- has a head with it. power, and a feeling that everyone sideration the needs of the group, the People should have say in what happens. group will usually accept it. If there is the equal time to talk, which places upon general disagreement with the plan, the facilitator a responsibility to encourage facilitator's role is to help the group sensitively those reticent to speak,(al- come up with a new one. This should be though contributions should not bemanda- done quickly so that the major partof and in sup- tory) and to endeavor gently, the session is not spent deciding what to portive ways, to discourage too muchtalk- do! ing by those who would monopolizetime. There should be a feeling of acceptanceof QUIET TIME can be used to gather a group members. group together if there seems to be a lot of noise or anxiety among members of the group. Ask participants to listen to the A CIRCLE STRUCTURE is really important. sounds in the room and focus their Itis a physical way of showing that every- thoughts for the session. Quiet Time can one can participate equally. No one is more be affirming to the individual as well as more or less important than anyone else. group-building. 19 13 EVALUATION is one way to encourage stu- SMALL GROUPS dent contributions and participation. It is a form of feedback that should be done and suggestions as often as reasonable, We have discussed facilitation as an should he followed up as quickly as pos- overview, and how it relates to a large sible. Evaluation can be very helpful in group format. The small group format is planning subsequent sessions since you another area where facilitation skills will be prepared to meet the needs of the greatly enhance the structure of the group participants more directly. (Please see and the nature of the experience. Chapter 16 on Evaluation.) Small groups can be used any time when evalua- In addition to encouraging feedback discussions are taking place. Ideally, tion from your group, be sure to continue there should be six to eight people in evaluating the group and your own role so each small group. that you may choose or adapt activities that The small group structure allows for will he posi- are not threateningand that greater participation since more people You will find that you tive experiences. have a chance to talk and some people will develop increasing skill in combining who have a hard time talking in a large goals and techniques as you go along. group feel free to open up in a small group. A small group should allow equal CLOSING. Itis important to bring each opportunity for everyone to speak and exercise or session to a definiteclosing. people should be praised or acknowiedged Evaluation techniques help to do this. for what they say, never made fun of, Another way of closing is to end with a There are several ways of breaking up song that peopleparticularly enjoy. Some- into small groups: having preplanne,t times a special kind of mood developswith- groups; counting off by numbers; count- in a technique or a session. When this happens, there is usually a very exciting ing off by apples, pears, bananas and feeling of togetherness or personal shar- ora-ges; having children choose which group they will go to; or just letting ing. groups form spontaneously. While the A CLOSING CIRCLE is a good way toend latter involves the most free choice, this kind of session. People may link care should be taken to avoid the devel- arms or hold hands while theyrespond to opment of cliques. A more involved and a specific questionsuch as, what is one more time consuming way is to have peo- word that describes how you are feeling ple draw numbers out of a hat. A simple right now? Or, could you say something way is to just divide up the circle. you like about the person next toyou? This is very fast but does not allow any This method should be used only when student input. The more choices chii- people are feeling positive about them- dren have, the more individual input in selves and others, and responses tothe what happens in their sessions, Thisk question can he genuine. about which way will work best with /,)ur group, and stick to that method as m:...11 as possible. This is a logistical A QUIET TIW may also close a session. cess which can give a tone of smociss Like the Clcing Circle, this has to be that will contribute to the succc-- spontaneous.It requires a certain mood each small group. to be effective. Asking for a Quiet Time Some teachers may hesitate to in which people have personal time to a class into small groups becaw;v think about what the group has been do- are the only adults in their room, A:',1 it ins; should be a joyful experience. is hard to imagine the small groui, ;.-- ing able to work on their own. MeN

are ways to solve this problem. ( There are many other things to consider possibility is to let small groun' 10,Jse for effective group process, but if the el their own facilitators, and go ovt r with ements mentioned above are present, you them what should happen in the SMAI are more than likely to have a successful groups. Student teachers, teache. Hies, group, parents, community volunteers, co, 1J all If the atmosphere created is one of be used as small group facilitator'. (In affirmation and cooperation, you should some cases - usually after at lea-t ever- see the number of put downs decrease as al weeks or months of small group ivi- ty - they may work well without fs );Ita- you work together. 20 14

tors.) Be sure that the tacilitators go they will say. It is helpful tb share over the ground rules and everyone gets a what went on in the small groups with the chance to participate, and respects oth- large group. In this way, there is not ers' contributions. only cooperation going on in the small Once you have established who will be group but there is also community-build- working in small groups, be sure everyone ing going on in the entire group. is clear on the goals and the process of If put downs occur, the facilitator the small group activity. Also, it is should affirm the person put down. The important to clarify who, if anyone, will one who made the put down might be af- be the facilitator in each group. The firmed or spoken to at a later time. facilitator should encourage participants Those people who seem sad or insecure to get quickly into a small circle and should also be validated quickly. If the start right in with an attention-grabbing facilitator has excitement and good feel- question which will involve everyone im- ings about the small group, this will mediately. This is often called a "whip" carry over to the children's feelings a- or a "snap" question. The purpose is to bout the group. Personality problems focus the group's attention, to show that which cannot be handled by the "snap" this group involves everyone, and to s.'t question or affirmations should be dealt a tone where everyone is listened toand with as best they can, but generally the appreciated. Thus, it is helpful if the group should not be sacrificed for one first question is interesting and person- individual. People who don't w-.it to al but not difficult. For instance, what participate should not have to, Instead, is a good movie you have seen lately? they should be encouraged to join later. The question might also be related to the Hopefully, if the atmosphere is right for small group topic. For instance, the them, they will join when they feel ready. following questions might occur in small People who decide not to participate group Storytelling. What's your favorite should do something on their own that is kind of story? Do you have a story you not disturbing to the rest of the group. especially like? What would you like our The small group facilitator's main re- story to be about? If you were going to sponsibility is to the small group but start a story, what would the first line there should also be an awareness of the be? These questions should have brief whole class. If one group doesn't wall to answers so that everyone gets a chance to do what the rest of the class is doing, answer every question. The facilitator that group should get the approval of the might want to combine what the group has other small groups to go ahead with a new said into beginning a story, plan. If they do not get it, the small The facilitator's role in the Story- group should return to the originalplan. tolling would also be to determine who Otherwise, it may not seem fair to other will speak and for how long. After the groups and this will reduce the senseof Storytelling, the following questions can community. If one small group finishes be asked: What is one thing you liked early, someone from that group should go about the story? Did you feel that your around quickly to other groups to find how part of the story was listened to? How much time they need to finish. Then there do you think we should share the main i- should be a general agreement made between deas of our story with the large group? all groups as to how long they will con- At this point, it should be decided who tinue. If one group has finished and oth- will report to the large group, and what er groups still need more time, it isbest for that group to return to a discussion on what they did, i5 Chapter Five THE CHALLENGE OF INTEGRATION Moying Beyond the Workshop Approach

INTLGRAT1NO TECHNIQ6CS sion of the realistic solutions and peo- INTO THE CLASSROOM ple further discussed which they could really use. Of these solutions, the One idea in making CCRC relevant to your teacher asked children to distinguish be classroom experience is to have a daily tween which solutions involved or would sharing circle The content of the shar- lead to fighting and which wouldn't. ing circle is determined by the partici- There was a long, involved discussion a- pant', This could be a time to discuss bout whether some solutions really would problems in the school or class. It lead to fighting, or teasing, or put could be a personal sharing time where downs. The discussion went on for an un- each person shares positive things about usually long time and involved serious himself or herself. Another possibility. discussion that surprised the teacher, is to use "Loosening-Up Activities" throughout the day when there seems to be INTEGRATION INTO CURRICULUM a need for physical activity or tension release. Several affirmation techniques You may want to integrate several of the could he used throughout the year such as techniques into curriculum that you have "Affirmation Valentines", "Stocking Fil- already planned for the year. You are lers", "Silhouettes", to encourage people limited only by your imagination as to to feel positive about themselves. You the type of activities that you might might also choose to have a special z7ath- come up with. There are several affir- ering time in the morning, after lunch, mation exercises that relate directly to or just before school lets out, which is reading and writing skills such as "If My a fun time for everyone. This approach Feet Could Talk", "An Interview with a can be done more spontaneously than the Friend", and other "Affirmation Notebook" workshop format, although you may want to pages. do some planning early on in the year. The following is an example of how One teacher shared with us the way he one teacher integrated these techniques was able to integrate Conflict Story into her curriculum. Reading into his classroom of fourth A fourth grade teacher in an East Har- graders. He was able to sustain the lem School was very concerned about pre- students' interest over a three day pe- paring her children for a reading test, riod, discussing one conflict, and which She wanted ,to do this in an affirming and solutions would lead to fighting and cooperative way that was fun for her stu- which seemed realistic. This was with a dents. She chose to do Picture Vocabu- group of children who did a lot of fight- lary games (see p. 38) over a three week ing and it was surprising to the teacher period. The first week she did the word that this kind of discdssion could take game where students pick a picture which place. The first day ae told them the shows one word and makes up other words story of the main conflict in Ezra Jack that the picture does not show. The pic- beat's .'7oggles where some big boys try ture and words are put on a large sheet. to steal a pair of goggles that two Each individual has a chance to show the younger hoys had recently found. With- sheet to the class and be affirmed for out mentioning the end of the story, he his or her beautiful work. Then the asked for a brainstorming of possible class has a chance to guess which word solutions and to everyone's amazement describes the picture best, The teach- filled the blackboard with over 40 ideas. er found this affirming to the individual Children copied down all the possible and community building for the class. solutions in their notebooks. Next The second week the teacher used the there was a discussion of n11 the solu- "Fill In the Blank Sentence +iord game" ttons that seemed absurd and unusable (see p.38) where children choose a pic- And why they seemed so. ture, form the beginning of a senterwe The next day the teacher brought in and choose words that end the sentent_e. the hook and read the whole story to the appropriately in relation to the picttire, There was a continued discussion The third week she used the "Sentence on which solutions seemed h.Dst realistic. Game" (see p.38) where participants make That evening, children were asked to up four different sentences about one thick about which three solutions they picture. The same guessing process is felt were the most realistic. used at the end of these techniques as in On the third day, there was a discus- 00 the word game. 16 Chapter Six

LET'S GETACQUAINTEDBEST COPY AVAILABLE Exercises thatHelp RememberNames

Children often prefer to talk about things difficult, especial- Remembering names is that are outside of school. ly at the beginningof each school year. The same holds truein any new group situ- THE MEMORY NAME GAME is more challeng- help peo- ation. The following activities ing. It is fairly easy to do if children other's names in a fun, ple learn each already know each other. The structure supportive atmosphere. These games are is the same as for the above except that They help to affirming to !)articipants. people are asked to repeat what everyone For these develop a sense ofcommunity. before them has replied. It is important exercises can be used reasons, these to ask just one simple question such as throughout the year eventhough their "What is your favorite food?" so that the chief purpose is tohelp remember names. last person in the circle has a chance of activities suit your own Use whichever remembering and repeating what everyone situation best. else has said. Since there is much repetition, this is an excellent exercise not Have every- INTRODUCTORY NAME GAME. only for remembering names, but also for feel- one sit in acircle to foster group learning about each person in a group. ing and to allow everyoneto see and pay Ask a attention to the personspeaking. THE FIND-A-RHYME NAME SONG is a good "What is simple, interestingquestion. introductory exercise for young children. Or "What is a your favoritedessert?" The song is developed by adding the name fa- sport you enjoy?" Or "What is your of a child in the class at the end of the and vorite soup?"Go around the circle first three lines and then making up a his or her name and an- have everyone say last line that will rhyme with the name. Participation should swer the question. (See example below.) It is a good idea not be voluntary. Some people may choose to have a guitar or piano accompaniment Questions at the to answer thequestion. when singing the following: beginning; shouldn't be toopersonal.

bj the namgof (RAO knold a Personby lienameof (Pilfer),knot.) a person :177-7T, k, issweeter. knot.} q roombytie nctme of(Pefer).There is710one that

UMW that no one will be put down. It is best is helpful tomake up rhymes in advance. It If there However, some people are good atimprovis- if everyone's nine is mentioned. are too many in the class topermit this, ing. Sometimes children can make up their the following concluding versemight he own rhymes about oneanother, but care must he taken that theatmosphere is such used:

for.) 6441 hasa mar Ever] 6cli has a 'tame,Eytr1)61.1 073---'

'Olafwttomde fkm :fif a iharnc. haSaname.. 23 17

THE INTRODUCE-YOUR-NEIGHBOR GAME teachers who don't know each other well. helps people learn something about other It can also be used withchildren and persons in a group. Have everyone sit in adults who are familiar with each other. a circle. Ask people to form pairs and Provide each person with paper and pen- then talk about themselves. Be sure to cil. Participants should form pairs, pref- say that you will announce thehalf time erably with those who don't know each mark (2-3 minutes) and then the other per- other very we'l. They are to ask three son in the pair will begintalking. Then questions of each other. These should be have everyone return to the large circle fairly simple, such as; "What is a movie to introduce partners to thewhole group. you enjoyed recently?" or"What is one place you would like to visit?" The per- Itis. preferable for people to report voluntarily since this involves more direct son asking the questions canjot down the participation. If this is awkward, go other person's responses. When both around the circle for reports on part- people have had a chance to ask three ners. questions, they find other partners and For people who prefer more structure, repeat the process. After fifteen to ask a specific question such as "What are twenty minutes, or when everyone hashad three things you like to do?" .Givepeople a chance to interview severalpeople, the The a chance to thinkfor a minute, and then pairs return to the large circle. ask them to forM pairs. Examples are facilitator or teacher should say, "This helpful for getting people started: "In is (name) . What do people know about the summer I like to ride horses." "In (name) ?" People who interviewed that the winter I like to play in the snow." person share what they learnedeither from memory or by referring to notes. INTRODUCING YOURSELF (OR SOMEONE Everyone should be mentioned. This is ELSE) THROUGH A PUPPET is a game an affirming way to get toknow people. young children play naturally,especially after making puppets. As a class, this can be played simply bysitting in a circle and passing around a puppet to speak through. For older children, or children to whom puppetry is an unfamiliar medium, "Introducing Yourself" can be used as a first experience of puppetry. It should be done with a quick, fun tempo.

ANIMAL NAME TAGS is an exercise which helps people in a large group to get to know each other. Their names can already he on the tags. Ask people to draw or put the name of their favoriteanimal on the tag. If anyone has a problem with the word "favorite", ask that person to choose one animal he likes. Sitting in a circle, ask peopletheir names, favorite animals, and one thing they like about these animals. Another possibility is to ask each person to putdown the name of an animal mostlike him or her. Choose whichever variation seems best for the group. This introductory exercise encourages people to laugh and get to know others with ease.

THREE QUESTION INTERVIEW is a technique which helps people to learn several things about participants. This is espe- Mirror" (see pane is) cially effective in a group of parents or Chapter Seven FREEING OURSELVES UP Loosening Up Activities

Often group situation participants are a HUMAN PROTRACTOR. Ask everyone to little nervous. They don't know what to stand in a large circle. expect. Loosening-up activities help Start with your relieve some of the tension by encourag- hands touching your toes, and count from ing people to laugh, interact with each 1 to 20, gradually raising your arms so other i1 a playful way, and have fun. that by the number 20, your hands are "Loosening-Up Activities" help to in- reaching towards the skv. Ask people to crease the energy level in a group and remember where their hands were at differ- to focus people's attention on what is ent numbers. Then begin calling out num- happening. bers, and have the group assume the position for that number. Children love lead- THE LOOSENING-UP GAMEis a simple ing this energizing game. It is group- theatre warm-up exercise. It helps cre- building because everyone is doing the ate a high energy level and prepares peo- same thing together. The game can be ple for skits and role playing. Stand played during the day without a circle. in front of a group and ask people to For younger children, it can be used as a imitate the sounds and motions that you math lesson. make. The sillier you look, the more you help produce an atmosphere that is 1-10 MATH GAME (USING "HUMAN PRO- comfortable and low-risk for everyone TRACTOR") . In this game, instead of else. After people understand how the calling out numbers and having the group exercise works, ask others to lead with assume the position for each number, the sounds and motions. facilitator calls out additions and sub- tractions. For example, the leader may THE MIRROR EXERCISE follows the call out "ten minus two". The others say This "Loosening-Up Game" nicely. In "The Wr- "eight", and go to that position. ror ", two people try to imitate each o'th- game can be played as 1-10 or 1-20, or er's actions simultaneously. At first, whatever numbers seem most appropriate one person tries leading, and then the for the group. This is a fun, group- other, but in the final "mirror", no one building way of doing a math lesson. Ro- should be leading. Both people should be tate the leader often so that more people be contributing to the motion. It is have a cAance to be affirmed in front of helpful for partners to have eye con- the group. tact and to have smooth, flowing motions. Choppy motions are difficult to follow. HUMAN PROTRACTOR TO TELL TIME. Ask Begin by demonstrating "The Mirror" one person to demonstrate a certain time Be yourself. Then ask people to divide in- by placing hands in that position. to pairs. Make sure that everyone has a sure to distinguish between the hour and partner. When most people have finished, minute hanc'i. Try another position and ask children to guess the time.When every- itis a good idea to ask them how they felt about doing the exercise. "The Mirror" is also an excellent cooperation activity. (See sketch on p. 17) THE RLBOUND EXERCISE might follow the "Mirror". It should be done with different partners so that more people have a chance to work together. Explain that the "ReboundExercise" allows people to respond back and forth to each other's sounds and motions. The first person starts an action (sound and motion). The second person "rebounds" with a reaction "Human Protractor" which is also a new action for the first person to respond to. 19 one understands the objectof the game, endless variations. The pantomimeu ob- ask for volunteers to showpositions for jects are fun to guess, and the game is Be the class to guess. This is an exciting affirming to the cne taking a turn. way to teach tellingtime. sure the object you choosehas enough possibilities. MASK PASSING is a theatre warm-up exercise which helps to make people feel com- OCCUPATION PANTOMIME. People go a- fortable doing pantomimes ar.d 'skits. It round in a circle and pantomimedifferent is a fun game for all ages, but young occupations while others guess what the children especially enjoy it. Form a cir- occupation is. It is best to describe cle, and demonstrate an unusual expres- this game by pantomiming anoccupation The sion on your face. "Pass" that expres- rather than explaining itverbally. sion to the person next to you who will game isconfidence-building for the in- try to imitate the sameexpression and dividual, and it is unifying for the then transform it into a new expression. whole group since everyone'sattention is This will be passed on to the next person focused on each person in turn. Tne game in the same manner until everyone inthe goes well with a unit onoccupations, and circle has received and given a facial it helps children to build uptheir vo- expression. cabularies on occupations.

THE HERMAN-HERMINA IMAGINARYCLAY WHAT KIND Or STORE IS THIS? is a GAME follows the mask passing nicely pantomime game similar to "Occupation since it is also done in a large circle Pantomime". Give children a little time would like to and is a more complicated pantomime game. to think of a store they Pull "Herman" or "Hermina" (an imaginary pantomime. Then go around the circle they have lump of clay) from your pocket and mold and have people pantomime what an object by meansof pantomime. The ob- chosen. Children love to guess what oth- ject should be simple andclear, such as ers have done. This goes well with the (see a typewriter, sothat people understand "Group Cooperation Store Drawing" and the purpose of the game andit can get Page 22) and with a unit on stores underway quickly. There is no need to ex- occupations. plain that the observers should guess what each person is making fromthe clay. CHALLENGE PANTOMIME is a morediffi- People will be curious and respond by cult pantomime gamewhich older children guessing anyway. Introducing this game enjoy playing especially. Ask fora volun- by showing rather than telling is espe- teer to come to the centerof the circle, cially important since "Herman" and "Her- Then give a difficult situation topanto- mina" are magical. Treat "Herman" with mime: "It is 99 degrees and you are try- a great deal of respect. This adds to ing to eat a double deckerice cream "You are walking through three the exciting make-believe world which cone." feet of snow carrying a cup of cocoa." children especially love. Even though children may want to go around the cir- "You are walking along and suddenly the It is helpful cle a second, and even a third time,it floor is full of marbles." before "Chal- is best tp end the game after everyone to do other pantomime games has had one turn. Ending a game at its lenge Pantomime". peak helps to carry over the positive mood and energy of the group to the next FOLLOW THE SOUND is a good group building and loosening-up game. One person in activity, If there are any children who did not participate the first time, it is a circle starts a sound. The person next a good idea to go around asecond time to to him imitates it, and passes it until the sound has gone around the circle. give them a chance. "Follow the Sound" can al ;o be played by PANTOMIME THIS OBJECT. Young children having one person stand in front of the especially like this game. Choose a real class or group, make a sound, and every- object such as a broom. Use it to panto- one imitating it in unison. mime something, a guitar, horse, violin, One person makes a etc. Then pass the object around the PASS THE SOUND. circle, and ask people to pantomime some- sound, and passes it to the next person thing with it. Children come up with who imitates thatsound and gradually 26 isn't too large, it may be a good idea to transforms it into an,ther soundwhich is continue the game until everyone has had a then passed on to the h_xt person,and so This process continues until every- chance to say "Eek". If quite large,every- Jn. one who did not say "Eek" can begiven a one in the circlehas received a sound, made up a new one, andpassed it along. chance to "Eek" together. This game is supportive tothe individual Begin this game as well asunifying for the whole group. ELEPHANT AND PALM TREE. with everyone standing in a circle. One middle and points to GUESS THE SOUND. Each person in acircle person stands in the "elephant!" is asked to make a sound. Others guess someone in the circle saying To make an "elephant", what the sound is. The structure is simi- or "palm tree!" the person pointed to leans over,clasping lar to "Pantomime ThisObject" or "Herman- his hands and swinging his arms toform Hermina". "Guess The Sound" can beused with a science unit on sounds, or as a the "trunk". The person on his left makes the "elephant's left ear" by holding up listening exercise. If people go to the of his middle of the circle, or standin front hi,s left elbow and touching the to The person to of the class, the game willbe even more head with his left hand. does the affirming to the participants. the right of the "elephant trunk" same with his right arm toform the "elephant's right ear". To make the "palm tree", the person in the center stands LIGHT AND LIVELTES with hands straight up (the "trunk"). To Relax and Change Pace Those on each side hold uptheir outside arms, hands drooping, tomake "fronds' ". The Philadelphia Nonviolenceand Children Other variations include"1776"with afife, Program calls the followingexercises It is fun for people to "Light and Livelies". They aregenerally drum and flag. make up their own versions of this game. shorter than the "Loosening-UpExercises" and are ideal afterdiscussions, or when people have beensittingforalongwhile. These are very positive,group-building games which lead tolaughter and fun. These exercises and others canhe found in Marta Harrison's excellentHandbook For The Fun Of it,included in the bibliography.

ZOOM is a large group circle gamewhich encourages laughter. Imagine "Zoom" as the sound of a racing car. Start by saying "Zoom" and turning yourhead to either side of the circle. The person on that side passes the word"Zoom" to the next person, and so onuntil everyone has quickly passed "Zoom' around thecircle. Next, explain that the word"Eek" makes the car stop and reverse cirection. Thus, whenever the word "Eek" issaid, the "Zoom" goes the opposite wayaround the circle. At first, it may be helpful to allow only one "Eek" per person pergame, thus preventing the "Eeks"and "Zooms" to be concentrated in one areaof the circle. Later, this might be used as acooperation game by avoiding the rulebut letting each participant feel a responsibilityfor helping to balance "Eeks" indifferent segments of the circle and to thus helpthe "Zoom" to get all the way around. If the group

2by 2.

TOUCH BLUE is a fun, group-building "Light and Lively". Begin by standing up and asking people to touch something blue on another person. Then quickly go to variations; touch sneakers; touch red hair; touch a wrist watch; touch brown; etc.

HUMAN JIGSAW PUZZLE. Clear a large space in the center of the room. Have one person lie flat on the floor with arms and legs in any position. Then have other people join the "puzzle", each one fitting in where they see space. When everyone who wishes is part of the puzzle, ask people to look around and try to remember it. Next, ask everyone to get up, walk around a bit, and then try to put the puzzle back together, by resuming the position they had previously taken. This is a good group-building game, evoking much laughter.

HUMAN PRETZEL is similar in purpose and structure to "Human Jigsaw Puzzle". Ask people to stand, hold hands firmly, and move about so as to become totally entan- "HUMAN PRETZEL" gled like a pretzel. When the knot is JUMP- IN EXERCISE.. Ask participants to completed, ask one person to untangle the jump into a circle in a way that they pretzel. Throughout the exercise, hands think expresses themselves. Afterwards, should never be separated. ask how people felt doing this. If people I LOVL YA' HONEY BUT I JUST CAN'T jump in individually, the exercise is affirming to the person, whereas if every- SMILE. Participants sit in a circle for one jumps in together, it is more of a this laughter-producing "Light and Lively". group-building exercise. Begin by saying to the person to your right or left, "Do you love me honey?" MY BONNIE. Everyone sings the song "My That person responds, "Yes,I love you Bonnie Lies Over the Ocean". Whenever honey, but I just can't smile."The first words beginning with a "b" are sung, they person then attempts to make the second altqrnately sit and stand. For example: person smile. This continues around the circle until the first person is asked "Do My Bonnie (stand) lies over the ocean you love me honey?" and is made tosmile. My Bonnie (sit) lies over the sea...

CRAZY FACES BIG AND SMALL. In a large This game is very active. Some people group, ask children to make their faces as might not be able to finish the sung or big as they can and then as small as they keep up with the rapid sitting and stand- can. Repeat this a few times. This serves ing. It is such a :Ally game, it gets as a tension-releasing activity and en- people laughing right away, serving as a courages laughter and fun. good energizer and tension-reliever.

"HUMAN JIG SAW" 22

LETS BUILD COMMUNITY Learning to Cooperate After the drawing is completed, the %,hole In a competitive societysuch as ours, children rarely have theopportunity to class can look at it, discuss it; an experience successful cooperativeactivi- tell how they felt about working on It. Questions might be asked such as, "C;r1 ties. Cooperation exercises are structured experiences which provide an oppor- anyone see an object that was added to by tunity for individuals to worktogether someone else?" towards some goal. Cooperation exercises help develop a positive atmosphere. They GROUP COOPERATION DRAWING OF A DES- alSo encourage individualaffirmation and ERT ISLAND. Ask each per-Son to thil,k about the question: "If you were on a growth. In this environment, creative conflict resolution can take place. As desert island, what things would you want with other techniques, each personshould to be on that island?" Then break into have a say in what is being created. Ev- small groups, and ask people to sharc what eryone respects others'time. they would like to see on the island. Next, ask people to choose one of those things to draw. Children should discuss GROUP COOPERATION DRAWING and decide cooperatiVely which items should go where on one sheet of paper. The following exercises help to showthat After everyone has added to the drawing, products created by a group working to- ask if anything else should be added. gether can be more exciting than those Drawings can be shown and affirmed by ev- created by an individual alone. eryone. GROUP COOPERATION DRAWING OF A CITY .BLOCK can be done either at a blackboard or in small groups. Ask people to think of what they would like to see on acity block. In small groups, give everyone a chance to respond, and then ask what everyone has decided todraw. The large group drawing can be done in the same way asthe blackboard drawing of a neighborhood.

GROUP COOPERATION DRAWING OF A STORE is done easily in a small group. The only direction needed in a large group is to draw a store cooperatively. But in a small group, thefollowing questions GROUP COOPERATION BLACKBOARD DRAW- might be asked as a means of getting the ING. Choose a topic that is appropriate drawirg process started. to the group. For example, a drawing of the area surrounding the school. Before What kind of store would you like? people go to the board to begin drawing, itis helpful to suggest a few ground Which of these stores could we, as rules, such as a group, draw easily?

Only draw one thing that fits in What are the parts of this store? proportionately to the rest of the drawing. Which part would you like to draw?

Only five people should be at the Everyone should have a chance to answer board at a time. these questions, but no one has to. As implied, all the questions should lead tode- Think of what you want to draw be- cisions made by consensus of the group. fore going up to the board so that This serves as a group cooperation process other people don't have to wait in itself. After group sharing in a small. too long for their turn. circle has taken place, begin thedrawings. 23

Large constructdon paper and crayons adventure and drama. One way of ending work well. Present the Ilrawings to the this exercise is to go around in a large whole class, hang them on the wall for circle and ask people to say one thing everyone to see, then go around in a circle they like al:out the monsters. Another way and ask for comments about the drawings. of ending is to discuss how people felt \ more structured and more affirming pro- making the monsters. cess is to ask people to say one nice thing Many other exciting activities can de- about the drawings, "Group Cooperation velop from "Cooperative Monster Making". Drawing of a Store" can he done with "What The following anecdote illustrates what Kind of Store Is This" exercise mentioned one class did with the idea. earlier, or with a unit on stores and occupations. The emphasis in the small EL MMOO IMAGINARIO (THE IMAGINARY WORLD) group should he on the process, working together and having fun, and not necessari- At P.S. 75 in upper Manhattan, the princi- ly on the product. pal, Luis Mercado, and two teachers, Lou- isa and Robert Fuentes, felt that the WOPIAZATIVE MONSTER MAKING is a group drawings done for "Cooperative Monster cooper ation drawing exercise which is best Making" were exceptionally creative. The done in groups of five or six. It encour- Fuentes combined their classes to expand ages the expression of vivid imagination. the idea to create "El Mundo Imaginario". The figures the children create ("monsters") Some of the students applied ideas may also be called "outer space people", from a fantasy and film course they were "animals that didn't make it on the ark", taking. They came up with several crea- or "imaginary creatures". Since these. tures: birds, fish, butterflies, and some have no specific definition, they can't which fit no category. be drawn "wrong", nor will children be As with 'lonster Making, the children judged for their artistic ability. The were encouraged to use their full imagina- more horrible the drawing turns out to be, tions, emphasizing that there was no right the hotter will be the "monster". Chil- or wrong. There were many discussions on dren really enjoy doing this exercise be- what made the monsters strange or special. cause itis not threatening to anyone. These discussions developed into creative The figures the children create can be writing projects as the children wrote done in several cooperative ways: stories about the Monsters. When the "Imaginary World" was exhibit-

1. Children can pick from a hat the eu in school, other classes got excited names of the parts they will draw. and made their own creatures. Some people decided to make a film, and others a video- 2. They can decide cooperatively among tape. The idea was so well received that themselves who will draw what part. Luisa and Robert Fuentes wrote a book, A Step Further, descr i hi ng the concept ,and S. They can draw whatever part they including photographs and writings of the wat. children. (This is available from Quaker The third method allows for the maximum Project on Community Conflict, 15 Ruther- free choice andcreativity. The second en- ford Place, N.Y., N.Y., 10003 for $1.00.) courages a more difficult process of cooper- "IA Mundo Imaginario" was on exhibit atthe ation which could load into a good sharing Bone Hollow Arts Center in Accord, New York, discussion about cooneration. The first method is the quickest, since the decision of who will draw whatis already made. OTHER WAYS OF USING GIZOlH' COOPERA- However, those who wish may exchange parts TION fIONSTERS.in addition to creative or may draw something other than the part writing, film and video making and other which they picked. Choose whatever model techniques used in "El Mundo huaginario", or variation of that model suits your people might want to do a Storytelling a- group hest. It's 0.k.for a monster to bout the Monsters. One person can begin have several heads and only one foot. the story and others add to it. For more Be sure to have nlenty of light color- details see "Storytelling" in the "Cooper- ed construction paper, crayons, and scis- ation" section, Page 26. The story could sors available. Stai)lers work well for he tape-recorded, edited and presented to putting the monsters together. Asking other classes. It could also he used as children to close their eves while the mon- background material for a play shout monsters are heirs); put up adds a flavor of sters to show to other classes. PESTCOPY4AVAILIABLE

1%y r40,

SOME OF THE MANY FIGURES FROM "THE IMAGINARY WORLD"EXHIBIT

ti lit.

'1 Y. 25

. vne vbjeL, SNOW} LAKES Ask Iad v dua s to make snow- - ns' .1_,the room, if lc flakes by folding paper into eight parts to do so. Everyone should guess the object and cutting out designs to resemble snow- and remember where it is in theroom so flakes. When everyone is finished, put all that two objects will not occupy thesame the snowflakes together to form one large, space. Objects may, however, be addedto "class-size" snowflake. It is exciting to already existing objects (avase may be see a beautiful product to which everyone put on a table, a flower in the .'ase, food in the class has contributed. Another way in the refrigerator, etc.), After everyone of doing this exercise is to break into has had a turn, see if the group can remem- small groups and create four or five medi- ber all the objects that were added to the um-size snowflakes which those in small room. groups have made cooperatively. GROUP COOPERATION FLOWERSc.in be done either in large or in small groups. Par- GROUP COOPERATION DRAMA GAMES ticipants create real or imaginary flowers by positioning people in shapes resembling

Another way of building a sense of commu- . flowers. Others can guess what kinds of nity in a group is through drama games. flowers they are, or photograph them, or These are in a sense even more group-build- draw pictures of them. The object of "Group ing than "Group Cooperation Drawings" since Cooperation Flowers" is to work together to they often include physical working togeth- create something beautiful.

, -r. They lead to a relaxed mood because

they involve a lot of moving around and COOPERATIVE SPELLING. The object of this laughing, These exercises help establish game is to spell words formed with letters a "safe" atmosphere where people can share made by children who take positions in the personal feelings openly. shape of letters. This can be done standing up but is more fun and effective lying GROUP PANTOMIMES. Begin in a large cir- down. "Cooperative Spelling" is an activi- cle. Say that you will describe situa- ty for a whole class, or for small groups tions which will need large groups of peo- where children choose cooperatively which ple to pantomime. To create the pantomime, word to spell, form the word, and then pre- they will need to work together. For ex- sent it to other groups to guess. This is ample, in a pantomime of Grand Central an exciting way to practise spelling. Station at rush hour, people will have to cooperate with each other to create a MACHINE BUILDING can be done in large or crowded rush scene. Another example is small groups. In small groups, begin by the pantomiming of a skating scene. demonstrating a "human machine". For example, you might demonstrate a washing ma- OCCUPATION PANTOMIME IN GROUPS. chine by two people holding hands with out- Ask people to break into small groups and stretched arms and a third person inside choose an occupation they wish to panto- moving around as the "dirty laundry". Oth- mime before the whole group. Everyone er possibilities include a typewriter, a who wants to should have a say in the car wash, or a blender. After the demon- choice of the occupation and a part to stration, break into small groups and ask play in the pantomime. When the panto- people to create their own machines which mimes are ready, present them to the large will be presented to the larger group for group, and have others guess what the occu- others to guess. Within the small groups, pations are. This exercise works well it is helpful to ask the following: with a wait on Occupations and can be done along with the individual occupation pan- 1. What type of machine would you like tomime, and the "My Favorite Occupation" to build? Affirmation Notebook sheet covered on Page 2. Of those machines mentioned, which do you think would be possible for us ROON1 BUILDING. Note: It is better for to create? the group t.o experience more simple pantomime games before doing the group coopera- 3. What are the parts of this machine? tion pantomime game, "Room Building". Be- gin by designating the rectangular limits 4. Which of these parts would you like of the room and pantomiming the door and to be? door handle, Be sure to mention that people must go through the doorway when enteal-0 5. Is the machine complete with the ing the room. Everyone should pantomime 1-;4 chosen parts? 26

thah if give a two minutewarning before returning next keeps people' st to the large group sothat people will have everyone responds going around a circle. time to finish rehearsing their"machines". Individuals may he called on more than once, In the large group, enough timeshould be although in a very large group there may given to completethe "machines" before oth- not be time. People should have a chance ers start to guess. This is affirming to to contribute if they want to. The story those performing the machine aswell as can be pure make believe or one which re- group-huilding for those who haveworked lates to the school. In either case, the The more people together. story should move quickly. in the group, the briefer each person's part of the story should be.

GRAB BAG DRAMATICS is a fun cooperation game for small groups. Before starting, fill paper bags with several unrelated objects, one bag for each group, one object for each person in the group. Every person should take one object from the bag, without looking. After all the members of the group have an object, they are to work together to create a skit in which all of the objects are used and related to each other. It is a good idea to do a demonstration skit first, in front of the group, so everyone can see the procedure. After the skits are

( created, return to the large group to perform them. Older children might want to discuss how they put together their skits. "MACHINE BUILDING - A 'CHOPPER' BICYCLE" Another idea is to videotape the entire procedure of one group, and play it back for This can lead to an inter- The large group "machine" is a good high- the whole group. energy exercise which shows unity physical- esting discussion on the process of cooperation. ly. The person who begins this abstract "machine" should say simply, "We're going to build a machine that we're all part of. GROUP COOPERATION PROJECTS When you see a place you'd like' to fit in, add a sound and motion, or just a motion if These exercises emphasize group work toward you want. Make sure that what you add is a final product. Ideally, people should connected to another part of the machine." feel proud of the contributions they have This exercise helps build trust and positive made individually. In addition, the group feelings in a group. develops a sense of cohesiveness through working together successfully toward a posi- ONli WORI) STORYTELLING is a large group tive final goal. cooperation game. One person begins a "story" with one word, the next person adds a COOPERATION FRUIT SALADis an activity word, and so on until everyone in the cir- where each person contributes to and works cle has added one word to the story. This at creating a fruit salad that can he is a short game which is very amusing. Co- shared by the group. Several processes can operation exists when words are set up so be used to achieve the final goal; ask each the next person can add a word easily, and child to bring some pieces of fruit; make when the last person can end the story natu- lists of which people should bring which rally. fruit; count off by apples, pears, bananas, oranges, melons, peaches, etc., and have STORYTELLING is a fun community-building all the "apples" bring apples and the "ba- exercise, done in a large group. Begin the nanas" bananas, and su on. These groups story: "Once there was a boy and a girl can also indicate who will preparewhat walking down a very long road. The girl fruit for the salad. Don't forget the cups

had a basket in her hand. . . ." Stop the and spoons so that everyone can share the story by clapping your hands and pointing fruit. This idea might be used as a fund- to someone to continue, the story. The sur- raising project for the school, or as a gift prise element of not knowing who will be to other classes. 27 utST COPY AVAILABLE

GROUP CMITRATIM SOUND EFFECTS TAPE. to participate in the building. Ask people In small groups, ask people what sounds to break into small groups to build some- would be interesting for a sound effects thing cooperatively with 'linker 'toys. After tape. Then ask each person to choose a ten minutes or so, everyone should have.had sound they could record. These can include: enough time to build something, and e.eryone running water, traffic noise, a school bell, should return to the large group to show and discuss their Tinker Toy creations. Older clapping, , siren, whistling, etc. People can then go in pairs to record the sounds. children might be interested to discuss how Each group can then play the tape for the they worked together. It is helpful, al- rest of the class. Another process for the though not necessary, to have a facilitator "Sound Effects Tape" is to have the whole for each group. class make a cooperative tape with individuals or pairs taping sounds. Both structures encourage people to work together toward a FUN WITH OTHER GROUP COOPERATION ACTIVITIES final goal. The tapes can lead to a discussion on what sound is, and what different The majority of the following exercises are kinds of sound exist. This exercise goes particularly joyful games that can be done well with a Science unit. with a la,ge group of children throughout the day. They help to build a sense of com- GROUP COOPERATION SLIDE SHOWS. Gather munity by having children experiencefun, several old slides that no one wants. Re- positive experiences together. move the pictures on the slides with Clorox. (Plastic frames can be dipped in Clorox. ,RAINSTORM is a circle game in which parti- Use brush or cloth for cardboard frames.) cipants simulate cooperatively thesoun(N Give each person a cleaned, blank slide. of a rainstorm. The facilitator begins by Hand out fine-pointed magic markers. Ask rubbing hands together in frontof one per- people to make a design on the slide and son in the circle. That person imitates the put their name on the outside of the slide. motion. Then the faciliator goes aroundthe Slides can be.put together and shown as a circle and one by one adds everyoneinto the class slide show. Small groups can also motion. The next time around, thefacilita- put together mini-slide shows and add music tor clicks fingers infront of one person. rubbing hands and a script. A few members of the class Everyone else should still be might want to show either the large group until the facilitator comesaround with slide show or the small group shows to oth- clicking fingers. The next time around, the er classestand teach them how to make facilitator makes a pattering sound onthe their own. Individuals should be affi!med legs. The peak of the storm occurswith for the slides they have created, in addi- feet stamping. So far, the wind has started tion to the satisfaction they have had in to rustle the leaves, therain has begun, working toward a community goal. then has become louder, then hasdeveloped into a full thunder storm. The next part COOPERATIVE BUILDING WIN TINKER of the game is the subsidingof the stcr7%. TOYS is best done in small groups. As After the stamping, the pattering return, with other similar sill grow) exercises, and then the clicking fingers,ond getting quieter and es,ii - there should he two .round rules: 1. Every- the hands rubbing , one has a Cnance to help the grou decide eter until there is silence. what to build, and, 2. Everyone has a chance SCAVFNi&R HUN!encourages cooperaionin small groups. Plan clues for groups s) that different groups go todifferent parts of the school (library, gym,lunchroom, etc.) at different times. Teachers in charge of these areas shouldbe consulted beforehand. Each of the clues should be in a packet along withdirections for a cooperative activity such as:

a. Imagine it is a rainy day. Draw a picture of what you as a small ,roer would like to do.

b. Make paper bag puppetsand pst on a show. TCOPY AVAILABLE

portant to treat the microphone with re- NHL! something together out of spect. Lic,c iinker roys. is a non-competitive version S1:.) re these cookies. MUSICAL LAPS of musical chairs. People stand in a circle holding on to the waist of the person icila story to which everyone in in front of them. our 4roop contributos. When the music is going, people Walk arour' in the circle, and when it stops, people sit down in the lap behind Thcre Loold be surprises at the end or a them. If people are cooperating, the cir- ~haring of what everyone did in the small cle will stay up and everyone will have a groups. hither way, it is important that comfortable lap to sit on. If people do th(. tqlrphasis be on cooperation rather than not sit down gently or help others to find on rInIshIng the scavenger hunt first. a seat, then the whole circle falls down. Children love this game, and try very hard to keep the circle up. MACIC .I(AMPIIL is a group cooperation tvcinique that facilitates large group dis- SINGING is a very positive, group-building cussion. Choose an object (a can, hook, activity to bring a group together, or to blcck of wood, etc.) that is large enough close a special time, or to energize or re- to see and light enough to pass .round. lieve the tension in a group. There are This object becomes the magic microphone. several songs in the appendix. Here is one When one person has it,it is that person's song that children especially enjoy as an special time to talk. Cooperation occurs "energizer". when the microphone is shared. It is im- p

boitle of Pop, ,Two btiles P°P) ree s

Four betthi ofpop, Five60045 ofPop, boll /es o or

.3t vtA,stv&M bolt/elfpop. I. °omit pc.S. your Jwsi i0 Alidust Girl, GP-

(100 bin,nil01(4stbill, Oon'tId your 01645t inmy clod bin, yr

wtw dust bin's u . Fish chips a rioIvirteifir,v/il ejer,

F mom .....711O1111 WO MI MED SEM IMMO MIN NM MMII EOM IMOI MINIM OIONIII ONII=OP MO RN MO1 Min NNW NOM I MI ..1111111 OMNI 110111.11.1111r _w--I -I vinegar. Fish andc 1 3 on/ velpitjeir, Pepper, pepper, p prirpot, 35 29 COMMUNITY MUSIC MAKING can be done with handmade instruments (See "Instrument Mak- ing", Page 47) or with kazoos, harmonicas, tambourines, recorders, guitars, spoons, sticks, bottles, jugs, pans, etc. Each person in a large circle should have one instrument. One person should act as the conductor and should state that, as in an orches- tra, the musicians should pay careful attention to the signals of the conductor. The conductor begins by pointing to one musi- cian to begin playing. After a rhythm is established, the conductor points to the next person, waits for the sound to develop, then points to the next person, and so on around the circle until everyone is part of the music making. When the mood is cooperative and serious, the music will be remark- ably good and affirming to the group. Chil- dren seem to enjoy continuing the music for a long time. To take advantage of this, use some variations such as pointing to one or two people to each play a solo, or to others to play a duet. The conductor can also point to similar instruments to play together, and so on. 30

CnaptelIN MC DO YOU HEAR ME? Learning to Communicate

Conflict and violence occurfrequently when there is lack of communication. Itis clif- f:cult to deal with a problem if you do not understand it, and it is hard to understand itif you are unable to listen to what people are saying. Often, we make assumptions about what has happened, or we leave it to our imagination to decide what went on. Im- proving ohscrvation skills helps people to understand why conflicts occur. Improving speaking skills gives people the chance to practice speaking and to see to what extent th-y are understood by others.

the other person can reply: "Yes,I said LISTENING SKILLS " If the group has not already passed the original message around accurately, the Fhe following games and exercises help peo- whispering-back method will help them to ple to improve and practice their listening succeed in the task. This game is a very skills in a fun, supportive atmosphere. positive group-building experience at the Most of these games help to analyze the com- same time that it helps children to improve munication process, including what communi- their listening skills. cation is, and what causes lack of commurii- cat ion. TELEGRAPH is similar to the "Telephone Game" except that the message is non-verbal. illE TELEIWNE GAME as usually played by The message consists of squeezes and pauses children highlights problems in communica- which are sent through the hands. Eyes are tir)n. The message received by the last per- closed so that no one can "see" the message. s. sui:iorously different from the origi- The participants hold hands in a circle, this game is used to improve which helps to make this game a very unify- it is played in a different ink experience. After the message goes a- way. the goal 1!., to have the last person round the circle, the last person explains receive accurately the original message. verbally what the message was. The message This can he done by analyzing how messages can also be sent in both directions and get around. Sit in a circle. Begin with a stopped across the circle when one person regular sentence such as "Last night the receives the message from both sides. This

moon was shining and I loved watching it." is effective in large groups. "Telegraph" Ask everyone to pass this sentence around can be used with a History unit. For in- the circle ina whisper. More likely than stance, children can pretend to send a mes- not, it will be garbled by the time it sage from New York to California and back, reaches the last person. Ask what helps get Some groups might want to use Morse code. inessaes around. Ask what helps people to hear the sentence or phrase correctly. Re- COOPER SAYS is a cooperative version of plies might he: speaking into my ear; "Simon Says." It helps children to improve speaking slowly and clearly; a quiet room; their listening skills in a fun atmosphere. etc. PoA these reasons on the blackboard At arm's length, everyone should face or a newsprint pad. Think of a new sentence "Cooper" and follow directions only when and go around the circle again. Vary the they are preceded by "Cooper Says". This length and difficulty of the sentence de- game is different from "Simon Says" for pendine on the group. IC the final sentence this reason: If people do an action which is different from the original, askfor a Cugper Jid not say to do, they still remain discussion of why communication failed, usin the game. This lowers the risk level of ing the list reasons for breakdown in com- the game, and involves more people. One munication. do around the circle a third variation is to see if the whole class can time, saying that people can now check back follow ten directions accurately. "Cooper" iC they are unclear as to the message. loves to sec cooperation, the first six let-

['hey may whisper: "Did you say. . ." and ters of which spell his name! 3 7 31.

COMMUN [CAT ION STORYTELLING in small with the person to your left."The vol- groups is a cooperation and a listening unteers have to listen very carefully in skills game. One person begins the story, order to follow the directions, and the the next person adds to it, and so on, un- observers have to listen and observe to til everyone in the circle has contributed. know if the original directions arc being To continue the story, go around the circle followed. This game can be played through- or have people add to it whenever they feel out the year with different volunteers. like it. It is fun to tape record the sto- However, if people are particularly enthu- ries, and play them hack to see if each per- siastic, you might want to try the game son's part of the story was listened to, in small groups where everyone has a and if the story.held together. Be sure chance to follow directions and whore the that each tape recorder is working and that observers have a more active role. In each group has a tape recorder. If children either structure, a discussion might de- wish to repeat the game, an interesting ad- velop on the importance of giving clear dition is to have one group pantomime what directions as well as listening to them. the other group is making into a story. Children might also want to leep the tape PARAPHRASING is a challenging activity to play to another class, or ma,,e the sto- for children and adults. Pick a topic ries into a class book, something they would that is relevant to the group. The first he very proud of. person speaks on that topic after which the second person paraphrases the first THE DESCRIPTION GAME encourages people person. Paraphrasing is not necessarily to listen closely to different descriptions repeating what the other person says; of the same object. Ask for three volun- rather it is being able to express the teers to describe a fairly complex object main points of what the other person says. in the room which is visible to everyone. After the first person has O.K.'d the sec- Then ask the rest of the group to compare ond person's paraphrase, the second per- each of the three descriptions with what son begins talking on the same topic and they sec. If a bulletin board were the ob- the first person then paraphrases. This ject, some people might notice the pictures, can also be done in small groups with others the writing; some may be general, observers. Either way, paraphrasing is others very specific. The "Description a serious game which helps actively to Game" improves listening skills since peo- improve listening skills. ple have to concentrate on what the speakers say. It is also an observation game LISTENING TIME helps people practice since everyone has to focus on the details listening. It is also an excellent way to of the object. The "Description Game" can begin a session since it focuses every- lead to a good discussion of hOW people one's attention in a quiet way. Start by sec things differently. It can also go asking people to listen to the sounds out- along with a creative writing exercise cn side the room. After a minute or so, ask observing things for detail. people to say what they heard. "Listen- ing Time" shows people how much they can DIRIAJION FOLLOWING is most effective- hear when they are quiet and really lis- ly done in a large group. Ask for three tening. volunteers who will be told to listen carefully to a set of directions that OBSERVATION GAMES will be given only once. These directions should be followed by one person at While many of the following games are a time in front of the rest of the group. similar to the listening skills exercises, Their purpose is to observe whether or not the communication emphasis is inseeing the three volunteers follow the direc- rather than in hearing. This is very tions. Be sure to let all three finish helpful in analyzing why conflict occurs. before the ob:,ervers make their comments. In many of these games, good discussion can The directions should be fairly complica- be developed about body language, facial ted, but not too long. An example is: expression, and how people show what they "Go to the'blackboard, write your name want to say. three times, put an'X' to the right of the second name, and underline the third THE ()ITN-CLOSED GAME is an exciting name. Go to the window, clap your hands way of introducing the themeof observa- three times, return to your seat, sit tion in a large group. Sit in a circle. down, cross your legs, and shake hands Begin by explaining that this is an obser- e"..?

I.. 40 32

,atliin *low whcro chi ldren have to wiAch 111E WITNESS SKIT is another drailat- very closely in order to figure outwheth- ic way of working on observation skits. er :Ibook is "opened" or "closed". The The goal of this game is to show how peo- kev observation point here is that when ple see things from different perspectives. Ivs are apart, the book is open, and Present an already-rehearsed skit with sev- when your legs are crossed, the book is eral details to the class. The skit should closed, even though in reality the book come as a surprise,. be high-energy, loud,

:.,.ay be open. When people understand that and attention-grabbing. It should he ob- they arc to guess what makes the book open vious that it is a skit and not something or closed, begin passing the bookaround that could be interpreted as a real life saying, "I am passing the book to you open" situation. Discuss what happened in the (if his legs are apart) "and passing you skit. Probably there will be several dif- (to the next person) the book closed" (af- ferent versions which should be compared ter crossing his legs). Passing and re- with what actually happened in the skit. ceivi .g should go around the circle until List the reasons why people saw different most people have understood the key obser- things (people were in different parts of vation point. Care must be taken to in- the room; there was too much noise, etc.) troduce this game in a clear, simple way and refer to that list when dealing with so that most people can guess the key communication problems. clue. It is just as important for children to reel successful at this game as it is to improve observationskills. Later on, when the group hashad experience with several observation games, children may want to create more difficult versions of the "Open-Closed Game".

THE SWANII GAME helps people practice concentration and observation of details. One person should dress up as the "Swami" (hat, cloak, makeup, etc., something exot- ic) and should wait outside the classroom. Another person should begin by saying that the group is going to have a surprise "Swami" visitor who can guess whatever object the children pick. The group decides on three objects in the room. Be sure to say that there is a reason why theSwami can guess what they are thinking,and if people really concentrate, they can discover the Swami's secret. Next, the facilitator invites Swami into the room, says hello with great reverence, and begins asking the Swami questions: "Is the object the students have chosen Dale's green sweater?" "Is it the math book on the desk, Swami?" The Swami and the facilitator Live decided beforehand on one key object (say, the teacher's desk) and every time the facilitator names that object, the Swami knows that the next object will be the one the group picked. After going through several objects, the students will understand the trick and their various observations can be discussed, While the game should he challengin51, still it should be fairly easy for children to guess. This is a fun way to introduce the theme of observation skills. It can serve as a reference point for later, moreseri- ous observation work. 77

SKITS TO OBSERVE FOR DETAIL. These are teacher groups might: want to discuss cer- fun small group activities which can be an tain problems in the school. Avoid a extension of "The Eye Witness Skit" (above) highly controversial topic. In this con- to further work on observation skills. Do text, the observers might get so involved a sample skit for the large group which is in the content of the fishbowl that they full of details to observe, and then dis- would fail to concentrate on the process cuss the details. Then, break up into of the activity. To help the observers small groups and have each group create a to focus on the fishbowl process,ise the skit with many details. Each small group following Observer Check List. should perform their skit in front of the large group, after which the details of OBSERVER CHECK LIST each should be discussed. While the main purpose of the skits is to improve observa- 1. Did everyone talk'? tion skills, they are also confidence- building and unifying for the whole group. 2. Did everyone listen?

KNOW YOUR ORANGEis a fascinating game 3. Did anyone not get a chance totalk which reinforces the observation of minute because others were talking? detail. In a circle, pass out one orange to each person. Tell everyone they will 4. Did people fidget? (Were they restless?) have five minutes to observe their oranges carefully. The oranges will be collected, 5. Were people looking at the talker? shuffled, and placed in the center of the 'circle. Then each person will have to find 6. Did everyone talk loudly and clearly? his or her orange! People should be able to recognize their orange easily. A more 7. Were people talking to everyone in the challenging version is to ask people tolo- group or justcertain people? cate their oranges with their eyes closed. Discuss what makes it possible to recognize 8. Did the group stick to thetopic? one orange out of all the rest. All or- Each of these questions shouldbe read over anges are not alike! This can be done with to the whole group. Children should he potatoes, apples, or whatever seasonal pro- asked to paraphrase what the questionsmean duce is least expensive. so that they have, aclear understanding of them. Emphasize that there is no one right THE FISHBOWL is a structure which allows answer to the checklist question, but people on the outside of a circle to focus that people are working togetherto make the on what is going on in the inside. Choose observations about what is going on in volunteers to go into the center of the center of the fishbowl. After the topic ask the circle. Others will stay in a circle a- discussion comes to a natural end, round them. The fishbowl activity is usu- participants how they felt. Then ask the ally either a conversation or a roleplay. observers what they saw byreviewing the Topics might include: planning a class check list. You might want to do several trip; planning a game booth for a street fishbowls at different times sothat every- carnival; planning a party for the last one can have achance to be in the center day of school, etc. Older groups and of the circle.

RUMOR encourages observation skills. Ask for a volunteer who will leavethe room. Then show a fairlycomplicated picture tc the rest of the class members. Ask them to observe the picturecarefully so that they can describe it. Put the picture a- way and ask the personoutside to return. Then the rest of the classdescribe what they saw in the picture. Usually there are several different versions ofwhat is in the picture. This can lead to a gooddis- cussion of ob,erkation. When ths dame is played several times,it can help tc improve ohservntion skills. A more complicat ed way of playing the game is tohave two people go out of the room. Bring the first 34

onc IMCK as.heHre and have the groupde- the diaphragm. This exercise can he re- scribe the picture. Then bring the second ferred to at other times if people are not person bi.ck. Dave the first person de- projecting. scribe what he heard to the second person hho returned to the room. This can lead to THE DISTANCE SPEAKING GAME is an ex- a good dis:ussionof how rumors getstarted. citing way of encouraging children to speak loudly and clearly. Before the game, cut up two strips of different col- SPEAY:NG SKILLS ored crepe paper so that each student has one strip of each color. Explain that Often communication is hiadered because these are going to be flags to wave to in- people arc unable to hear physically what dicate whether they can hear the people the other person is saying. People who who will be speaking. ("Wave the brown do not speak clearly are frequently un- flag if you can hear, the white flag if aware that this is why they are having com- you can't.") Divide the class into two munication problems. These communication lines facing each other at opposite ends 'exercises are designed to create a fun, of the room; have one person from each safe atmosphere for encouraging people to line go to the center of the room, and develop confidence in speking. Some of have the two people face each other and these exercises simply pornt out the need the line they came from. Think of an in- for speaking loudly and clearly. teresting topic that the two people in the middle can discuss, (What I'm going to do Lit] INQUIRING REPORTER INTERVIEWING when I go to the circus, street carnival, GAME is excellent for building confidence etc.) Explain that whenever the two cen- and helping children speak in front of a ter people hear aclap, they should take group. One person plays the role of the one step back, thus taking them one step "Inquiring Reporter" who has come to find further away from their original lines. out as much about the school and the stu- (The leader does the clapping.) While the dents as he can. The reporter asks the discussion is going on, people in the student "On what subject would you like to lines should be waving flags indicating be interviewed?"The reporter then asks whether or not they can hear. The people the student questions on the subject (in a speaking should be aware of these flags, very official tone) and pretends to jot and talk more loudly if people can't hear down notes. The interviews can be done at them. When the speakers have backed up intervals throughout the week, or done in 'all the way to both lines, have them re- small groups where everyone has a chance join the lines. Then have someone else to be interviewed in one session. In eith- start from the middle and back up to the er case, all of the attention should be fo- end of the lines. It will be more com- cused on the person being interviewed, fortable if chairs are lined up across the since it is that nerson's special time. room rather than have people standing. The game should be both supportive and con- Everyone should have .a chance to be in the fidence-building for the individual, and center. If students seem bored with the community-building for the group. Inter- topic, change it to something of more in- views could hn put on newsprint. terest to them. Since the gam(is fairly complicated, be sure to explain carefully all the details before beginning. THE DIAPHRAGM BREATHINg EXERCISE is a good introductory exercise for voice pro- SPEAKING IN FRONT OF A GROUP can be jection. Begin with everyone standing up done in several different ways, depending straight in a large circle. Ask people to on the group. Students can draw topics put their hands on their abdomens, take a out of a hat, the teacher or the stuaents deep breath, and feel their diaphragms ex- can suggest topics, or the speaker can pand. Ask them to exhale and feel their choose his or her own topic. The audi- diaphragms contract. Then have everyone ence may want to sit further back to add inhale to the count of ten until everyone more of a formal tone to the game. This is breathing from thc diaphragm. Then, is a good concluding game for speaking with hands still on the abdomen, have ev- skills. While this is the most challeng-

eryone say "Ho, Ho, Ho. . ." Everyone ing exercise, the atmosphere should still who is speaking from the diaphragm should be a safe one. By playing a game where sound loud, and be able to feel the dia- the audience "acts" formally in response phragm contracting with each "Ho". The to an "official" speaker, much of the fear next step is to go around the circle and can be alleviated because everyone knows have everyone say at least five words from they are only playing a game. 41 59 Chapter Ten WE ARE ALL SPECIAL Affirmation of Ourselves and Others

Poor self image is at the root ofmany con- PANTOMIMEONETHINGYOU LIKE TO DO flicts that exist in schools today. If is group building and affirmingto the in- people do not feel positive about them- dividual. In a large circle, ask people selves, it is very difficult for them to to pantomime one thing they like to do. feel positive about others. Sometimes Be sure to let people finish theirpanto- this prevents people from even seeing an- mimes before others starttc guess. Every- other person's pointof view. This is the one who wants to do a pantomime should basis of many put downs. have a chance. These exercises are designed to help individuals look at the positive things a- MAGIC BOX is alsoa pantomime game. bout themselves, and to encourage others Place in imaginary "magic box" in thecen- to find the positive things about their ter of the circle. Each person in turn peers. By working with these exercises, goes to the box and "takes out" something, the focus is changed. The child has a new pantomiming an activityor game. When oth- experience that makes him feel proud and ers in the circle guess the activity, they good about himself. go to the center of the circle and join in. The first exercises are best done in The originator tells the others if they large groups. The second section is con- are correct. Another person takes some- cerned with personal affirmations. There thing out of the box, and theprocess con- are several activities for individuals to tinues. The game is affirming to those in reaffirm themselves. The third section is the center of the circle. on the affirmation notebook. THE AFFIRMATION INTERVIEWis an activity for a large group where one person is LARGE GROUP AFFIRMATION ACTIVITIES "interviewed" and given special attention in front of the whole group. The questions AFFIRMATION NAME TAGScan be used in should be simple, non-threatening, and in- large groups in various ways. Ask people teresting enough to hold the attention of to write on a name tag their favorite those listening. Some examples are: color, subject, place, or one thing they like about themselves. Choose whatever 1. What is your favorite sandwich? question seems most appropriate for the group. Afterwards, go around the circle 2. What place would you like to visit? and listen to each person'sresponse to the question. 3. What i; something you enjoy doing? On Saturday morning? After school? DO A MOTION THAT EXPRESSES YOUR NAME. Begin in a circle and do a motion 4. What good movie have you seen that expresses your first name, thena mo- lately? tion that expresses your familyname. Then, go around the circle and havepeople The interviewer should look directly at do motions that express theirnames. This the person being interviewed, and ask ques- is an affirmation exercise in that it tions that seem appropriate to that indi- structures a positive experience for ev- vidual. The interviewer should be very eryone. Each person has a chance to be positive, praising the interviewee as much expressive and each person is watched and as possible. Also, only one or two people receives attention. An even more affirm- should be interviewed in one time blockso ing way of doing this exercise (andone that everyone is able to enjoy an equal a- which helps people learn names) isto have mount of attention from those listening. everyone repeat the names and motions. This is a lot of fun,encourages people to l'M GOINc; ON A TRIP (and I'm taking laugh, and helps develop a sense of group. a hug. . .) is an affirmation game which zi ./s1 encourage; touching. In a large group, bout the story we real?"Or the class each person adds one physicalexpression might want to compile a "News and Good ;pa - to what the previous personis briging on per" where exciting things that happened the trip, "l'm going on a trip and l' to class members could be recorded on large bringing a hug, and a handshake,and a pat sheets of newsprint and posted in the on the hack. ." The last person in. the classroom. These could be changed daily, circle rvectues everything thatthe rest decorated, and compiled by different stu- of the participants are bringing onthe dents each day. trip. This exercise provides a safe,fun structure through which people cantouch. SINGING is often affirming -for the inli- in groups that are embarrassed bytouching vidual as well as community-building and and affirmation, save this exercisefor energizing. Songs combined with action, the end of the year when more senseof as listed in the appendix, areespecially group has been developed. affirming to participants.

WHfl) TICKLFR can be done in a largecir- AFFIRMATION CLAPPINGis a birthday af- cle, when people have knowneach other for firmation exercise which works well with awhile. One person in a pair says as many younger children. One person is affirmed nice things as he can thinkof about the by everyone focusing their attention on other. This generally makes the person him or her, and clapping where indicated, b'ing talked about laugh; one personis as follows: "tickling" the other with words. After a f2w minutes the partners should switch Here is a clap for (berson's name) rules. A more structured version of this Here is a clap for health. game is to ask a person to saythree nice Here is a clap for wealth. things about a partner. If the group has And here is a clap for Love upon you. already done several affirmation exercises, Here is a clap for all the years you've you might want to tryhaving each person grown say one nice thingabout the person next And all you have to grow. to him in frant the whole group. All three methods are affirming. Choose which The verse can be followed by a burst of is best for your group. clapping affirming the individual..

NEW AND GOODS can be used as a wayof starting off the day or week, or as a INDIVIDUAL AFFIRMATION EXERCISES small group exercise. "New and Goods" is a way of focusing theattention of the There are two types of individual affirma- group positively. So often when we begin tion exercises in this section. In the a new activity, ourinner thoughts are first, individuals affirm themselv, by "somewhere else." "New and Goods" is a way creating something they can be prow, of of helping people to focus on a specific In the second, individuals affirm others. question and arousing positive feelings a- As with the group affirmations above, both bout it. This focusing process enables are community-building for the large group. people to come together so that a new acti- There is also overlapping of the group af- vity can take place with the full attention firming the individual. Many of these ex- of the participants. ercises can blend with current curriculum. Choose one question to ask the group: "Whatis one thing good that happened to SILHOUETTES.People break into pairs and you recently? Today? Over the weekend? trace each other on large sheetsof brown Over the vacation, etc." Later on you wrapping paper. (You can generally find might want to vary the questions: "What is this at a butcher shop). Then individuals your favorite color?" "Who is one person fill in features with crayons, paint, or you admire?" Each person should have a magic markers. Bring in plenty of fabric, h:ince to speak and be listened to by ev- yarn, and glue for clothingand hair. Ask eryone in the group. In a large group, people to put their names on their silhou- the New and Goods should he short, although 'cttes and when they are finished, hang the in the small groups, people may want to silhouettes on the wall. You might want Tend more time on individual affirmations. to affirm the silhouettes, or have adis- New and t;oods can also be used with a cur- cussion on how people felt about doin4 riculum: "Whatis one thing you liked a- them. 4 3 J /

PUTTING POSITIVE STATEMENTS ON SIL- AFFIRMATION VALENTINES is a February IIOUETTES is most easily done in small version of "Stocking Fillers".Have each groups. If there are six participants in child glue three sides of a red heart pack- a group, each person should put his or her et. Children then decorate and put their name on six index cards and then pass the names on the hearts which are put on the cards around the circle. Each child should wall. The next step is to have people should write one nice thing that he likes write their names on two index cards which about each person in the group. People are shuffled in a big hat. Then each sign their names if they want to; it is af- child draws two cards and writes a positive firming to see someone's signature-on your statement about the person whose name ap- card. When everyone is finished, return pears on the card. If people pick their the cards to the people whose names are on own, or two cards for the same person, top, and spend a few minutes enjoying the they should pick again. The affirmation praises. if there is time, you might want cards are then placed in the heart packets. to go around the circle and ask people to A good way to end this exercise is to have say one thing they liked about doing the each person share a statement that was affirmation cards. The final step is to pleasing. Another possibility for an "Af- collect the cards, and tape or paste them firmation Valentine" is to make a giant to the silhouettes. Hopefully, when people class heart on which there is a positive are feeling sad, they can look up at their statement about each member of the class. silhouettes, and remember all the good This can also be done by picking names out things that were said about them. Some of a hat. This cooperative process can teachers may want to regard this as a read- end with people saying one thing that they ing and writing exercise. like about the heart. Both versions of "Affirmation Valentine" can be done as STOCKING FILLERS. Everyone in the group reading and writing exercises. hangs up a sock or stocking with his or her name on it. Then, ask people to write GRAB BAG AFFIRMATION NOTES is an ex- their names five times on five different ercise similar to "Stocking Fillers" and slips of paper. All of these names go in- "Affirmation Valentines". It can also be to a big hat after which everyone draws used as a reading and writing project. five names, writes one positive thing about Write each person's name on seven different each person, and puts the paper into that slips of paper and put them in a bag. Then person's stocking. A longer version of each participant picks out seven slips and this game is to have everyone in the class writes one positive thing about each person write one positive thing about everyone on each slip. These can be handed to indi- else. It should be made clear what the viduals, put into "affirmation stockings", rules of the game are so that the students or read aloud, if people choose. Be sure realize that put downs are not in the rules to think about which process is best for of this game. your group.

Taping can be done in a quiet .orner of AFFIRMATION VIDEO the class or in a separate room. If there is much background noise, the tape will be Many schools now have portable, easy-to- distorted and not affirming to those being use half inch video equipment. In "Af- taped. Use a microphone,if possible. firmation Video", each child has a chance During playback, be sure to use a large to sly one thing he likes about himself monitor placed so that everyone can see in front of the video. If you are doing easily. Mention that laughing is fine. this with a large class, each person's It is funny to see yourself and your comments should he very short so that the friends on TV, but put downs are not part tape is interesting to the end. It is of the game. This is an affirmation time. helpful to give children a chance to think Afterwards, you might ask how people felt about what they would like to say before seeing themselves and others on TV, or ask the taping begins. For groups that have them to write a comment about it. Another not done a lot of affirmation exercises, way of doing "Affirmation Video" is to it might he easier to ask the question have people interview each other in front "What is something that makes you smile?" of the camera.,.. 38

AFFIRMATION MRillNE COOKIES AND CUP- Hold up a picture. Ask what it is. Ask CAKES. Have each person write at least one for three words that do not explain what positive fortune. Collect these and put is in the picture. Write these down. Ask them inside cookies or cupcakes to be children which is the correct answer. baked. Then, pass out the goodies to cat, When there arc no more questions, people and ask if people would like to discuss how should be ready to begin making their word their fortunes relate to them. This can games, Be sure to have people situated so ako he done as a reading and writing exer- they can help each other with spelling. cise. This game helps children think of words, read them and learn to spell. It also pro- PICTURE VOCABULARY GAMES (or MAKING vides a group game. The affirmatign ocL;urs HP YOUR OWN READING TESTS) are de- when each child has a chance ,to read off signed to help improve vocabulary skills the choices on his sheet so others can and to practice for reading tests in an af- guess the answer. It should be stressed, firming way. This helps children to asSo- that this is an affirmation game, and that elate words and pictures. The supplies everyone will have a chance to show the that you need are: large sheets of paper word games. Applause after each presenta- (one for each person), crayons or magic tion is affirming to the one shooing the markers, glue or staplers, scissors, sev- pictlre as well as to the whole group, eral pictures from magazines. Children can cut out pictures themselves, or someone Variation: FILL-IN-THE-BLANK-SENTENCE might choose pictures beforehand. The pic- WORD GAME is a more complicated picture tures should show something clearly. (More vocabulary game because students have to interpretive pictures can be saved for cre- think about sentence structure. Ask people ative riting or discussion activities.) to find pictures that show an action. The game might look like this: WORD GAME. Explain to participants that they are going to make.4p word games by ANDREA usin4 pictures. Ask them to pick a picture that they think shows one word clearly, The Child, is then make up three other words that the picture does not show. A sample word game A. SWIMMING. might look like this: RUNNING CARLOS C.SMiLiNG 0. WitiTiNG.

Variation: SENTENCE GAME isan even more difficult picture vocabulary game. As1 A TRAIN participants to make up four different B DOG sentences about a picture, one of which describes accurately what is going on .n C. TREE. the picture. It might look something :ike this: "D. STREET TEAN A The Codis ku-1,1. i"/Ke. 3 The. bird isC.1.),,19. Tlie picture is pasted to one side of the paper and the word choices take up the C. The hey /5t.A.;a_lKiki9 other side of the paper. Re sure tLlt Thebird15 children put their names on their papers, C0.41 Ivg so that they can he praised for their woric.

When the word games are finished, people \- will have a chance to show their work to others who can guess the intended answer. Make a sample word game in front of the group to help clarify the directions. 45 39

All three models of the picture vocabulary Be sure to let the glue dry befor( chil- games can be done individually or in small dren use the puppets. Otherwise they can groups. In groups of threes or fours, get very messy. Older children might children can create cooperatively the pic- want to sew on features. It is helpful ture-word games, and still show them to to do a sample puppet for your group be- the whole group. Younger children may fore beginning. prefer working in small groups; some may prefer working with others; and some alone. PAPER BAGPUPPUSare easier t) make Choose what is best for your own situation. but less durable. Use paper lunc :ibags and draw faces with crayons or magic mark- IF MY FEET COULD TALK is a creative ers. Yarn and fabric can also be glued writing exercise which attempts to get on for features and for clothes. children to think and write about themselves. Children find the idea of talking feet amusing; thus it becomes a fun thing to do, (The idea behind this is similar to children talking through puppets; things that children have difficulty saying to people can often he said easily through puppets, Shy children can become very verbal through puppets.)Young children may have only a few words for their feet to say, Older children may write sentences and paragraphs. After children have written the "feet pieces", ask if they would like to read theirs to the class. Others might prefer being affirmed by having someone else read theirs. Peo- ple should have the choice as to whether or not their material is read. Books on more complicated forms of puppet making such as papier macho', styrofoam, PUPPETS celastic, rod puppets and shadow puppets can be found in your library. Some of Making puppets is an affirming activity these books are mentioned in the bibliog- for children. Often shy children will raphy. talk freely with puppets, especially with Children might want to "say something" ones that they made. with their puppets as a way of affirminl,, what they have done. You might also ask SOCK PUPPETS are easy to do. Have an children to give their puppets names and old sock for each child and several scraps share them with the class. Children do of material, yarn, etc. The next step is not need scripts to do puppet shows. They to cut out eyes, mouth, hair, etc. and love to create their own scenarios by act- paste them on the sock with white glue, ing out stories they make up or have heard. In doing puppet shows either for cuopera- t ion or conflict resolut ion, you can u,e a blanket thrown over a table for a make- shift puppet stage. Children might want to make a permanent puppet stage which Is a good cooperation project and adds more pride to the work. Although you may want to keep the puppets in the classroom for much of the year for cooperative shows or cJnflict resolution, he sure that children t3ke their puppets' home finally. Poppets ..onid he keptin spek:ial "homes" around the rool or in "affirmation notebooks". 40 Chapter Eleven A NOTEBOOK ALL ABOUT ME! Creating a Treasured Possession The"Affirmation Notebook" is a collection don't want to draw symbols, they can trace of individual self-affirming sheets that their hands. Younger children may want to are created and compiled by students draw a picture of something they like. throughout the year. Choose those sheets The final step is for children to write which seem most appropriate to your stu- positive comments on one another's "Affir- dents, and mimeograph blank copies of them. mation Notebook" covers. This should be Be sure to make extras for those who want done in a structured way so that a similar to use more than one sheet. The main pur- number of comments is written on each per- pose of these notebook sheetsis to give son's notebook. One way of doing this is children a way of expressing positive ide- to break into small groups and pass the as about themselves. Some sheets encour- covers around. Children don't have to sign age self-affirmation throughdrawing and their names to their comments. However, through clarifying what each child likes children receiving the comments would prob- to do. Others are personal records of who ably like it if they were signed. Another a child is and what is specialabout her- way of structuring, is to ask children to self or himself. Others can be used with Write comments on eight different note- curriculum units combining affective and books, and paint out that only eight com- cognitive learning. All encourage chil- ments should be on each notebook. In a dren to creatively express positive ideas small class where people are already sup- about themselves, and so help them to re- portive of one another, you might leave it ceive recognition and affirmation. open and have everyone write on as many v In general, it is a good idea to do a notebook covers as time permits. Children sample sheet in front of the class so that should be encouraged to help each other participants are clear about both the directions and purpose of the sheets. Also, it will be helpful to evaluate each sheet. This will allow time to share affirmations in the large group, and thus will be group-building. It will also give you insight into which types of sheets your chil dren enjoy most. Sheets can also be done separ&tely rather than in connection with the "Affirmation Notebook".

THE AFFIRMATION NOTEBOOK COVERcan be made at the beginning or end of your "Affirmation Notebook Project". The cover and end page provide a positive place for students to keep or carry home all the positive sheets about themselves that they have done. These notebook covers include an affirmation of self as well as anaf- firmation of others. You will need two sheets of legal size oak tag for each child, crayons, magic markers markers, and brass fasteners. It is eas- with spelling, tracing, and sharing ier if you get a hole punch and punch and crayons. If someone does write a nega- stated holes in advance so that children may fas- tive comment, it should be clearly Ei- ten the notebooks together right away. that this is an affirmation exercise. This also avoids contusion as to which is ther erase the comment or start over. Be the bottom, top, back, or front. sure to affirm anyone whois put down. In Ask children to write their names on some cases, itis helpful to also affirm the front cover. This can be done for the person who made the negative comment. identification, or as an elaborate design. If you are not planning to do"Affirmation The next step is for children to draw a Notebooks", you could do this exercise on symbol that represents themselves, This large sheets of paper and notmake the could be a flower, tree, mountain, baseball notebook covers. Covers could be displayed glove, self-portrait, etc. If any children in the library or halls. 4 41

DRAWINGS MY SNOW PERSONis an affirmation sheet for younger children. It gives them a The following notebook sheets involve af- structure in which to create a drawing and firmation drawing. The demonstration pic- be proud of it. Children love to decorate tures should be simple and easy to draw. the snow person which looks like this on the mimeographed sheets they receive. AFFIRMATION TEE SHIRTS This exercise encourages children to think about them- MY SNOW PER SON selves and what they like to do. Draw a picture of a tee shirt on a spirit master My%MAW )7 and make enough copies for the entire class. The following directions should be given briefly: 1. Put your name on the sheet. 2. Draw a picture of something you like to do. 3. Write one word that describes you. This word can, but does not have to, relate to the picture. Be sure to make your demonstration picture easy to draw. For people who are intimidated by drawing, suggest drawing with stick figures. One way to complete this activity is to have children describe their pictures, or read their words to the class. Children are generally interested in what others have done. However, be sure to move things along quickly so that those speak-

At the end of the exercise you may want to do a group affirmation of the "Snow Person" sheets, or ask how people felt while doing them.

MY VERY OWN BUTTONis an affirmation sheet that encourages children to create their own design for a button. This could be used as a worksheet for making a real button.

MY VERYOWN BurToN

MAmE

ink lastlast will get as much attention as Dest3,4 OIL buitoN those at the beginning. If some children ask not to show their pictures, they shouldn't be pushed. You can say at the end, "If you haven't shown your tee shirt\ yet, you can do it now." This gives reticent children a second chance if they really want it Some children will finish early, so plan an activity for those who finish first. If children are working in small 'groups, leaders might ask why children chose their symbol and encourage personal sharing. The tee shirt idea might be ex- panded into a project where children put their symbols on real tee shirts. SELF PORTRAITis one of the most diffi- MIL AN 1 MA L 1 1,1 KE is a sheet which cult affirmation sheets, and should be done helps people thinkabout and draw a favor- only later in the year when students are ite animal. It could be done with a unit developing stronger self-concepts. The on animals. IC your purpose is to help young children learnthe names of animals, "Self Portrait" sheet, is mimeographed with for one's he sure to have peoplemention the animals a blank oval on it, and a place Directions are simply to "Put your they chose. The mimeographed sheetmight name. color in a picture of look like this: name on the paper and yourself." Some children may feel more ONE ANIMALI LIKE comfortable doing drawings of each other.

143 JAPILis

OWE ANIMALYLikeIS ItieVi LooKSLiKe+his;

Queshotis AID.u+Me A MAP OF MY NEIGHBORHOOD is aninter- MrvAmais esting way to learn about mapsand commu- 1. I ea years old. nities. For younger children you may want 2. I have eyes. to do a map of the school. Be sure to ask 3. I have hair. children to get the names of streetslocat- ed where they live, beforedoing this pro- 4. I live at ject in class. The mimeographed sheet 5. / live with

might look like this: 6. My favorite food is

7. One color I like is AMAP OF MY NE161MANOOD An animal I like is My Name is 8.

MyAddress is 9. A song I like is

10. My favorite book is

is HateisA MAPOfMy WelikaLiAak. 11. My favorite T.V. show

12. A good movie I've eeenlatelyis

13. One thing In proud ofis

14. If I could go anywhereI'd gotovisit

15. My favorite game is

BEST COPY AVAILABLE 4 9 BEST COPY AVAILABLE 43

PERSONAL SHEETS 110W I SPEND MY TIME is an affirmation sheet which helps people look at what they The following sheets are largely written do during a day. Ask children to write in exercises that encourage self-awareness. circles like those shown below what they These sheets help children to learn more do at different hours of the morning ur about themselves and others in a positive evening. This exercise could also be used atmosphere. They may be regarded as read- with a unit on time, ing or writing projects that encourage self-awareness. HOW I SPEND ti), TIME THE BALLOON SHEET is an affirmation sheet which encourages children to look at NAME what they like to do and be affirmed by it. A M. Each child should have a mimeographed sheet with blank balloons as illustrated below. The following simple directions might be given: 1. Put your name on the paper. 2. Write one thing you like to do in each ballon. For example: roller skate, cat ice cream, see movies, etc. 3. You can use crayons, colored pencils, magic markers or pens. Some children might want P.M 11 to color the balloons. Others might want 10 to add new balloons.

THEBALLOotv SHEET Ms AP%IS

These 14 Relkiais I Lire40de:

IFI COULD DO ANYTHING I WANTED FOR ONE WEEK IN NEW YORK is an affirmation sheet which helps children to think about 'what they would really like to do if they could do anything. This is also a writing exercise. The sheet might look like this:

IF Z COULD Do AN1TH11,16 VviRprrEDFaR. 1174E.WEEK thi NEW YOLK

019 unmE 13

rles+I would

Then? 7 woviz

QUI:Slit)NS Amur Ml: rovers basic introductory material about individuals. There- fore, it is a good affirmation sheet to do early in the year. The questions such as given hclow should he adapted to your age group and the interests of the children. Younger children prefer sing1,1 word fill- ins; older children usually prefer questions that allow them to describe something in detail. Children may want to make up several different "Questions About Me" sheets. rz BEST COPY AVAILABLE

44 MY FAMILY SHEET. Copies of this sheet THE FAMILY TREE. The "Family Tree" can be handed out with the "Family Tree" sheet is simply a "tree" with several box- sheet .that follows. Children enjoy fill- es attached to the "limbs", and one circle in-the-blank sheets if they are not con- on the top of the "tree". Children should sidered tests...... e.MENNI11 be instructed to put their names in the circle on top. After that they can put MY FAMILY any person's name in any box. Thus, there is no one box for mother, father, grand- mother or grandfather. 119 f4Pieis The idea behind this is to reduce a child's feeling that he is strange for not "fitting" into what M lie R$ I. My CAnidy has is assumed to be a "normal" family, and to encourage children to think about who 2. We4Ke/6 they consider to be members of their "family". You might mention that a family can 3. bit liKeto eak include aunts, uncles, nieces, nephews, cousins, friends, dogs and cats. If chil- y Out caum6te plate is dren want, they can include the relationship under the names. The "tree" can be S. Ome game We WeeIA done along with the "My Family" sheet and can be followed by a sharing circle on V. Oile. (1.4" kipept,eued to My 1. 4411m3 "One thing Ilike about my family." It family)3 can be used as part of a unit on families, and as language arts material since children will need help with the spelling of clreilly because 7. I'm/0 it OUd names. The "Family Tree" sheet can also go in the "Affirmation Notebook."

V. o.p e+ 41.14.1 weLikeis NAY F/WILY TREE Name As with the "Tree", this activity can be used in a family unit or as a language arts exercise in writing and spelling. The questions given are samples; you might want to use more, fewer or different questions. Some other ideas are:

1. On Saturdays we often . .

2. One really good thing about my

family is . . .

3. The youngest person in my family

is . . . the oldest is . . .

4. If my family could do anything

for our vacation, we should . . .

After the sheets are filled out, you might want to ask children to share one thing . about their family. In a large group children may read aloud from their papers. In small groups, children can share all or some of the fill -ins. If the trust level Other "Affirmation Notebook" sheets might is high, children might get into the topic: include: booksI liked; T.V. shows I "What I'd like to see changed in my fami- watch; fruit; recipes; occupations; school ly." Or children might even get into a trips; an interview with a friend of mine; problem-solving discussion where the group some of the best things that ever hap- works on one person's problem at a time to pened to me; my earliest memory; calendar of try to come up with usable solutions. important dates. 45

OTHER AFFIRMATION NOTEBOOKSHEETS

PHOTOGRAPH SHEET. Another possibility USE YOUR OWN IMAGINATION to develop for the Affirmation notebook is to take new sheets for Affirmation Notebooks; pictures of everyone in the class. Each many valuable suggestions come from chil- child attaches his to a notebook sheet. dren and other teachers. Some of these It is a good idea to take two or three might include: Occupations, An Interview shots of each child so they can choose With a Friend of Mine, Some of the Best the one they like best. Older children Things that Ever Happened to Me, My Earli- might want to take each other's pictures, est Memory, Calendar of Important Dates. or you might invite a parent or friend Many of these Affirmation Notebook into the classroom to be the special pho- sheets are applicable to other classroom tographer for the day. You might also activities. Here are several additional want small group or whole class pictures. examples of Affirmation Sheets: You can combine this project with a unit on photography, creating a bulletin board in the room, or a photography exhibit in the school hall or library.

SHEET FOR PUPPETS. After children have made puppets (see p.39 ), an affirmation sheet can he made up for each puppet stating both the child's name and his/her puppet's name, The puppet can he attached to this sheet. ONE SCHOOL TRIP I LIKE

ONE RECIPE I LIKE

Name

aile5(601 / Keis 46 BEST COPY AVAILABLE

FOOD ONE TV S1-40W I LIKE MyNAmc i MyNAPA 13

ONF rood IIt eNt.t.YLIKE 13

OweTV I Like LooKs 1.1(e.

Ametke.. 'LOW 2- Like ii

My f rt.e.d wefehes

FRUIT BOOKS My Amme is 117 NAME 15 Thee0.Ke4he. fRoit ILiKe

Othe(iook's 1 1_, Kc nkc 47

Chapter Twelve LETS MAKE AN INSTRUMENT An Affirming Activity for Everyone

The idea of this activity is to help each TAMBOURINES. For each tambourin() yoi persor to feel positive about himself need four bottle caps, a block of +..00d through his ability to create a musical 1" x 1" x 6" long, two nails, Befc.re you instrument. Each child should put his put it together, drive through the center name on the instrument and be able to keep of the bottle caps larger nails than you it, You may want to retain the instru- will use to fasten them onto the wood. ments in the room for awhile to use occa- Nail the other set of bottle caps close to sionally for community music making (see it. Make sure that the bottle caps can "Cooperation Exercises," p.22 ). Eventu- shake freely. The tambourine should look ally everyone should be able to take the like this: instrument home. Here are some suggested instruments that children enjoy and take pride in making.

Susi Woodman suggested these.(See p. 106)

UKELELE. For each ukelele you need a quart or half gallon milk carton and four rubber bands which will fit snugly length- wise around the milk carton. Make four notches in the top edge of the milk carton. Make four similarly spaced notches on the bottom edge. It is bettel to do this first so that you are sure to cut the soundbox hole on the correct side. The DRUMS. Use oatmeal or grits containers soundbox hole can be round, square, or in with their original tops. These can be the shape of a design. Both the top and painted or decorated. You can also use the bottom of the soundhox hole should coffee cans upside down, or you can put have bridges to support the "strings". To heavy canvas or denim on the top of the do this, make 2 slits where the arrow in- can with heavy-duty rubber haids. dicates and roll over the tabs made by these slits. Put the rubber bands in the MARACAS. Put dried beans or gravel in a notches and you nave a ukelele that looks container and shake! Pringles petite chip like this: cans work well. 48

SAND BLOCKS. For each set of sand blocks, you need two blocks of 2 x 4 wood, two sheets of sandpaper that will cover the wood, and white glue. Glue the sandpaper to the wood blocks and let dry. For additional support, you can use thumbtacks on the sides of the wood. Rub together for a great scratchy sound.

fi XYLOPHONE. For each xylophone you need a stick or long piece of wood, 4 four-penny nails; 4 six-penny nails, and one large nail. Nail the 4 four-penny nails in a row to the wood. Continue the row with the six-penny nails. Use the largest nail to maka music against the sides of the othe. nails. For different sounds, use a variety of nail sizes. The xylophone looks like this: Chapter Thirteen SOMETIMES WE CAN ALL WIN! Creative Conflict Resolution

kit RLSPONSi S respect and a desire to work on problems together. Living has an uncertainty and unpredicta- Some of the following technique can be :'bility that are rarely touched upon in our used to deal with an immediate proillem educational system. We are reared on Others help people to comeup with solu- certainty. Seldom are we given the oppor- tions to situations that they are.likely tunity to experience and to learn alterna- to encounter tives. Consequently, instead of responding to each particular situation in which we find ourselves in ways appropriate to VICARIOUS EXPERIENCE it, we generally deny the uniqueness of the situation, and maintain only automatic Most of the following techniques involve responses conditioned by our past learning. presenting problems to a group and allow- These are the responses we are "certain" ing people to experience various solutions about. vicariously. Some of the activities are Children who are led to discover for most effective in small groups where more themselves their own and other people's people can offer input to creative solu- motives in conflict situations will have tions, and discuss them. If you intend to more knowledge and therefore greater flex- use several of these techniques, it might ibility in responding to conflict. The he helpful to refer to Chapter Four CCXC Program tr..es to free people up for on small groups. (See p.13.) All of new responses. Our goals arc: 1. acquir- these exercises involve discussion of solutions. This gives people a chance to ing an awareness of the complexit c- of think over and evaluate the various solu- conflict.; 2, exploring and inves ,sating If you run into a con- alternatives in conflict situations; and tions presented. choosing the most appropriate alterna- flict which you have already analyzed and tives to act upon. have chosen an appropriate solution, then We find that as children are helped to you are more likely to be able to use that discover for themselves their own alterna- creative solution when it is needed. This tives to conflict in the situations which happened with some of the children and they experience, they find that the choice teachers who used in real life solutions of alternatives often ranges far beyond they came up with in roleplays, skits or the usual solutions. Creative responses puppet shows. may he limited only by the hounds of their own fertile imainations. The process of Skits trying for themselves various responses to Choose a conflict that is relevant to situations allows experiential learning to your class or group. For instance, occur,it help; children to develop and younger sister takes a hook From d' clarify their own values (an important es- sister; they fight over it and th moth- sentialin creative conflict resolution), er comes running into the room. 1%hat and it leads to a realization that in the should she do? (For other idea,,,rcter to most effective solutions everybody "wins". the section on conflict scenario!:, n.50.) Stopping the conflict skit hefore itis resolved often leads to the children sug- I Iiik.1ct!11 ti10 VI tlf LOP c.)1_(1170k1S gesting many types of solution,,, This is les likely if a solution is pre,,ented a \ t t glieC in the Handbook help long with the skit. Younger children eti to aholit an atmosphere where con- pecially will imitate what they se, in a

c;in he dealt with and resolved cre- skit, so he !dire it is presented t them Hivctv. W11,..n people have worked cooper- without a solution. atiVelv pArt 9C a community that has After the skitis presented, hr, A into

practiced comionications skills and af- small groups to discus the confl! t And firmed e:Ich peron, thereis a feeling of possible solutions. Yoti might hav one 6 50

person in each group act as a facilitator to ask the following quest ions: 1, What was the conflict? 2. What is one solution Puppe.tity you can think of to that conflict? 3. Which of these solutions should we try This is a good conflict resolution tech- to act out as a group? 4. Which role nique to use with young children and with would you like to play in that solution? shy children who often find it easier to When the group has decided on the solution express themselves and their feelings and the players, they should make the so- through puppets. As with the skits, pre- lution into a skit, and rehearse it. When sent a conflict to the class, this time all the small groups are ready, return to using puppets. Ask children to break in- the large group to put on the skits. to small groups to discuss the conflict as After all of the skits have been present- in "Skits". When children have decided on ed, summarize the solutions and ask for a solution and who will play each charac- discussion of them. With some groups, you ter, have the children rehearse the show, may want to discuss how the participants using puppets. Then have each of the were feeling during the skit. small groups put on their puppet show, af- Skits can also be presented to groups ter which the large group discusses the just for the purpose of discussing solu- various solutions. tions, although acting them out is fun for all ages, including teachers! t, 1,:eventeli rrvl. 3cninr , solution I, attitudes, small actions, failure to lis- Rorepecty(ng ten, etc. The Freeze Technique alo Roleplaying is a feedback structure where helps people to see how certain actions the student is helped to discover new lead to finding solutions. ways to respond. In roleplaying, a person's conditioned responses may be di- ROLE REVERSAL helps people look at rectly challenged. Often they are found both sides of a conflict. Often a con- to he inappropriate or ineffective. flict seems impossible to solve because This leads to an examination of alterna- we look at "the other side" as the enemy, tive solutions. not as a person. Role reversal helps people understand the other person's point of view by experiencing vicariously HOW TO DO A ROLEPLAY what that person is going through. After you have 3one through a roleplay, ask the Roleplaying in large groups is a good same people to repeat it, switchingtneir technique for finding solutions. De- roles. Ask the characters in the play scribe a conflict situation to the whole how they felt in their new roles. Then group. Define the roles, and ask for vol- discuss any new solutions that were de- unteers. Be sure they completely under- veloped. You might also ask, "Which of stand the details of the conflict. Set the solutions seemed real, and/or pre- the time and place of the conflict andbe- ferred?" Role reversal can be used in gin the roleplay. Let the roleplay work small or large groups. itself to a natural end either by resolution or when people begin repeating. Ask ALTER EGO is a process that can be how the characters in the roleplay felt; used with roleplaying to look at a con- then ask for observers' comments. If you flict in more depth. Each character do roleplaying in small groups, you will should have one person standing next to need a facilitator for each group. him to act as the alter ego. The alter Instead of a teacher or facilitator de- ego says what the character may he real- scribing a conflict, the class may do a ly thinking as opposed tt. what he is brainstorming of conflicts that the chil- saying in the roleplay. dren would like to work on. (See p. 52.) Then one is chosen to roleplay. VIDEO PLAYBACK is an effective way Roleplaying can also be used to find of analyzing a roleplay. Videotape the solutions to immediate simple conflicts. whole roleplay without interruption. Be- For example, if two children are fighting fore playing it back, mention to people over a book bag which theyboth think is that anyone can say "stop" whenever some- theirs, ask them to stop and roleplay a thing is seen that he or she would like different solution. One response might to question or comment on. This is an es- he that they look inside the bag. Role- pecially good way of looking at body lan- play the problem again and discuss the guage and analyzing why conflict occurs. various solutions. Role Reversal (see Video can also be used with skits and com- Techniques which follow) may he particu- munication games. Teachers will find it larly effective in helping to solveim- interesting to experiment with several mediate conflicts. uses of video. Suggestions will be found on p.37 under "Affirmation Video".

SOME SPECIAL TECHNIQUES THAT CAN BE USED IN ROLEPLAYING SPECIAL TYPES OF ROLEPLAYING 'THE 1-11:LE TECHNIQUE can be used dur- QUICK DECISION ROLEPLAYING is a good ing a roleplay to stop the action to find technique to use to help people think on out why the characters are acting as they their feet or come up with solutions arc or how they are feeling aboutwhat is quickly. Ask those who wish to partici- happening. You might just ask them di- pate to pair off. Some people may wish rect ly,or ask a specific question such to observe. When everyone has a partner, a!; "What is one'thing the other person name two characters in a roleplayand ask said or did that you are reacting to?" people to decide which role each partner By breaking down the roleplay into small- will play. Then describe a conflict sce- er units, people may he able to seehow nario involving these two characters and ;r conflict may escalate orhow they may tell them they have one minute to role- t7c) 52

play it. Then, return to the large group out to be vary (.ffective. By objectiFying and discm,, how participants le!! I. and showing that ideas are only ideasand their roles and what solutions they came not necessarily reflections of people, an up htth. Then repeat the process. open atmosphere results, 'omeone should record all of the ideas on a.. chalkboard Pf.M.!TLAYINfl is done to or newsprint pad where they may be observed by anal :,:ea complicated problem involving everybody. After people have exhausted several groups of people. It lasts long- their suggestions, the list should be er than a regular roleplay, and involves re- viewed. Categorize and simplify it, if ap- more characters, several of whom often propriate. Ideas which seem most relevant represent one point of view. Extended should be discussed in further detail. Roleplaying can he used by parents or Brainstorming can be used to find solu teachers who want to understand and find tions to problems, to define problems, to solutions to problems in the school or find out what problems children would like community. It sometimes involves dealing to work on, to find causes of conflict, or with more than one problem. it can be integrated into the curriculum. Choose a scenario that involves groups Use it wherever you feel that it fits best, and explain the situation. Divide into groups representing the groups involved in the conflict. Then give detailed in- QUICK DECISION MAKING is a way of formation to each of the groups about helping people to find solutions to real- past history and theiL position in the istic problems spontaneously in a short conflict. You may set up a meeting be- period of time. Present a problem to the tween two or more of the groups. Give large group, then break into pairs or participants several minutes to think a- small groups to arrive at a mutually ac- bout their roles and plan what they are ceptable solution quickly, say one minute. going to say to others before r,:arting This can be repeated with different con- the roleplay. flicts until people are able to find solutions quickly. Return to the large group to discuss the solutions and tell how it feels to make decisions under pressure. OTHER PROL-LEM SOLVING MLTHOOS

The following techniques help people look PERSONAL CONFLICT STORIES help people at problems, gather information about look at different types of conflict and problems and come up with solutions to show them that they have similar problems. problems objectively. Many of them show Divide people into small groups and ask experientially that several people working each child to tell about a conflict he or on a problem generate a greater variety of she once had. Then go (Ater the following solutions than one person working alone. questions: 1. How could we put these con- Most of these techniques are also communi- flicts into a story? 2. What are solu- ty-building because working together on tions to the conflicts? "3. Can we tie all common problems helps to develop a sense these conflicts and solutions together in of cohesiveness and support within a group. one unified sto :y? Many of these techniques may he used in You might try using a tape recorder so teacher support groups to work on prob- that after the story is constructed, it lems. Teachers often feel isolated, and can be recalled. Some children may need these techniques encourage a sense of com- help in finalizing the story. Some may munity and trust. prefer writing and printing it; others may prefer illustrating it. This can be BPA=CINC, is an effective tech- used effectively as a reading or writing nique for gathering ideas about a specific activity. When the stories and illustra- issue or problem. The problem is stated tions are completed in book form by each and then a key question is asked, such as, group, hand them around for others to read "What coulJ -- do in this situation?" and enjoy. Then the group should throw out ideas with- Instead of creating a book by combining out discussing or criticizing them. The several personal conflicts, you can try atmosphere should be totally non-judging. putting them together to form a skit or It doesn't matter how crazy the idea seems; puppet show. Be sure people are clear a- throw it out anyway. This attitude helps bout what they want to express before be- to bring out unusual ideas that may turn ginning the rehearsal. s3

, JA)'Y Ip, b. , :11( , a cunt ;i,1 lo- THE UTOPIA :0:: tr. I; . tion orocess th.1fits wellint., already come more sp,!cific abou:. ,.:nages th). existing curiculur. Choose a story that would like to see oc.a.i.e. Choose d topic presents a specific coaflict. Read the such as school, and what changes people story to the class, stopping just before would like to see in school. You might the conflict is resolved. The first time ask everyone to say one thing they would you try this you might ask people to like to see changed and then break up in- "brainstorm" all the solutions they can to small groups to discuss the changes think of. (See "Brainstorming", p.52.) further. People in small groups should The list will probably be very long. You combine the visions (keeping notes is .might want to discuss the story conflict helpful) and present these visions back in a large group or break up into small to the large group for further discussion. groups. You might ask which solution peo- Some classes might prefer starting in ple would like to see happen. After the small groups. To be more specific, chil- discussion, finish reading the story un- dren might want to say what changes they tilit is resolved and talk about the so- would like to see made in one month, six lut ion. months, one year, etc. This is one experiential way of showing people that-thereare-many, many alterna- COMIC STRIPS as a conflict resolution tives in solving problems, and we do not technique is enjoyable and unusual. The need to stay locked into the same old ways .strips work well in any age group which has of dealing with them, learned to write. Draw a few panels of a conflict situation: a boy is walking FAIRY TALI, WRITING is a unique way to through the park with a basketball; an old- find solutions to problems using a form er person walks up to him and says "Give me that children love. Present the problem that basketball!"The next step is for and ask children individually, in pairs, children to continue the comic strips by or in small groups, to write fairy tales filling in the panels with a solution of about the problem, including a solution their choice. This can be done in small they would like to see happen in real life: groups, or individually. For younger chil- "Once upon a time there was a little boy dren, it might be helpful to hand out mime- who couldn't get along with his little sis- ographed sheets with the first two panels ter because she kept taking all of his already filled in. Older children can cre- books. One day the little sister took his ate their own comics "from scratch". If favorite book and he got so mad that he you decide to work with small groups, you

yelled at her and made her cry . . ." might want to put the comic strips on large sheets that could be exhibited on the wall. Fairy Thies can be seen as a creative writ- Whichever way you choose, be sure to dis- ing project. Some children may need help cuss the various solutions in the large with writing; some may prefer using a tape group. Be sure to stress that drawing abil- recorder. Children may want to put their ity is not important. Stick figures are stories in the context of actual fairy. tales fine. 'erella, Little Red Riding Hood, etc.) or ..reate exaggerated symbolic characters. Fair. Tales can also be acted out as they are read. 'IAN PICTURF DRAWING can be a problem-solving technique. Ask students to draw a picture of an ideal school, community, neighborhood, etc. This process helps people to think about what problems exist, possible solutions to them, and also what solutions they think are most appropriate. in small groups, picture drawing becomes a group cooperation exercise where people work together to make COMIC BOOKS can be put together by com- decisions. Picture drawing can also take bining several Comic Strips showing con- place in pairs or individually. Individu- flicts that children have either experi- al dra....inv can be done to encourage each enced or imagined. Children love working child to develop a unique vision. Pictures on comic books, This is a fun thing to do can be shared and discussed with the large for a writing assignment, group, and exhibited for others to see. is 0 ts sr' w so:. to' .; Lhe THE BOX SM'ICI.;/ Tell th group that t inse Ce.e!!, t;ey have ono long e- there is a surprisepackage cowing for Two people then appeardressed lip nough. The "puppets" should maintain them. their puppet qualities until they are led in costumes and makeup tolook like pup- out of the room. They may then take off pets wrapped in abig box or bromi paper makeup and costumes and return to the package with a bow. They should have a room as real people, perhaps apologizing card attached to themwhich says, "We are for being late! mechanical puppets. We come alive when A good discussion can follow on the we have conflictsto solve." One person various conflicts and their solutions. should open the package. Another should The fantasy element of this technique ask the group to think ofconflicts, and makes it especially good for young chil- then make sure that the"mechanical pup- dren. For the puppets, guest facilita- pets" understand what theconflicts are, children who understand, they tors may be used or older If the "puppets" don't have shown skill in quick decision making. should stand lifeless until theconflict There may he some children in the group is clarified. 'The "puppets" should con ho have this skill,

.011111=M1.

GOAL WISH PROBLEM SOLVING is a tool should be written on the blackboard adapted from The Practice of Creativity so that everybody can seethem. by George M. Prince (Harper f,Row) which Sometimes this can he confined to discusses group dynamics, roles, problems one problem area, for instance, encountered, and ways of finding solu- within a classroom. tions. This technique is a structured The group selects which problem way for groups to work onmembers' indi- shall he dealt with first, vidual problems within a supportive 3. The "owner" of the problem chosen framework. To be used effectively, there takes two to three minutes to de- should not he many more thas seven people scribe the proHem in detail so in a group. The group selects a facili- that everyone understands it tator who will also be the recorder. It 4. The group brainstorms "fantasy" cr is recommended that groups should be ho- "Goal wish" solutions, These are mogeneous although people lessfamiliar recorded, Often, a solution to a with problems discussed can often give a problem implies an accusation, or fresh, objective perspective. The group placing blame, but in formulating should take the following steps: the solution as a "fantasy wish" or "goal wish", the emphasis is on I, The group brainctorri, individual finding-the best solution object- problems which are re,.orded, ively. This involves the participants S. The "owner" .sinuses a preferred naming briefly, without discus- solution from above and tells the sion, all the problems on their group of any impedimentsthat he minds. Everyone has a chance to thinks might prevent reaching it, contribute equally. These ideas which are then recorded Cl 6. The group brainstorms and records ways to eliminate the impediments. THE CARD GAME isa technique which en- The "owner" states how the solution courages people to share ideas about prob- will be implemented in steps and lems. Give each person a blank ncte card when the steps will start. The and ask each to write down threeanswers to recorded sheets are given to the a question, e.g., three things you find dif- "owner", and the group starts again ficult or annoying about school, threeways with Step 2, etc. that you feel powerless, etc. Shuffle the cards and pass them outso that everyone has This process runs smoothly if it goes ina someone else's card. Ask people to read one circle although some groups may prefer comment on the card and say how it relates talking at random. A circle facilitates to them. While this.game does not develop equality of participation but, as with solutions, it helps particpants to realize other circle activities, any child may that others have the same worries and fears "pass" and have a later opportunity. as they have. Thus, the process iscommun- This process is very useful for teach- ity-building for a group andcan offer ideas ers because it helps them to acquire a for skits and roleplays whichcome direct fresh outlook on persistent classroom from the children's concerns. problems.

CONFLICT VIDEO TAPEScan be made using conflict stories, skitsor puppet shows already developed, or to presenta new idea. Again the object is for children to cooperate to create a final product which reflects everyone's input. Everyone should have a say in what conflicts and solutions will be included in the tape. Everyone should have a chance to helpcreate the tape whether it is by taking the pictures or setting up the subject matter. SF Chapter Fourteen HOW ABOUT THAT BULLY? Some Conflict Scenarios

This section includes specific examplesof conflicts that are common to childrenin school, at home, and outside of both: conflicts between children and children, teachers and children, parents and children, and conflicts between adults. These can be used as examplesfor creating your own scenarios, or usedin doing skits, puppet shows, roleplaying, discussions,brainstorming or problem solving. Many of them lead to good discussions of the role of the mediator. Use them as they seem relevant to your group.

CONFLICTS IN SCHOOL: CHILD-CHILD CONFLICTS IN SCHOOL: CHILD-TEACHER

These conflicts are primarily from the STEALING. MoAey has been stolen from One child is sus- child's point of view. The solutions, how- the teacher's purse. ever, might involve ateacher. pected but there is no real evidence. BULLY. In a school corridor, a bully TEACHER'S PET. First thing in the knocks the books out of another child's morning in school three girlsapproach the teacher is arms. Then the bully steps on the books teacher saying they think the girl, and and laughs. playing favorites with another EXCLUSION.Two children are playing they are sick of it. a game such as catch orhandball. A third CHEATING. Two children are playiril child comes along and asks to play, too. checkers during free time in class. One The first child says "no" because he does- goes to teacher and accusesthe other of n't like the third child. The second cheating and making up new rules. child hesitates. The game does not have PLACE IN LINE, Several children to be limited to only two players initial- are returning from gymand are lined up ly. For this scenario, be sure to discuss at the drinkingfountain. The teacher afterward how all the participants felt. calls the second in line toget a paper . INSULT. In a classroom, one Child from the desk. When finished, thechild wears old clothes. Another child insults wants to get back in theplace in line. him consistently about his clothing. LATE STUDENT. For the third day 1.o;;;E:1;SION. In school, two young in a week, a student walksin to class children are fightingover a pencil. One ten minutes late. The teacher hasjust accuses the other of stealing the pencil. finished giving directions toeveryone The accused says be brought the pencil else. from home. UNPREPARED STUDENT. Halfway into PRANKS. In the school cafeteria, one giving directions for the nexthour's child returns to his plate to find that lesson, the teacher noticesthat one stu- someone has poured milk on his hot dog dent is not writing anything. The teach- roll. There are at least two other chil- er finds thatthe student does nothave dren nearby. a pencil. This has happenedseveral FRILNDS. In the school lunchroom one times before. child has two pieces of cake. She or he CHEATING. The teacher suspectsthat is eating one, and has just given the oth- two students havecheated because ofsim- er to her best friend. A third child ilar answers on a test. After checking comes along and would also like some. The in one of their desks andfinding an an- first child doesn't particularly like the swer sheet, theteacher has asked to third child but the second child does. talk with the studentsafter class.

Ci3 57

BESTCOPYAVAILABLE

FA I ACCLMAT IONS After school, NEIGHBORS. There is a crab apple a child is browsingthrough comic books tree on the property line bordering two to see which one to buy. The child has families. One Family wants it for their already read most of each series and children to climb. The other family would keeps looking to find a new one. The like to prune it and harvest the apples vendor thinks The child is reading with- from it. The first family does not want out paying, or is getting ready to steal spray on the tree, The two couples are a book, and starts yelling at the child. trying to determine together what to do PP.011I,I;M! WITH BIOGER KIDS I. A with the tree to everyone's satisfaction. smal lchi ld is playing on the .street with TRAIN. One evening you get on the a new batmobi le. A bigger child comes a- subway, you sit down, and you notice a man long and tries to take the hatmobile away. staring at you. You move, he moves. You PROBLEMS WITH BIGGER KIDS II. get off the train, he gets off thetrain. On the way to school an older child tries The train is about to leave. to take a younger child's lunch money. SUBWAY. On the subway early in the STEALING. At a corner store after evening, you see four teenage boys begin school, one older child wants to set up a to bother someone on the train. They are situation so he can steal cigarettes. He calling'the other person names, tapping needs a second child to help since he was him, and teasing him., almost caught last time. The second STREET HASSLE I, You are a woman, child is reluctant to take the risk and walking home alone in the evening, A man feels that it is not right. walking along from the other direction bumps into you, seemingly unintentionally, ADULTCONFLICT and makes a nasty comment as he does so. STREET HASSLE II. It is 9:00 p.m. Because the CCRC philosophy and methods You are a woman walking home from the sub- are being applied to many variedsitua- way. Two men are close behind you. You tions, we thought it might be helpful to cross the street, and so dothey. include a few scenarios that are of con- THEATRF.7. You have been standing in cern to adults. Those that fc.low may front of a theatre since 7:30 p.m. for an be used in faculty workshops, parent sup- 8:00 p.m. show. A friend has invited you port groups, with high school groups or to the show and has the tickets. The where other opportunities arise. It will friend was supposed to meet you at 7:30. generally he clear in roleplaying each It is now 8:05 p,m. Your friend arrives. situation which person is the one who is You can't go in until the second act. expected to take the initiative in find- EXTORTION. You are walking along ing a creative solution. the street and someone comes up to you SnREO. A roommate and friend arc and demands your money. The person is listening to a record on the stereo that much bigger than you and says that hehas they really want to hear. The other a knife although you do not secIT. roommate wants to study. BESI COPYAVAILABLE S c

.1(1. .1r ' t r, (;TUDI.NT rnoons ihe teacher has just :it pal r not ,:no. a.;k,d the student to close the door. I 1y . The student says "no in a loud voice. BABY 1 A etriidarrives It is Friday afternoon in the class, home around 11,..e clock on aschool There is a school rule day. The child has been playing with that nn one should talk during a fire friends as usual and has come home in drill. One child sees vat.er on the floor time for dinner, unsuspecting that any- and warns others. The teacher sees the thing is wrong. the mother is furious child talking and says to stay after because she told the child to come school. They are in a meeting after straight home after school to baby sit school, with the younger child, The mother TEACHER IS ANNOYED BY STUDENT, had a doctor's appointment, One student keeps raising his hand while FAMILY MEL:TiNt:;, A family of four the teacher is giving homework direc- is trying to figure out how to get the tions. The teacher has said to save all weekly chores done equitably and questions until the directions are fin- promptly, The mother has tended to ished.. The student keeps raising his just go ahead and do the chores her- hand because he is unable to hear. The self, Then she has become very frus- time is just before dismissal. trated and angry because no one helped her. She does hotlike asking people to help continually, The family is COAHACTS AT HOME: talking together after dinner. SIBL1kG RIVALRY PRI VACY . 1 pa! nt has found cigarettes in a chi ld's pocket while do- ONE ROOK Fop TWO CHILDREN, Two ing the laundry. The parent does not children, aged 5-12, are at home one eve- approve of the child smoking and is up- ning. One child is reading a comic hook. set that the child is being secretive. The other child comes in the room and The child has just returned home from wants to read the same comic book. school. WHOSE BOOK? At home, a younger child is looking at a book which an old- CHILORIW'S COk:f:f(1S OUTSTOF er child checked out from the library, OF SCHOOL OR HOM( The older child comes in and demands the honk, saying it is his. The younger The following sonl-lict!-, take place in a child protests, saying he found it. The i twit ion whe re there15no teacher or older child says the younger child cln't parent to help St) illt inn , Adults read anyway. But the younger child still may be brought iato the solutionsif wants the hook. participants prefer. These scenario WHO TO WEAR IT? Two sis- can be used with, parents, ter hers, or ters are getting dressed before school. after school group ,, II humor i, in- The first sister puts on a sweater that volved with Any !he ;olutiou, yOU the ;econd s inter says she was going to might Will t.. si, -.1;s the concept of wear that day. The first sister says she humor often kilfru.:es tre tension in con was told she could wear that sweater. fl i

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hast oldt he chi 1.1 t I lii,l, t rt.s CON11.ICIS AT HOML: PARLNI-CHILO again be au,t he1-, af!aid th, child might ge! hurt. The ch!!,,1 pr,m,1,d The rollowing scenarios cover conflicts not to climh ;Inv Mare thour ths that occur specifically in the home. chi Idis very i int) rig and es They are from both the child's and the it. On thi waytc, ,.hool thechi Icl aid parent'!; point of view, These can he 1 friend ,cue (Jughi- )1 a tree. used appropriately by parent support Both children ale :Hiaid that the kitten group:, or groups where parent.; and willColl. Fhe height s and children are working together. has never climb,d A !roc. Lyon though NI:!;1",NHBILITY. A twelve year the first ehtid the cat old child wants to take on a haby sit- down, the p.019; al I ier ,t ill re-

ting lob to ,mpplemcnt au allowance. ma i Ills 59 Chapter Fifteen DOESN'T ANYBODY UNDERSTAND? The Need to Share Feelings

Sharing feelings usually occurs in all of process of sharing feelings. Other topics the techniques, some in more depth than for Sharing Circles include "Yourearliest others. It's important to discuss not memory", "Can you think of a time whenyou only what people learned from an exercise enjoyed learning something?" "What do you but also how it affected them personally. think is an ideal family?"Sharing Circles For example: in a roleplay, there are a can go anywhere you want them to go. This lot of feelings that come up from one's technique can be used with people ofall own personal past. Sharing these feelings ages, including parent support groups and in a group helps people in the group to teacher support groups. feel closer together, and develops a safer atmosphere where people can feel free to be open about their feelings. SOCIAL BAROMETER The main point of sharing fedings is This is a fun way for childrento share really to develop a consciousness in the feelings. Draw a number scale on the group where people are aware of affirming blackboard, ranging from plus S each other, where there is real cooperation to minus S. Ask a small group of studentsto line going on, where people are conscious of up at the neutral point. One person their communication with each other, and calls out topics pertinent to the finally, where people can openly share group such as "movies", "siblings", "money", their feelings in conflicts so that crea- "bicycles", "going to the park", "doing tive conflict resolution can occur. It is math", "doing homework", "cleaning important for people to share both positive your room", "doing the dishes", "sweeping the and negative feelings in a safe atmosphere. floor". To indicate their feelings Here are some techniques for helping to on the topic, the group moves along the reach these goals. number scale line. It's more fun with everyone participating at once, but if class THE SHARING CIRCLE size prevents this, smallergroups can be used. This is a structure which allows equalpar- Everyone should have a chance to ticipation in a positive atmosphere. There participate if they want to. are two ground rules. 1. Everybody has a chance to speak, if he or she wish.'s to. TRUST GAMES 2. Everyone should be listened to. Start These exercises help people to feel more by asking a question that could lead toan positive about each other and also to de- interesting discussion in your group. A velop a mood of cooperation in a group. beginning question might be: "What would These games should he used only after he in your ideal room?" You can have peo- people havt, had experience with shiring ple speak at random, or go around the cir- feelings and are comfortable with each cle in turn, each person having equal time, other. about 30 seconds. This technique can be THE BLINI)FOld) TRUST WALK an used daily at a regularly scheduled time, exercise which helps to develop trust in or weekly. It can he combined with other another person. People divide into pairs. techniques to improve community atmosphere One person leads the other person hlind- in a group. Or it can be used when con- folded or with eyes closed. The leader flicts arise as a way of discussing prob- explains to the blindfolded person where lems that come up in the class, or outside they are going, what to expect, and reas- it. It can also he integratrA into curric- sures the blindfolded person that he or ulum areas in the discussion of hooks, she will not fall or bump into anything. readings, plays, class trips, movies,or The blindfolded person should have com- whatever suits the needs of your class plete trust in the person leading .1im or best. The Sharing Circle can grow in in- her. After a few minutes, the partners tensity so that the more developed circle switch roles. When everyone pus h.d a can work with more difficult topics. An chance to he led blindfolded, people get example is: "Can you think of a time when back together in a group and discus how you felt excluded?" A topic like this it felt to lead and to he led. Often should by introduced only when peopleare people are surprised at how positive their comfortable with each other, and with theCG reaction is to trusting and being trusted. 60

ULM' hei1,1s comunity In n EHCLUSICM group and is also arfirming to the onewho is falling. Several people stand close These .;Mmes help people to 1::,a feel- togetner in a circle and hold out their ings of being excluded and excluding oth- hands. One person stands inside the cir- ers. These are very delicate issues for cle, remaining fairly rigid, falls into children and the activity should take the circle, and is caught by the people place in an atmosphere where everyone is closest to the direction where he falls, affirmed, One way of looking at the They don't allow the person to fall to the theme of exclusion is to do a roleplay floor. Then the person who fell can be where one person is excluded, and then passed around the circle. If there is discuss how people'felt in the roleplay time, everyone who wants to should get a and watching the roleplay. The follow- chance to do the "Trust Fall ". ing techniques help people to look at exclusion in another way.

Ti iE TRUST LIFT is similar in purpose THE GIBBERISH GAEL helps people to to the "Trust Fall". Begin with one per- think about their own exclusion of oth- son lying on the floor, face up. Several ers, and helps them to realize that oth- people should gather around that person ers fear exclusion, too. Have one perSon and together or cooperatively lift the illustrate nonsense sounds, or gibberish, person. The one being lifted can be in a large group. Then have people turn raised, lowered, or otherwise moved a- to a partner with whom to practice gib- round, whenever the person being lifted or berish. Next, break into groups of three the group wants, and then lowered back and ask people to "gibberish" to one an- down. In both the "Trust Fall" and the other. After a short time, ask people to "Trust Lift", be sure to discuss how peo- exclude one person slowly from the three- ple felt during the exercise, both the some by leaving him or her out of the ones who were "trusting" and the ones do- "gibberish", and directing it only to the ing the action. other person. Repeat this three times so that everyone in the group has one chance to be excluded. Return to the large ROLES PEOPLEPLAY group and discuss how it felt toexclude, and to be excluded The "Gibberish game" This is an activity which leads to a dis- should be done very quickly :;c) that peo- cussion of why people play roles and when ple are excluded only for a moment. Oc- they wear their real faces. Begin with a casionally, a person will be bothered Ly Lta.in3torming of roles people play in the being excluded, but most people accept group. This could include waking up, the game as a way to analyze exclusion. hreakfast table, subway crowd, child for- Anyone who does feel had about hciag ex- getting homework, cafeteria crowd, play- cluded should be affirmed, ground, getting teased on the way home from school, parents angry about getting home late, dinner time. Ask people to THE PHY.ICn EX-:lT11)8W.- also break into small groups and make up skits analyzes how people feel when oxe:oding, involving several of the roles in the or being excluded. Begin hy the 1'raim3torming. When they have a clear i- group form a tight circle. wrimrin,' their dea of all the characters, ask people to arms together. One person i cr. the OLt- make up masks showing how they are feel- side of the circle and triv, in ingin response to each situation during When that person gets in, another rson the day. For example, when the student ]eaves the circle, and tries t' in. sees the mask of the subway crowd, he As many people as time ailows should he might hold up a mask labeled "Angry", or given a chance to try to get inn., ?lie "Lonely", or if a mask is held up for circle. If a person is unahi to i;et in, homework not being in on time, the stu- they should he excluc:d for ,ii r(itthan dent might hold up a mask titled "Fright- a minute or so. Let the pern into the I() try ened". The skits shonli! he ,,howh to the circle, and ask for anothcr per . ''n large group, and dii;cussed. Younger to break in. Afterw.ird, Qbould be children have a difficult time under- a discussion on the dif.'e.,.:1-sz,nv:. of standing the concept of roles but have an getting into the cirL.le, a7;.1 hc, t,\- easy time "making faces". erase felt. (7 61 Chapter Sixteen HOW DID IT WORK? Let's Evaluate

Evaluation is a form'of feedback that encourages student participation. It should be done at the end of workshop sessions, sometimes during the session, or as often as reasonable. Suggestions should be followed up as quickly as possible. Evalua- tion is very helpful in planning subsequent sessions, since it helps prepare you to meet the needs of the participants more directly. Here are some ways of evaluating.

THUMBS UP, HANDS OUT, THUMBS DOWN VERBAL EVALUATION can be done easily is an exciting, quick way to evaluate a after each session. It can also include succession of several activities. It more of the reasons for the evaluation. tells you merely whether people like an Verbal feedback is the most valuable kind activity or not; it does not tell how or of evaluation because it can be translat- why. Explain, that you are going to list EJ more readily into new and improved ac- verbally, one at a time, the activities tivities. You might ask, what is one the group has just (or recently) done. If thing you liked about today's session? participants like an activity, they should What's one thing you would like to see put their thumbs up. If they think it was different?Or what is one thing you just OK, they put their hands out, extend- didn't like? What is one thing you would _ ed forward. If they dislike it, they like to see happen in the future? These should put their thumbs down. There may direct questions are very helpful in mak- be some children who at first will put ing up a new plan. thumbs clown or up, just for the game of it. But if you keep up this activity, and take it seriously, eventually they will see it AN EVALUATION SHEET indicates which ac- as an important method of communicating tivities children like best. List in one their likes and dislikes. If there seems column all the activities that you have to be unanimous disapproval of one activ- done. To the right of this, put three ity, you might take the time to ask why columns, one of a smiling face, indicating people didn't like it. participants really liked the activity; one of a regular face, indicating the activity was OK; and one of a frowning ONE TO ONE INTERVIEWING is a more face, indicating dislike of the activity. in-depth form of evaluation than Thumbs Up. It might also be helpful to ask questions It should he done in private. Think of such as, what activity did you like the specific questions concerning the activi- best? what would you like to see more of? ties you did. Interviewing may he done what would you like to see changed? what after several sessions have taken place. would you like to see added? what's one It can he helpful in arriving at the di- thing you would never like to do again? rection of your planning. Or you might ask children to put star If you want to document the evaluation, beside activities they liked hest. The you can tape record it. Children love to evaluation sheet should be used only af- use the tape recorder, ter several sessions. (see sample sheet)

Please also note references to Evaluation in chapters Three and Four. Note especially first paragraph on p.13. 62 ...... MM a BESTCon

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Although most of our work hasbeen with el- Game, instead of asking people to say ementary school age childrenand teachers what is their favorite dessert, you might of this age group, we havedone many work- ask them to name their favorite sport or shops with younger andolder children, a- identify one thing they enjoy doing on a dults, and with family groupsand other Saturday morning. groups with mixed age ranges.We have also High school teachers maybe concerned been in contact withseveral people who largely with integration of these ideas have used CCRC ideas inworking with other into curriculum. This is done easily groups. Hopefully, these ideas willstim- with most curricula. Goal Wish Problem ulate your thinkingabout how these activ- Solving can be used as an analysis of an ities can be usedwith your group. historical event. The Affirmation Note- book can be reconstructed into a creative YOUNGER CHILDREN writing project stressing positive experience and relationships. Science stu- With younger children (Kand Pre K), the dents can be asked to come up coopera- shorter, more active games which will tively with a classification system for hold their brief attention spanshould be several vertebrates. High school teachers may also want to use several of the selected. Young children love ritual and rhythm games and songs. Using puppets is conflict resolution or problem solving a good way to getshy children to talk. techniques such as roleplaying or skit Puppetry seems to be an easierconflict making to deal with actual conflicts. resolution tool for them (and perhapsfor These may also be used to better under- all young children) than roleplaying or stand historical conflicts. The Elephant skit making. Activities which use sym- and Palm TI?e game may be adapted to the bolism and analysis are difficult,while construction of geometric figures. affirmation and cooperation games are .usually very successful. Specific exercises which seem to work well are: Com- EMOTIONALLY DISTURBED CHILDREY munity Music Making, Machine Bui?ding, Pantomime This Object, Rainstorm, Herman Although we have had little experience in Hermina, Human Protractor, Touch Blue, this area, we have received reports that Zoom, My Bonnie and loosening-upexercis- CCRC ideas have been useful in classesof es (which with youngerchildren we call emotionally disturbed children, The fol- Citoppy Cat Games). lowing letter, describing experiences us- Many of the other exercises can be a- ing the Preliminary Handbook, comes from dapted easily for young children. For Emily Whiteside, Supervisor of Clinical example, a variation on Grab Bag Dramat- Services at the Developmental Evaluation ics we used for children who were unable Center in Wilmington, North Carolina: to put together plays was to passthe grab bag around the group, and have each I had a moist exciting yeah using the child pantomime something with the object Handbook with a cta46 o6 nine menta- that she or he took from the bag. fy ketakded chitdAen in a 6peciat education ceases o6 Wilmington, No/1th Ca/to-Una. The chifdkent6 ages hanged HIGH SCHOOL STUDENTS 640M 7 to 10 and thi4 eas a ceaso a pubtic 6c1oof setting. As the rtSt Many of the Tools and Techniques were silnc.6icant Oeisenting plobee xas in- originally useu with high schoolstudents appncoiate !,ocAae sktiC.s and adults before they were adapted for ehd&ten, the teachel and 1 :ceu,5,',1 the elementary school age. Many others upon developing positiveiteeationps. need only a simple change of content. The chifdkem chaise the name 01( Swxar For example, when doing the Memory Name BEST COPYAVAILABLE

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--(4.Y once a ws.ek koi 45 mb!ut',. Ae4- siow, Januany to May oA /975. Educators may wiiqi to develop their01%1 r'woams exPeating the meaning o6 teacher workshops with any of thesegoals: H.6:ds:lipwk"Le ptovided 604 60'4 To share effectively ideas on new to occull which 4e4uTted techniques. the '''e.i!ea.se the chifdlemI6'setA To find new ways of incorporating

conhie)xe. It we obseAved that even - these techniques into everyday at such a eaAty age, the chitiken'S classroom life. --idevity had afAeady been a46ected by To develop a teacher support group .be.in!! .identied by othe.ta4 "Actatd- where they can work. together to ed". The group setting whi.ch viewed solve problems creatively, "setA" in a "new fight' 0J towed new images to unAofd oA being woAthy Each group of teachers is different, some . inrUviduaX4. may want the help of an outside facilita- use wative. chahnef4 oA tor, Others may want to choose facilita-: v.aAning wtych exptoked the imagina- tors from the group, Our experience in- tive (lecting fiAe such as puppets, dicates that there are several elements :cai'lq tafeo, and Aoteptay ()A 2.i 6e which contribute to a successful workShop, situations WOke tt6ed.. T/5 seemed to be an ideal' way to ('et chitd/ten le The administrntion should he aware "-each themsaves, who have toweAed of the project. Tt is helpful if inte(fectuaf (.1nct,ioning. The. Hand- the administration is supportive wtovi.ded excatent suggestionz !c":ved as a guide to heep .the chit- and, if possible, gives special on conNet nesofution. time for teachers. Roiay :,:as the main technique u4ed. 2, Teachers should desire to partic- be- it pave the chifdAen the oppontuni.ty ipate, rather than taking part to di4cuss theiA ketings and to ob- cause others want them to, orbe- "should". zewo. de.siAed behay.i.oA patteknA while cause they feel that they 3. The emphasis of the group should be teaching them to dizeitiminate between Sore apooptiate and inapploptiate behavion clear from the beginning. groups may want to work onprchlem . pate 't solving related to actull classroom wonking mith ckitdAen c.6 a mo6 t As Others may prefer deficate pflocess o6 an oAganic natuke situation, learning skills, and trying tLem . time mot pass be6oke 6n.wit out in the classroom. Others may matuAe.s The teache.n and I viewed decide on sharing ideas. ouA task somewhat as planting seeds is important to have ahealthy that might noutlizh the AtowcAing OA 4. It people feel these chadnen'6 own sefA as it bound group dynamic so that There needs expqession thnough an appAmi- good about each other, to be equal sharing,dsupporlIve t o!co the 5 The dawn ti the environment, an openness and ;All- hawcs hia.c aOlcady bc,Jun in one ingncss to wo7.k out confli,7ts. chat!' expelienco!,. Scv,-lae week6 S. The proee'ss ,.)f the 1,orl,shop i more hr,.,1 schoof l'(5 (t Aol a important than the product, :t is teLo had been tkan5Aeqqed t(' CL important di-;cu-;,, each ,i,:t;vity CR thCteach() ('b6 C.,tve d after itis done, applyiag itto (eau plognes!1 A depne)sed chifd individual situations, (4':t(' tail Aonmenfy been expeTeed 6. An open atmephere will enenulage schccf icontwo weeks because Ii L creative thinking ind lead to new alq.06,!0(ve behavim arcs AepoAted to be ecopoblative with otheu, to have ideas (A good example of suLli the, -1magina:y Cl posit(ve attitude towcord schoof, possibilities is g we fe acaciemi caffii and World" exhi!,it. P. 23) nic5( (mpoltant,to b, happy within Hems( 4), Tirt4.5,ook.ccol 1-ow that the One aNlication ot tilt work ,hop ::ire Center, otti t and COqi itcja tti tude o() Mots concept was :it 1,;:> towwid a ch has a catch i uq otaUty which operate,' rk.!..(- with chil- that ,rtoc.,.'s ir(c'(os dren age 7)--J2. I!wy exp;,:.11; ^ -- 65

this HandhocA, pIrticul)rly those 1. 7nZtiatty,tho pouRam itiAnted in exemcis'es hat devefopedtAu!.t and at-. eoted in teachtn workshops will wts; read accounts of this course in thi; 6i4mation Seowey,-but penceptibey, commun.icatio was developedand a cu.- Appendix as well as in Vol. 1, No, 2 oputatixe spait 4pAcadth4ough the (June, 1977). of Sharing Space, the quarterly CCRC Newsletter. gnoup. The. concepts behind con6tict 1.e6ofution weire pAmentedby /saving actuat mi4undoustandngsi.n the gkoup. PRISON WORKSHOPS individuats wene given theoppotturaty to act out 6eeting and nownsedea's The underlying philosophy 'and techniques out of (non-semse ideas that heft!.the lacy to of nonviolent conflict resolution untocking deepen Keeting6). Sta66 which grew The Children's Creative Res- membeA's actuatty wed thetechnique's ponse to Conflict Program, are nowalso on each otheitthat they woad employ being used successfully in "Alternatives with chLednen, and they .sawthat to Violence . A Program for Prison .thee methods ane. e66ective eonte44en- Residents" conducted b;' the Quaker The ing adutt tension4 andcongict's as Project on Community Conflict. program responds to the needs of men and weft. The oowth o6 the 4ta66'4undeA- standing which was bnoughtabout by women in prison who want to relate more the carte6ut teadeuhipo6 Tkainet Lenny creatively to the prism, situation and Blown fed to inottasedhaAmon0, 6 not to people and problems outside the actuatty peace. prison after their release. QPCC has conducted workshops of three Beyo.nd poup, tkainingand tech- nique4 tea/tiled ikom it weitebnought to full days' intensive training in nonvio- bean on individuatca4e4both in the lence and conflict resolution in several centen and in the homewhene ch.Uditen prisons in New York State, and in some trained and cer- cute caked 04. cases, inmates have been tified to conduct subsequent workshops The most demanding and interesting themselves among fellow prisoners who series of teacher workshops conducted by request the training. CCRC was the course given at the City A number of magazine and newspaper articles on this project havc appeared College of New York's Department of We are reprinting Elementary Education in the" fall and during the past year. here excerpts from an account in QUAKEP Winter of 1976-77. Particularly in- LIFE magazine because it provides an, novative in this was the integration of example of this program in action at CCRC's participatory approach with It Piaget's observations on the moral de- Green Haven Correctional Facility. velopment of children. Teachers using is written by Lawrence S. Apsey, Program Adminis'trator. Green Haven Seminar Project on Community Conflict, though some could not attend 'all The occasion was the response consistedof Dr.BernardLa- the time. by a team of trainers to a request Fayette, Jr., director of the Peace The first session opened with by a group of inmates known as Education Program at Gustavus detailed self-introductions by all. the Think Tank Concept fora Adolphus College inSt.Peter, participants, including their ex seminar to help them redirect the Minnesota; Paul Tillquist, associ- periences, problems, and aspira lives of juvenile prisoners away ate dean of the same college; Lions. Bernard then laid the basis from the psychology of violence Steven F. Stalonas, in charge of for an understandingofnon- which they have absorbed from Studies in Nonviolence at Pendle violence as an approach to truth, the ghetto environment. Hill; Peter Matusewitch, a former which has to come out of the Members of the Think Tank trainer with the Quaker Project on culture of people using it .In many Concept are mostlyblacks, Community Conflict, and myself. respectsitrequiresthe same serving long terms, whose object, Bernard LaFayette was formerly elements as violent conflict does. Is to mobilize the qualities and national program administrator Such elements include courage, experiencesofsocialactivist for the Southern Christian good organization,competent inmates in an experiment with the Leadership Conference and a associates, esprit de corps, state and community in improv- close associate with Dr. Martin planning and training. familiarity ing correct ional pro( esses. Luther King, Jr. with the weapon, use! iphysical The teamoffivetrainers, ormoral),anduseofone's organized under t he sponsorship The seminar consisted of nine resources to overcome he opposi- of an agencyof NewYork 'Yearly sessions, held March 23.26, 1975. tion and change one's miage in the Nte,ting 'mown asthe Quaker Nine inmates took the course, eyes of his opponent . This he

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BEST COPY AVAiLABLE or requ .,;1. piecesfrom e ell other, Torusibleawhite gang.[or illustheed with exciting storiee the basketbell court, .itrnm h'' .own expel (codes. but you can freely oflet pieces to possession At t he second session, Steve each other." decided One man quickly completed his buthad finally to ed how controversies negotiate with the prisonad- usuall) buildup before they erupt square, shielded it from viewof the others with his elbows, and ministration. and. t he importance of intervening waited. The otherfourwere At a confused meeting,the before eruption. passing to Gael) other pieces they question of the rumble was raised "I once tried to stop a fight," didn't want, till a second and then again, and it was finally decided said one of the trainees, "and a third man completedhis square. to seek the advice of the Think ended up by getting punched in The fifth player puzzled and tried,' Tank; but when the Think Tank the eye but in no way could he make a counselor came in,the youth "Let'sroleplaythat,"said would hardly let him talk. "What square out of his pieces.Finally, the Steve. "Two of you volunteer to seeing this, the first man handed are you here for, man'? Did be in a mock fight." The quarrel him all his pieces and the others hacks(correction officers) send warmed up, fists we clenched, continued to swap freely till at you here?" "What is the Think and the first. blow was about to be Tank?" "You're in prison for the last all fivesquares were delivered. Suddenly Steve picked completed. During the critique same things we did; you're no up something from the floor, held the trainees decided that they .had better than we are, man!" are it out between the combatants, learned that they must cooperate examples of the comments he was and said, "'fey! Which of you peppered with. dropped this ten dollar bill?" This to achieve a joint goal even at the With p4tience ari'd persistence, diversion stopped the fight. Then sacrifice of individual success. he finally convinced them that he Steve asked, "Do youfellows Role Playing would go down the line to help know each other's names?" By them to achie've their objectives;

.this time the parties were ready to Two sessions were devoted to buthewasonlygradually talk out the dispute. role playing a series of conflict accepted and the president had to The situations to be discussed situationswhichthetrainees exert his authois.yto get some oof orroleplayed were based on deemed were most likely to arise the boys to stop questioning and questions elicited from the among the youths they wouldbe to listen. trainees about nonviolence, what training. The trainees showed an The last session was devoted to they wanted to get out of the ability to throw themselves into evaluation and unanswered ques- course, and questions they their parts without inhibition and tions. The consensus seemed to be thought the juveniles might ask withasurefeelingforthe thatthetraineeshadgained enough resources to deal with the . them. characters they were portraying. One of the questions was, "If youth, that the attitudes of the I.endership Techniques someone wants to pick afight trainees had changed construc- with me andcalls me a tively, and that. their expectations Bernard examined the art of in for the course had been- fulfilled. communitybuildingandthe front of my peers, how can I avoid The leader of the Think Tank felt importance of, respect in empower- hitting him and still preserve my that the trainers had not ingleadership,illustratedby image of not being a 'punk'?" On maintained enough control of the examples from his experiences in the first rule play, the victim said, course, to which Stevereplied. "I the Southern Christian Leader- "Whydidyoucallme a want to help you see; but. if I see ship Conference and the Student ? for you, you won't learn to see Nonviolent Coordinating Commit- didn't do anything." The trainees yourself." tee. liedescribedleadership were sure he had lost hisimage. After the seminar, the Quaker techniquesinsettlingpotential The victim in the second role play Project issued formal certificates conflictsith competitors, build- breezed past the insulter, saying to the trainees, evidencingtheir ing unity by joint participation in nonchalantly, "That's the third participation. rituals (marching, silent medita - time I've been called a Roger Whitfield, leader of the nen, and reading theorganize- this morning!" The Think Tank Concept, wrote the objectives), and promoting trainees thought he had preserved trainers: to ho y andcaringbetween his imagebythis cavalier "How we can ever begin ceth..igus. reeponse. explain the feeling of brotherhood Steve demonstrated three ex- There was an extended role play and dedication. I do not ercises designed to teach essential ongroupprocess,developing know. .. qualitiesforgroupaction. A methods of maintaining order in a ". . Not only did . you train typical example was the "broken group meeting, dealingwith the us in transforming power.but also squares exercise." Eac..'ffive agenda struggle, gaining credibili- impressed upon our mindsso players got a packet of eh. dboard ty for a Think Tank member with much more. pieces cut in different shapes. All a group of inmates at ajuvenile ". the wall that divides es is the shapes, when put together, pri7on and of helping without not a real barrier unlese welet it would make five squares of equal promising the impossible. Most of be. . . size. "Each player must' make a the trainees played the roles of the square of the samesize." juvenile gang which had wanted explained Steve. "You can't talk FrZ77.:t:7-..41.7','7--Mr:7,,,...;T.r..7r.!'!7!.''7r-7-:..7.','1. '."77-T 7:"A' '"TY...5trprrr..rmT.

ALTERNATIVES TO VIOLENCE PROJECT A Program Prison Residents

of .the Quaker Projecton Community Conflict

Book: "TransformingPower for Peace", OUTLINE OF TYPICAL Leaflets: "Introductionto Transform- THREE-DAY SEMINAR ing Power" and "Guidelinesfor the Use of Transforming.Power". Sooreautred: One room, or preferably two adjoiningrooms, with movable chairs andblackboard. Community meeting suggested. room has been

1st Session (July 1, A.M.) Introduction of trainers and program. Affirmations in pairs followed introduction of trainees by by each other. Trainees tell what they out of the seminar. hope to get Small group sharingon "Conflicts .I have solved nonviol- ently". Reports to full group.

2nd Session -(July 1, Afternoon) LaFayette on his experineces with nonviolence. Discussion. Self exam-' ination, followed by smallgroup sharing.

3rd Session )July 13 Evening) Demonstrations of-resistanceconditioning. Apsey on basis of transforming power. Demonstration of role playingin hassle line. LaFayette on nonviolence as used in prisonin the Civil RightsMovement. 4th Session (July 2, A.M.ti Introduce rO)e playing to examine conflicts bothin prison and after release. Brainstorm for conflicts in prison. Select scenario. Conduct role plays and de-brief. Comments by LaFayette.

5th Session(July 2, Afternoon) Broken squares exercise, Leaching cooperation. Quick decision making. LaFayette on community building.

6th Session (July 2, Evening) Strategy Game to teach cooperation in creatinga community to achieve a goal.

7th Session (July 3, A.M.) LaFayette on his personal experiences with personalconfrontations. Brainstorm for conflicts to be encountered after release. Conduct role plays and de-brief.

8th SessionJuly 3, Afternoon) linker Toy exercise on how to deal with frustrations andcommunication difficulties with patience,toleration and cooperation.

9th Session (July 3, Evening) Evaluation, unansweredquestions, wrap-up.

For further information on techniques and methods used inthe ALTERNATIVES TO VIOLENCE PROJECT: A PROGRAM FOR PUSON RESIDENTS,send for the AVP kit with descriptions of many of the exercises from: Quaker Projecton Community Conflict, 15 Rutherford Place, New York, NY 10003. Price- $2.00 74 68

giAPPendi

When the CCRC program began, much of our time was spent doingworkshops in classes with children and theirteachers. We often went as a team of three, four or even five facilitatorsand assistants. There were frequently volunteers and students working withus. Marge Rice, one of these volunteers, expresses her feelings about her CCRCexperiences in the followingpoem. It not only captures the spirit ofour early work with children, but it also reflects what we did in those firstpilot years. The class reviews which follow and the reports ofour experiences in conductinga CCM course give a sense of our subsequent development.

75 1)9

BESTCOPY WKAEl DESCOPE AVAILABLE

never - ending variety of creative solutions Waiting in the hall outside the classroomig* from: "Are they ready for us yet?" THE KIDS As we enter THL,LRLAFIVL KILL The joyous round of Applause At the end, that always greets "Shall we close with a song?" Lenny, Gretchen, and Pris Then, The boys: before we leave, "Lenny, sit by me: moving all the desks "Sit here, sit here!" back in place.

Meeting back at Gretchen's apt.... Pris: "Shall we start with a song?" "What was your reaction Their very-most favorite: to the session as a whole ? ".,. "One bottle of pop, two bottles of pop....'. "How was the teacher involvement.today?".. °Gretchen: goes anyone have a suggestion "Next time for a conflict shall we try conflict resolution they'd like to see role-played today?" with sock puppets?". "Yeh, I do: my little sister Lunchtime, is always getting into my things"... back at the school,: 'Evaluation with the teacher: "Me too: "How can I break" up on my vacation, the cliques I went into a gift shop in this classroom?" and the man wouldn't wait on me Genuine concern. because I'm Jewish Real searching. Openness. The never-ending variety Getting to know Uavid, the student teacher of creative solutions The Manhattan College from Peace Studies interns... THE KIDS. Ever widening circles THE CREATIVE KIDS: of resources, and support. "What is teasing? "Can you remember a time Overl.eord, . at tot' of a session: "How did it feel' " "soy. : felt tired when Icame to school today, hut

: 1 qreat:" The never-ending variety How to make the day of creative solutions for A Project trainer. from THL KIDS.... Coiling up out of the subway: THE CREATIVE KIDS: ;,ew York City: Grea4ast together at George's restaurant; Room building... they, Machine building, :he ..moke-fillcd teacher's room at 75. Monster drawings.... Pris ;uitar, , Silhouettes. Margf.'s camera. 70 BEST COPYAVAILAkE CLASS REVIEWS:1972-1977

kxampt.L.6 06 OUA ExpaZence4Ova the La4Five Vem4

Children's -,The,class _reviewswhicV.01.19wreflectjoe krowth of the work was priMarily Creative ,Response toConflict'project.. nv first year's The second in the area of CongietRaotution as sdown b;. Class Review I, Thii grew out of the year.we developed manyof our Communicatioy skills. worked to improve the listening, concern of oneof the teachers with whom we Class Review III expresses speaking and observationskills 'of her class. A66iitmation which' has continued our own growth indeveloping the th'.ne of had to be an important partof the program. Thus, by the third year, CCRC Affirmation; already established its mainthemes; Cooperation, Communication, and Conflict Resolution.

a concerndeveloped to find ways ofintegrating . In the fourth year, the classroom and_curriculum..Class Review IV reflects . our program into children is joined this experience; in whichthe cognitive development of approach: with and enhanced by theiraffective development through the CCRC we were Although we had beenconducting teacher workshops for several years, primarily concerned with thisaspect in 1976-1977. Review V highlights a Jersey, schools. series of in-service teacherworkshops for the Montclair, New children in At While '.:CRC maintains as apriority continuing work with increase in number.. least one school, ourworkshops for teachers continue to

Ri ViLW OF A 5TH-6FH GRADECLASS p0 AN UPPER WEST S101 .N. y.) SCHOOL 1972-73

Upper West Side This school is oublic .;chid .twited in the highly integrated urban renewal area of Hanhattan. The school's student populationis approximate- ly one-third lack, one-thirdLatin, one-third white. The school has been conducting.an experimental "open corridor" programin one half of its classes,and bilftgual classes and many programs run byoutside resource people.

hold class- Iturke':; el/a,:s is .uccessful open classroom where the children room meeting,. da:ly. Th' sixth graJers (once rhv-orr5e;l-wercfamr ,Ith theC(:PC workshops from the yea t- beforeand the teacher eonsidered ourpro- w-am ony, of hi ii' -first prioritie; The students accepted us fromthe beginning And tncrcror,., we never had any major attention ordiscipline problems. These students had had sevcral yodrs in an open ,-or ridor programwith experience in into choosing JCZ1tItic, anal struct'iring their free time The class was divided well-defined irea, that allowed for ,everal activities totake place simultanc- while children who ou.;ly. Therefore, Ooi cooed take place in one area chose to .cork on other were free to do so. This structure facilitated our phi;-:ophy ot voluntary parti11-;:ition, and cis one of the majorelements of the

a variety ofCorm:its as thls was our We beg i' ".' t ,were still devioping flropsram Aq we went along. First, .,VE BEST COPY AVAILABLE

we used puppetry as an entertaining opener to create an environment of fun tore- lax the children. We then presented a simple brother-sister conflict show, and used small groups to discuss solutions to the conflict. This format was a good introduction to our program because it demonstrated conflict resolution andled the children to deduce that we were there to explore "learning aboutpeople".

Our next step was to introduce the concept of roles that people playand to show the intrinsic violence in some roles. This was demonstrated by a skit about a day in someone's life. As the man went through his day, he was confronted by different situations and people. To deal with each of these he put on a different mask. After the skit, the kids wrote down the masks (roles) theysaw themselves wearing. By using their list, children found it easy to talk about themselves and the masks they wore. The students created their first skits about themselves, and by using the masks were less inhibited about gettingup in front of the class. These mask skits led to discussions about theways in which people protect themselves and how their roles vary with changing situations and participants.

Roleplaying was then introduced. Roleplaying solutions from a puppet show was more difficult for them than roleplaying solutions from a skit presented bythe trai,.ers. Once the students saw the trainers roleplaying, they were eager to try it and were more comfortable doing it. Marty also practiced roleplaying with them during the week which helped them pick up this tool muchmore quickly.

The workshops developed a format of opening with a skit done by the trainers,a discussion of the.skit, and then roleplaying solutions to the problem presented in the skit. Towards the end of the year, there was no need to presenta skit done by the trainers. The roleplaying was done-on conflicts suggested by the students.

Discussions in the beginning were too general and unfocused because of our non- directiveness and the students' eagerness to tell anecdotes.We therefore chose more specific goals for each Tession and began focusing the discussions around one or two points. This increased the momentum of the sessions and attracted fuller participation. Because of the success of the large grbup discussion, we continued with this format and did not continue experimenting with small groups.

The theme development began with "Bullies" and "Street Violence", and was expand- ed to more personal themes like "Family" and "Classroom" conflicts. The humanizing concept was developed every week by asking the_question "What could you do to improve ehd-Tituafitin?" Roleplaying allowed the children to test whether their ideas were realistic_ Gradually they learned many new responses through the humanizing approach: persistence, taking the initiative, asking for help, becoming a medirAor, waiting quietly until the appropriate moment, speak'ng calm- ly, bargaining, compromising, and using humor to diffuse the negative energy.

Trust in the sessions grew as the children began sharing their feelings and dis- covering that many others in the class were experiencing the same feelings. The children reported through personal interviews that our sessions were important to them because "they help us learn how to .;olve our problems." The students began noting conflicts they saw and listing them on a chart in the classroom. Each week a train.r would pick up the chart to he used in the planning for the following session. 'this procedure provided one step toward our sessions becoming more student-directed. 72

the students brought us problems to work on in the sessions, and at one point we built an entire session around a conflict that was happening as we entered the room. Thesession became focused on one individual in the class and her rula- 7-..,4-ion5J14) to other )4eMbr.s in the clEks4,.0..Aid..411.Affirmation. exercise that.mas very successful, but we decided afterwards that in the future we should objectify

,any problem given in order to involve everyone's participation. The affirmation- validation exercises were especially well liked.by the students,They liked a variety of exercises and games along with roleplaying and discussion,

Several parents had visited our sessions and wanted to know more about our program. With the help of several parents we held a parent workshop showing video tapeS of the children's workshops. Parents wanted to discuss with each other the changes that they had observed in their children. Many mentioned that the children asked to have family discussions, and several had structured these with positive results. They mentioned the children's new willingness to see other family . members'points of view. One parent mentioned that her son had made a schedule of the house responsibilities with the result that the confusion over them was diminishing. In general, they felt that their, children were learning how to handle situations with new self confidence,

We worked with this class for the entire'year and held a total of thirty workshops. In conclusion, the following attitudinal qualities seemed to have developed in this class:

The students showed willingness consistently to attend our workshops. From a trainer's point of view, we were able to attract and direct their attention. The learning outcome was that everyone gained a simple openness to the concept of creative responses to conflict.

There was active participation on the part of the students. They reacted with enjoyment to the sessions by responding voluntarily to exercises and discussions They began seeking creative solutions to their conflicts. Tley showed their satisfaction with the sessions by thanking us each week,

The students attached great worth to our sessions and desired to improve their kills in conflict resolution. Some of the new values they chose were expressed In the ::tudents' overt behavior in our classes and the feedback we received from parents and teacher. Their ability to work together as a group in helping one anoter soLe problems was consistent and stable.

MACIIFNE litITT,DfiVC; (See p.25 ) BEST COPYAVAILABLE 73'

HURTIIGRADE CLASS AT AN EAST HARLEM SCHOOL 1973-74

This school is located in a neighborhood 'where the children are almostentirely black or Puerto Rican. The area has some violent episodes, but school has a warm, friendly atmosphere. Most of the classes are traditional although there.are a few open classrooms. Some of the students live in nearby shelters. They receive few visitors at the school and most of the children need much more attentionthan is given to them, We were welcomed by the administrators, teachers, and students every time we went to'the school.

Pam Mulligan ran her class in a traditional, well-disciplined way. She had good control and was consistent in her method of handling disciplineproblems. She was honest with the children and cared deeply for them.This showed in the atmosphere of trust that existed in the class.

We decided against a nonviolent conflict resolution approachand felt that these children would benefit more from workshops which stressedconfidence-building and community-building. We found that children were able to meet in a large group successfully. In our first workshop, we discussed problems of brothersand sis- ters and found them pleased to mentiontheir disagreements. Compared to the huge family problems that existed, they did not considersibling rivalry a major difficulty. In our first few sessions, our main goals were to gain rapportwith the children, familiarize them with the program, and to find outwhat issues they needed and wanted to work on. We did do one early session on the role of the teacher to try to show that a frustrated teacher is a humanbeing. Without an understanding of conflict resolution and roleplaying, it wasdifficult for children to objectify a situation sufficiently to understandhow the teacher felt. Later in the year, we did a similar session,and the children were able to objectify the situation and understand both sides of the story.

We felt that an important need.in this class wasin the area of communication skills. We did ten workshc. s in this area. The listening-skills workshops included highly structured games such as Telephone)Paraphrasing, Followin& Direc- tions, and Storytelling with the useof a tape recorder to play back and test whether each person's part of the story was listened to, The observation skills workshops included the Swami Game, Open-Closed Game,Observation Game, Eye-Wit: ness-Skit observation tame and The Fishbowl.We also did workshops on speaking skills which used the Inquiring- Reporter Skit, Interviewing_in small poups, Di- aphragm-Breathing exercise, Sneakinz-from-a-Further-and-Further-DistanceGame, and Speakinis in Front of a G Wrfound that using drawing was riatx-gooli technique for helping these -children articulate feelingsbecause they found it difficult to express in words what they had drawn. (The above exercises are in the Tool and Technique section.)

Almost all of the communication skills workshops weresuccessful because most of the activities included everyone either as aparticipant or as an observer who later reported what she/he saw or thoughtshe/he had seen, For example,in the interviewing exercise, one student was interviewed whileothers thought up questions to ask. A second reason for the success of theseworkshops was that often topics concerned a make-believe world, The Swami Game, Storytelling and Observa- tion Skits are good examples of this. When we tried drawing pictures of, ormak- ing skits about school, children resisted, but when they weregiven topics like "at the circus", "in the park", or "at MacDonald's",children were enthusiastic. Thirdly, we found that children liked challenging gamesand exercises as long as

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Often trainers roleplayed the explanations we explainedthem clearly andsimply. better understanding of them. Whenever we and games to helpthe children gain a it in words, we did, because we found could showsomething rather than describe Children much mord attentive toactions than words,

f'or the teacher to be involved in the games We also learned thatit was important in a skit that the children found and exercises. Once the teacher played a part and encouraged more students to par- very amusing. This lowered the risk level If the teacher took what we weredoing seriously, children found more ticipate. view, it was, of course, validity in the workshops. Prom the trainer's point of To do this, important to have the teacher act asa trainer asoften as possible. We usual- excellent communication before,during, and after workshops. we needed called the teacher the ly had a rough planfor the following week's workshop, after each session,, night before the.workshop tofinalize plans, and evaluated ready to work on conflict After the workshops oncommunication skills, we were developed at least some skillsin roleplaying resolution. By then, children had experiences.The and skits, and felt morecomfortable about sharing personal We did.roleplays on children themes we chose were streetproblems and exclusion. of handling the problem. being robbed in thestreet'and discussed various ways Exclusion Game. We also played the GibberishExclusion Game and the Physical well in this class. Usually is interesting to notethat singing did not work It already in a circle and ready when we came in to do aworkshop, the children were what we They did not need a warm up or anyencouragement to focus on to begin. workshops in they were ready to go, If we had had time to continue were doing; The teacher felt this class, we would havekept working on conflictresolution. improved a great deal. that the communicationskills of the class had

III

REVIEW OF A FOURTH GRAVECLASS AT AN EAST HARLEM (N.Y.)SCHOOL 1974-1975 in East Harlem. One of the classes weworked with in the 1974-75 school year was of teacher cutbacks, lost At the semester break,this fourth grade class, because Thus, we were . half of its students and gained alarger half of another class. what we had forced to begin all over again. We wanted to give the new students already done, but we also wanted to moveinto new areas with the oldstudents. We felt the biggest problem with both groupswas that they didn'tfeel good about themselves or others. So we decided to spend mostof the semester on affirmation. ourselves, get to know We started off doing singingand name games to introduce The "old" children the new children and todevelop a positive sense of group. This was were eager to teachthe new children songs andloosening-up activities affirming for everyone since the "old"students felt secure enough to teach some roceived more attention of the songs and games. Because of this, "new" ':students than was possible in the first semester, 75

We did silhouette drawings, put them on the wall, admired them, and came up with five positive, statements about each person which we pasted on the individual's silhouette; We spent a lot of time on affirmative statements in both large and small groups. This started with simple questions in the large group: "What's one thing you had fun doing last weekend?" At the next session, children panto- mimed "one thing they like to do" while others guessed what it'was. Next we tried interviews in small groups where one person chose a topic to be interviewed, and everyone else thought of a question to ask of him/her. Another person then chose a topic and so on until everyone had had a chance to be interviewed and to have asked everyone else a question.

We did a few sessions on group cooperation by building monsters and machines in small groups and then showing them to the large group. The affirmation emphasis worked very well here. The children did not hesitate to praise the machines and monsters. We took slides and showed them, resulting in further acclaim by the class.

By the end of the eighth week, there was a positive sense of group. People had fun together, and enjoyed praising themselves and others. As there seemed to be 'a need for an in-depth project, we decided to work on "Affirmation Notebooks," and stayed with this for most of the rest of our workshop program there (seven weeks). We did one or two of the Notebook pages at each session in the same order as they are presented in this Handbook section. We found this was a comfortable sequence. All of these were done in small groups with discussions about each of the sheets. Children were eager to ask for correct spelling and to help others with their spelling. Children took great pride in the appearance of their sheets. They also valued the group and shared material consistently. Along with working on Affirmation Notebook sheets, we did several loosening-up and cooperation games such as Zoom, Musical Laps, an affirmation name song, Pantomimes, and the Telephone Game.

We sang at every session. The rords were mimeographed to facilitate learning new songs. The children liked the sheets so much that they put them in their Affirm- ation Notebooks. We also did one session with puppet shows before the puppets were put back in the notebooks.

the last session, we sang all the songs we knew, had a written evaluation in small groups and compiled the Affirmation Notebooks,We found that the activities that children liked most were: silhouette drawing, Affirmation Notebook covers, balloon sheets, tee shirts, having pictures taken, making puppets, small and large group machines, and telephone, REVIEW OF A SLCONV GIU14 CLASS TNEAST.HARLFM, 1975-76

We had worked with the teaenerof this class in an East Harlem school, but this year we worked more intensivelywith her with a special goal of inte3rating our techniques both into the classroomlife and the curriculum. After starting out with sessions largelymade up of fun loosening-bp exercises, we moved in to community building. This was followed by three sessions on conflict resolution storyreading, with discussions on how people felt about solutions,

We decided that we would like to worktogether with other classes on presenting a Christmas show for the lower gradesof the school. The production included skits, puppet shows, a slide show and singing. After the holidays, several sessions were devoted to affirmatiornotebook pages. At first, we ,., started out with sheets that involve' TM ;t/ drawing, Gradually, we did Sheets with more and more writing, ae aaw this as a wayof improving both reading and writing skills. The writing sheets included "Fruit I Like",'. "Animals ILike", "Weather I Like", "My Family Sheet', and."Quetions About Me". We also continued with a great deal of singing,

In February, we made "WirmationValentines" and saw this again as a reading and writing project. The teacher was very concerned.abcut netchildren taking the reading tests. She wanted to give children practice in an affirming way that was also 'fun. We worked together to come up with a structure which would facilitate this. The teacher looked at old copies of a reading test and foundseveral models of questions. We felt that having children make up their own tests would help themunderstand the structure of these tests as well as giving them practice in takingthem, The first week we did the "Word Game', andthe second week the "Fill In the Blank Sentence. Word Game", and the "Sentence Game". All of these are found on'Page 38. In each game, children chose e .eicture that .theyliked, pasted it on a large sheet of paper, put thaie nalle on it, and made upwords or sentences, one of which described the :,ture. loch child showed his or her sheet to thewhole class which then .edrd.or sentenc, was correct, and then applauded the child. Thus, the "PictureVocobdlary games" ,sere bothaffirming to individuals and effective In giving ora-tice in taking reading tests.

Toward the end of the year, we wc!t. on If t, children and asked them to write positive thingsabout the 1.1.;,. hf. .;Ad arts and crafts projects including wemrings and r- -r4cht i)ay,--As a- writ -ing project we made Mother'' :)ay

such 1'ir2 last few weeks were .:.pcni u:1 :o4yccot.t, exercises "Community Music Making" 1.11 L Instrument. The students planned their iasr did the games and songs they enjoyt'd most.

!JEST COPYAVAILABLE 77 V

REVIEW OF AN IN-SERVICE,TEACHER COURSE IN MONTCLAIR, N.J., 1916

Eighteen workshops were given to teachers and principals in the Montclair School System. These were divided into two in-service courses. The first was on Seth- Concept Devetopment and the second on ConliZiet. RuSetution. The main format of the Conflict Resolution course involved discussing and dealing with conflicts that the teachers had had to cope with. The following is a review of the Congiet Reaotation course.

The first session included an introduction of participants and the program with the main goal of getting people to feel comfortable with one another, while beginning to discuss the elements of conflict.This session included some "Conflict Story Reading", and a "Brainstorming" on what causes conflict.

The second session included a review and categorization of the brainstorming ideas. The use of puppetry and comic strips with children was introduced.

Thethirdsession dealt with "Roleplaying", "Role Reversal", "Quick Decision Roleplaying", and how to set 1...? a roleplay. We discussed two alternatives: the teacher choosing the scenario or the class brainstorming possible scenarios. We then discusser other aspects of roleplaying: the importance of a clear statement of the issue, selecting the characters, the situation and the time and place of the roleplay. We further discussed the idea of looking for consequences of and alternatives to the solution, the type of communication Involved, the motivation of the characters, and the feelings involved.

In the fourth week, we did skits and examined the many uses of "Light and Livelies". We pointed out the differences between skits and roleplays, and then did an extended roleplay. We discussed the idea of planning a session to meet the neec.:, of the class.

In the fifth session, we did "Goal Wish Problem Solving" and introduced the idea of "Conflict Story Books". In the sixth session we discussed establishing a pattern for dealing with conflict in the classroom. We mentioned the workshop approach and the class meeting approach. By this time, teachers were already using some of these techniques in their own class- tooms.SOthe discussion revolved around their own personal situations.

The next two sessions were spent roleplaying specific types of conflicts including child-child, adult-adult, teacher-child and parent-child conflicts. We talked more about using various conflict resolution techniques with children in addition to consideration of the conflicts themselves.

The filial session included a review of the previous eight weeks, an intensive evaluation and a final discussion of conflict resolution. Teachers_ felt especially prow. of the fact that they had come up with so many new alternatives. 78 THE CITY COLLEGEOF NEW YORK EXPERIENCE

CHILDREN'S GROWTH TOWARDS COOPLRATION: THE TEACHER'S ROLE

Loren D. Weybright. The City College of New York

This paper examines the relationshipbetween the developmental point cf view and a supportive atmosphere which encouragesthe growth of affirmation, communication, cooperation, and conflictresolution, There are several developmental themes central to Jean Piaget'sideas about the growth of cooperation and thinking which have direct implications fOrthose who work with children (and adults). The first theme is that children'sthinking, and their point of view of the world, are quite different from adults' thinking. These differences are expressed in terms of successive stages of development.

The second theme-is that thedevelopment of thinking and of a ccoperative point of view is based upon'the process ofaction and interaction. A third theme describes the importance of observingchildren's actions, language and development in general, Contrary to what was once assumed, Piagetdiscovered that children not only know less than adults but thatthere are fondamental differences in the form and patternof thought, roughly defined according to age. The very framework, or what.Piaget calls the"structure" of children's ideas. . about their physical and social worlddiffers in essential, often dramatic ways from an adult's point of view. A preschooler, for example, called tohis father, "Get bei,ird me, daddy, so they canpseeyou." A three-year'-old proclaimed, "I have feet, you have feet, Curtis dOW.t-havefeet, He isn't here."

From a young child's point of.view, what yousee,'everybody sees. What,you don't see doesn't have much meaniAg. Pi.aget describes this as egocentricthinking. During the preschool years, rough].)from two through five or seven years 4 age., the child literally "centers" cr focuses on onedimension, one point of view (his own), and expects others to.do the same. The preschooler (and many primary grade children) will, when retelling a story orgiving directions, provide only a bate account of the entireepisode. He or she assumes you, the listener,know The older child begins to under- all that he knows, so wiy re -stale the obvious! lb stand that there are clearly points of viewother than one's own.

Thy different points of view expressedcharacterize the two stages in the deVel- opment of social cooperation. Piaget (1932) describes those stages asthe two moralities of childhood, the morality ofadult constraint and the morality of

cooperation._ .._

Con4ttaint and Lgocenttam

Children's judgments, in the morality of constraint, appearto be held back by the external rules of adult authority. Rules, they believe, can't be changed. A child adapts to adult constraint byplacing rules on the level of moral abso- lutes, i.e., he or she determines wrongdoing onthe hasiz of external evidence, not internal motives. For example, the child feels that someone whobroke many glasses by accident should receive morepunishment than someone who broke only a few glasses, regardless of motive. The focuses on the letter of the 1Lw rather than considering the spirit behind it. In terns of the child's ideas about justice, authority itself is in command.and the child is not able to see the possibility of an equitable distribution of sanctions orrewards. (Piaget, 1032.) Age 'and Sta_ge 414*--ttt

The first ,stage of adult constraint lasts from birth to around seven or eight years of age, followed by the stage of cooperation. The age at which the morality of cooperation first appears varies widely among children and varies within any one child's judgments about different conflict situations. I have observed six-year-olds in cooperative play, where they showed true collaborative efforts in constructing a playhouse. The primary importance of the concept of stages is that the sequence remains invariant.

Coopekation

The morality of cooperation is seen among children who consider rules that are based on rational social conventions, rules which serve group rather tai individual goals. These older children, from about age seven onward, will, seek group consensus of a rule in their games. In monster-making they would; seek a common, goal towards a cooperatively developed drawing of a monster rather than each child drawing his own arms and legs Unrelated to the whole.

In terms of wrongdoing, it is judged on the basis of motive and external evidence. Children playing chess, for example, were observed to carefully foi' 44 the rules, with the exception that some were "speaking on the game". They gave helpful hints to a new player, showing him which moves to make, even though it was against the rules to do so. The special circumstance, in this case, teaching a new player, overruled the requirement that the spectators were not to comment on the player's moves.

In terms of justice, the children are able to place their judgment of behavior in a social context, seen in terms of equality for all. (Piaget, 1932.) In discussing a conflict situation, mid-elementary age child.ren on this level of development would propose solutions where all participants must be treated equal no matter what the circumstances. It is only later that children are able to temper equality with equity which accounts for extenuating circumstances.

The development of cooperation-has its roots in the preschool years as the children shore toys, friends, feelings, and ideas. But sharing, at this age, is limited to instances where the children have a common goal. At the primary grade level, children develop shared goals and feelings of respect and sympathy. -1-t-is--here-they-are-first-alituro-iinagihe-apdint ofview other than their own. They are able to think of an action or idea outside of themselves. By the in- termediate grade level, we can see the development of true cooperation based on group consensus. These older children, for example, seek purposefully peer recognition for their ideas. "We could build the monster with a golden head, couldn't we?" "Yeah, and then we could have a golden shield to match."

Awaitene and Act6m

A difference between knowing the "right" solution and acting on that solution is c' .arly seen, both in the development of cooperation and in the development of flunking. The development of true cooperation depends upon intention and delib- eration grounded in direct experience close to children's own areas of interest. Brearly (1970) suggests that it is relatively easy for young children to be taught to say "I'm sorry" when their play gets rough and someone gets hurt. It

"6 BEST COPyAI/ 80 nvAILABLE

is entirely another matter, however, to understand the feelings of sorrow, and to grasp and empathize with the feelings ofthe other child in that mpmont,of hurt.

In summary, the growth towards cooperation is primarily concerned with under-

. standing another person's point of view. The child's ability to place himself in "another person's shoes" onlygradually appeirs through social interadtion

with peers and adults in a variety of settings. This ability is dependent par- . tially upon the quality of experience a child has had, the quality of the interaction.

Ac.ton and 1 ntena

Successive stages need not he the focus of teachers' observations' of children's social development. The direction and the process of action and interaction, according to Brearly (1970), Count- for-more than anything else. The stages are age-specific. The central theme of action and interaction is a process that re- curs throughout all ages. Piaget's conception of the growth of intelligence and the development of cooperation as active processes is a central_notion in his thco'y. The activity of the child (or adult) is expressed through two types of actions: first, as .external sensory and motor investigations .of the.child's surroundings such as exploring the texture of clay or the feel of water; and second, as internal thinking actions such as comparing (sand and water), counting, or matching (my idea with yours).

An important example of action and interaction is seen in roleplaying where the child who plays the role helps to internalize the meaning of another child's action. If the .child experiences an event (the role of a child who has been excluded) in a roleplay setting, it provides him or her with altommon base of experience with another child (the one who really was excluded).

Experience in roleplay, for ext.mple, is not understood in the same way at different ages. The young child, aot able to get outside of himself, can only ap- preciate the experience if it has matched his own. The older child, now able to construct a point of view other than his own, may truly empathize with the modeled role. The younger child only focuses on one aspect of the role at a time, reflecting his or her one-dimensional point of view. The older child (seven through ten years of age) is able to account for several dimensions of -the-expeTtence-at-once-An-his-or-hur-explanation-of equality.The older child knows the rule.; must meet the test of group consensus.

The importance of action and interaction is summarized b) Piaget when he proposes that in order for children to develop intelligence 0,f cooperation), they must construct it themselves. This active knowing behavior can he seen in the preschooler as he or she begins to establish the important concept of a mother's or father's role. At first itis a limited view of a one-dimensional role. A mother can only be a housekeeper. Itis only later understood that a mother can ate both a doctor and a housekeeper.

the third theme is about the importance of observing, for both the teacher and the child. PLIget's (1)72) clinical method of observing children's development provides the teacher-observer with an appropriate starting point for conducting an objective analysis of children's social interaction. The CCRC Program activities provide an opportunity for extending, the process to children's own active observation. BESTCO Pv AVAILABLE 8

The central aim of Piagett's method is to uncover the trend, the basic structure of children's actions and social interactions. -The observer may begin by focusing on one child, or on one activity, and regularly recording the language and actions that occur for a brief period each day, or for several days. The observer, .by examining one child's actions and words as a whole piece, is Able to es- - tablish an inventory of that child's_ ideas.and explanations. The inventory could take the form of a log or an anecdotal, record, kept close at hand for easy note taking. The inventoryy gathered over long term observations of the child in many situations, may.then he used to determine patterns in that child's groWth. It is the long range view of a child's growth that will allow the teacher to place the developmental achievements of an individual in proper perspective.

Children's observations, an integral part of the CCRC Program, are described in the section on Communication, Children's (and adults') objective observation of social (and physical) interactions is the implied goal of such activities as "Know Your Orange", or the "Eye-Witness Skits".To "Know Your Orange!', everyone in the group observes an orange carefully enough so that they can recognize their own orange with their. eyes closed! The "Eye-Witness Skit" depends upon an already-rehearsed activity-thikt-suddenirnhappene infront --of -a- group.After- wards, the group tries to describe the details of.what happened. It usually results in the children relating many different stories of what occurred.

A child's description of an orange or an event is based upon his or her point of view. An egocentric child's descriptive observations are characterized by frag- mentary statements which emphasize only one aspect of an object or an event. The child at the cooperative (or what Piaget calls the concrete) level can provide a multi-dimensional description of the orange. He begins to accept as valid another person's point of view of a recent event.

Arearly (1970) shows how observations are determined partly by past experience which is personal and internalized; and partly by the test of reliability, which is a social act where one's own'observation is confirmed (or disputed) by another person's observation. To encourage observational learning, Brearly recommends that children, too, keep reeJrds or logs. Records may be kept on many processes and objects, including changes in plants, or pets, and on growth in animals or children. These observations serve to develop awareness of the children's own experience, and to encourage growth towards the acceptance of another person's observation as a valid point of view.

The teacher's role in supporting children's observations of physicalor social events is to document and describe children's interests and ideas; to extend their thoughts and actions; to pose questions, based on children's own questions; and to integrate experience and ideas. The gradual appearance of cooperation, for example, depends on the child's and teacher's ability to understand another person's idea and on the ability to listen.

The development of communication skills is critical in the resolution of conflict. Conflicts often originate in the failure of communication or in the lack of exchange of ideas. The teacher can support the development of communication by pro- viding an opportunity for true dialogue to occur. This 's strengthened through careful recording and documentation of children's language samples in ordinary experience. The samples need not he extensive. Five or ten minutes a day of observation, focused on one or two children, or on one, or two events, often show .4 82

the ohserver apattern in commhnii-ation never noticed before. The teacher may observe, for example, that the rule of a listener is tied to the egocentric thinking of a young child, When that child re-tells a story, he accounts only for single isolated elements, not an integrated whole. The essence of listening is-the exchange of-meaning iimong equals.--If the Vacher provides an atmosphere thatimproves the flow of meaning among children and adults, she or he will he able to reduce the.potential for conflict. Teachers who do observe children regularly have become,convinced of the importance of action and social. interaction in independent (play) and organized (ga)nes) activities for the intellectual and social development of the child;

S 17101atiu

The development of children's ideas and practice of cooperation,is closely related to the growth of affirmation, communication, problem solving, and thinking in general. This relationship may be described in terms of several development themes. The first theme demonstrates that children's thinking is different from 44.1 adults' thinking in terms of its structure or framework.,Piaget proposed that mthese structures (e.g., egocentrism, cooperation, justice) deVelop through a 4cC sequence of stages, a sequence found.to be invariant across cultures.' While the first theme -describes -the differtne-osi-n---patt ernfs-ofthe .way--children- 'and---adults think, the second theme shows similarities in the processes supporting the Bevel- 4:C opment of thought.

O Piaget's notion of the growth of cooperation and intelligence is an active pro- .cess, which develops .through the action and interaction of childhood, The child (and the adult) must construct their own patterns of-thought or intelligence, not through passive, didactic instruction, but through personal action on his or her UJ surrounlings, and through social interaction and cooperation with others. . CO Piaget (1932) speaks directly to those who work with children as he describes the importance of individual action and social cooperation: "Let us therefore try to create in the school a place where individual experimentation and reflection carried outin commbn come to each other's nid and balance one another." (p. 404.)

The third theme of observing chi ldre 1 draws upon the clinical interview and the question!, concerning the developmentll of children's ideas ihout rules in their play. Observing and questioning children in an unstructured, developmental context allows (classroom) practice to illuminate theory.

RI_I-LIZENCES

.11. I v ,11. led.) 11 1' 1 () V It '; : Srnc A La

(.6 P( ccoc ' s '1,1 1, .l r/i New York: Schocken Books., 19'(t.

Paget, 111 tCI!c,4 ed. Totow.i NJ,. Littlefield, Adams 1972. (Original French edition, 1924.)

Piaget, J, Mciha etc Ch i61. New York: Harcourt, Brace

ri World, 1932.

Weybright, L. "The I)c'velopment of Play and Logical Thinking: The Teacher as Researcher." The Urban Review, 9(21, Summer,1976, 133-140.

Wcybight, L Pi (19 'trl llll Chi Fairlan,N.J.:JAB Press, 1976 lAudio recording,10 minut,.s.) F29 . . -

. . .

BEST COPY AVAILABLE

Children's Cre,,tive Response to Conflict:

A Developmental Point of View

A graduate course held at the City.. College of New York, The School of Education, Fall Semester, 1976.

A BRIEF SUMMARY

Several people requested information on the content of the course given at CCNY. While there is a more extensive report in Vol. No. 2 of Sharing Space Newsletter, the following gives a brief background of and rationale for the course. The course outline is also included.

Background:

Loren Weybright, a professor at the City College, as part of his work

frequently visited P.S. 75 in connection with the Open Corridor program. lie learned about the CCRC program through talking with teachers and visiting classes in which CCRC staff were, conducting. workshops. Loren is a Piaget__,_ specialist and very interested in games theory as it relates to the moral development of cl-..1dren. As a researcher, hedeveloped the idea of combining CCRC philosophy and techniques with moral development philosophy. He set about getting approval for.the course. The pilot course took place in the fall of 1976 with 15 students, most of whom were teachers.

The course was designed to support teachers in understanding theory and in planning techniques within a developmental framework which established a cooperative, trusting classroom environment where children may explore creative solutions to conflict.

Rationale :

The course is based .00n the following assumptions:

1. Teachers within a developmental point of view will examine the origins of, and provide support for, children's ideas and practice in the four themes of the course: cooperation, affirmation, communication and conflict resolution.

24r? people are given responsibility to make their ow.decisions (in a college course such as this one, and in the classroom) ,they will develop a personal commitment and a concern for the development of the structure of the course or classroom.Once people are able t) take responsibility for their own decisions, through cooperation and social interaction, they will begin tu understand the stre..gth of the individual and the power of the group.

3. Through an awareness of individual and group capabilities, adults are better able to support children in their investigations that extend those needs and capabilities. 84

4. Cognitive and moraldevelopment, such as cooperation and response toconflict, occurs through action and social interaction. In order for cognition and morality todevelop, children and adults must constructthem themselves. This course is designed so=that students may reconstruct the themes themselves through observation,listening, participation, sharing and evaluating particularactivities and techniques. They develop the rationaleand the means for applying these activities to support childrens'(and their own) growth. They develop alternative ways ofintegrating cooperation and conflict resolution into the total structureof the life of a classroom.

Course Content:

Session I. Agenda Introduction- OneThing You Like To Do Project introduction and theory Structure details,and handouts Three Question interview Evaluation

Session II. Agenda and Logistics Pop -Up Name Game Pantomime One Thing You Like To Do Telephone Small Group Cooperation Drawing Evaluation

Session III. Agenda Logistics New and Goods Expectation Snaring Introduction to Conflict Resolution Discussion Evaluation

Session IV. Agenda and Logistics dew and Goods Machine Building Discussion of Developmental Theory Evaluation

Session V. New and Goods - one book youenjoyed reading Agenda and Logistics In small groups, share a time youenjoyed learning something Elephant and Palm Tree Grab Bag Dramatics Discussion Evaluation 8 S

Session VI. Hew and Goods Agenda Musical Laps Relating affirmation to cooperation Pantomime This Object Affirmation Notebook Cover Dealing with putdowns Evaluation

Session VII. Animal Name Tags Agenda and Logistics Discussion of Affirmation Notebook Covers Touch Blue Notebook Page - Tee Shirt Brainstorming of Pages Affirmation Interviewing Evaluation

Session VIII. -New and Goods Agenda Introduction to Communication Paraphrasing in small groups-"What does communication mean, to you?" Summary of Paraphrasing Discussion Evaluation

Session IX. New and Goods Agenda Fishbowl - "How do you break up fights?" Introduction to Conflict Resolution Discussion Singing Evaluation

Session X. New and Goods Agenda Brainstorming on the Causes of Conflict Quick Decision Roleplays Discussion Evaluation

Session XI. What's something good that has happened in your class? My Bonnie Conflict Resolution Story reading - Goggles Brainstorming of Saturday get-together Discussion Evaluation

2 'le

Session XII. What's one color you like,and what does it mean to you? "11 Discussion of moral development Human Pretzel Conflict Resolution Skit Discussion Evaluation

Session XIII. What's one thing you like about this group? Discussion of the teacher's role in moral development Human Jigsaw Roleplaying Discussion Evaluation

Session XIV. Agenda New and Goods Goal Wish Problem Solving Elephant and Palm Tree Brainstorming of activities you'd like to do Discussion Evaluation

Session XV. Affirmation Sharing- say three things you like aboutyourself to your partner Sin of Commission Game Evaluation Closing Circle

After the Course

The class got together for a Saturday after the course wascompleted. At this time, we did several longe..% ctivities that we had not had time to do before. The class members decisled that they would like to form anon-going study group which would meet monthly. We would altern,te meeting at each other's houses, and students would take fullresponsibility for the planning and facilitating of the meetings. Thus, the study groups became a place for teachers to practice facilitation in a safeatmosphere. This structure is one that we envision as a possible model for asecond semester of the CCHY course. Students requested that the study groups dividetheir time half between experiential activities and half discussion. Realizing the need for focused discussion, we dEcided to go through Barbara Stanford's book,Peacemaking, and focus each session on u6e chapter each meeting.

The study group has become a fun learning experience for allof the participallfs, including the course's original facilitators and hasserved as a teacher support group. .N.00 eIN. 0

3 87

SONGS WE USE

TOO-DA-LA -An Improvisation Song

GF wow um rim simmommimmms-Aws momm ommomommemqmsommommemmummemmummig4...rwm I Mill NINE MIN MEM MINI MM. IIIMAINIV OP ti I MN IMP V NMI

Go dmorn-ing toyou, Too-da-la,too -da- la,too-da- la Wd morning to Ma-rygoo.da-la,too -da- la too-da-la 9 are nice and ear-ly ,Too-da-la 9too-da-la,too-da-la

Good morn-ing to you, Too-da-la, too-da-la-lala- dy. Good morn-ing to Bobby,Too-da-la,-too -da-la my dai-sy. You areear - ly too,Too-da-la, too-da-la my dai-sy.

This song can be sung over and over without stopping, adding something about each child in the room.TIe children may take turns adding someting about

themselves: "Ihave a new green dress, Too-da-la , I'm wearing it today, Too-da-la " "I like cherry pie, Too-da-la " "I found a penny..." Self affirmation may be encouraged: "Daddy saysI sing well..." or, verses may be added by others in the group affirming positive traits or values, so that the children have an added sense of mutual support and appreciation: "Susan has a nice smile..."

Too-da-la can also be used at play to sing about what each child is doing: "I'm turning 'round, Too-da-la.... Around and Around, Too-da-la.,." Or the reverse can be tried, with each child deciding on something to sing that he or she would like to act out.

The versatility of Too-da-la encourages the creative Imagination of the children and the teacher.

GOOD MORNING TO YOU The following song is from a Waldorf nursery school. These schools are based on the philosophy of Rudolf Steiner which lookstoward the education of the whole child. Many such songs, including this one, use a pentatonic scale.

llor1045 sun. Voubriny .titornin Good illorninitogbai

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LoveIs some-thing U yougive ita - way, _, give it a - way,_

giveit a - way._ Loveis some-thing if you give isa- way,_ You

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give ita - way, Love Is some-thing Ifyou give ita- way, You A7 4

the end up hay-ing more. So let'sgodaily Mg till A7

break of day, And ifthere's a per, D la- more. loveis some-thing if you give ita- way, youenduphay - ing Adding additional words tiag,tc penny,

As with most children's songs, additionalverses may be invented, keeping the spirit of the originalwording. Here are verses made up by a group ofyoung Friends:to go with Magic Penny,:

Love is better if you pass it around, Pass it around, pass it around; Love is better if you pass it around, You end up having more.

Food tastes better if you pass it around, Pass it around, pass it around; Food tastes better if you pass it. around, -Zou-end-up-havin-g-more-i-

It's just3. like a loaf of rye breads, Hold it tight and it ends up dry bread; Pass it around, it ends up inside-bread It always seems like more.

THE TOAST words traditional music by Pris Prutzman

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OTHER SONGS THAT CHILDREN ENJOY:

"Free To Be You and Me"

"Kookaburra"

''Have You Seen4the Ghost ofJohn?"

"Boom Boom, Ain't It Great To Be Crazy?"

"This Old Man"

"Save The Country"

"This Land Is Your Land"

"I'd Like To Teach The World ToSing"

"I Believe In Music"

"If You're Happy And You Know It"

"Michael Finnegan"

"Found A Peanut"

"Mrs. O'Leary" ("Fire, Fire, Fire")

"My Dog Wag"

"If Ihad a Hammer"

"500 Miles"

"When The Saints Go Marching In"

"Kumbayah

"Rise And Shine"

"He's Got The Whole World In His Hands"

Action Songs:

"The Whqels On The Bus".

"Punchenello"

"Bingo"

"Hokey Pokey"

"Little Rabbit Foo Foo"

"Six Little Ducks" 93 SAMPLE WORKSHOPS A SAMPLE WORKSHOP ON COOPERATION

Theme - Cooperation

Goal - To develop group cooperation in drawing To increase children's vocabulary

Materials - Large sheets of paper, crayons and/or magic markers,masking tape

Plan - 1. Interviewing (p.17) 2. Pantomime game "What kind of store is this?" (p.19) 3. Explain Cooperative Store drawing (p.22) Ask small group leaders to ask the following questions: a. What kind of store would you like? b. Which of these stores could we as a group draw easily? C. What are the parts of the store? J. d. Which part would you like to draw? 4. Break into small groups to draw stores -0 5. Presentation and explanation of drawings to largegroup 6. Singing 7. Closing Circle- "Name one thing you like about the stores."(p.13)

Comments This is a long session that can be used witha unit about stores and occupations. It is easy to explain the pantomimegame by demonstrating it. For children who have difficulty thinking of a store, it is helpfulto quickly gb around the circle and mention 'stores or write names of storeson the board. This also gives children time to decide which store they want to pantomime. Then whoever wants to can pantomime a;store and the others will try toguess what kind of a store it is. This helps children to learn new vocabulary (grocery,stationery, etc.). The teacher might Want to go intomore vocabulary by asking what the person who works in the store, is called (clerk, chef, jeweler, etc.).

It will be helpful' to the small group leaders to list thequestions (part 3 above) on the boar . Sample answers should be demonstratedso that everyone knows what to do i small groups. Ask someone in the class to paraphrase the directions. Be sure to emphasize the importance of theprocess (working together and having fun) rather than the product.

1.00 '1

A SAMPLEWORKSHOP ON COMMUNICATION

Theme - Communication

Coal - To help children to beconfe better listeners and to realize the value of listening through games

Plan - 1.. Listening time (p.31) 2. Swami game (p.32) 3. Directions-following game (p.31) 4. Telephone game (p.30) 5. End with a song 6. Evaluation

Materials - Costume for the swami

Comments This workshop is a good way to begin work on listening skills since it has a high energy level, is enjoyable and involves everyone. All of these things help create a healthy spirit of cooperation among members of the group. The directions-following game should last only 10-15 minutes since it does not involve everyone in the group. The telephone game'can be done by first doing a skit showing people who do not listen and then discussing the various reasons people do not hear each other.The purpose of the telephone game is to successfully relay the original message all the way around the circle. Children love to play the telephone game and are pleased when they get it right. Singing may be added as a closing or beginningto the workshop. 3 1:fw.,-f!rfL::ro,n,tevgovy..,Lvt

A SAMPLEWORKSHOP ONAFFIRMATION

Theme - Affirmation

Goal - To encourage people to feel positiveabout themselves through work on affirmation Tee 'shirts

Materials- Mimeographed sheets, crayons

Plan - 1. Singing 2. Loosening -up game (p.18) 3. Demonstration of the Tee shirt (p.41) Directions: a. Write your nameon the paper b. to the Tee shirt draw a picture ofone thing you like to do c. Write a word that describesyou or that makes you feel good! (It may or may not relate to the picture.) 4. Work on Tee shirts in smallgroups S. Show pictures to largegroup 6. Evaluation 7. Singing

Comments It is helpful to have mimeographed songsheets so that children can follow along with the words of a song. For children, this seems to makethe song more "important". In doing the demonstration Teeshirt drawing, it isa good idea to have the picture done beforehand so that everyone doesn'thave to wait. Some children will be finishedbefore others, so planan activity for those who finish first. Small group leaders might askwhy children chose their symbol, and word, andencourage personal sharing. 11"111FTME1A-5004elro-": ,4,-,Fwty

A SAMNA_ WORKSHOP ON CONFLIC.1RESOLUTION

Theme - Conflict Resolution

Goals -- 1. To present a puppet show in which a problem is raised withno solution given

2. To have the children discuss how they feel about the conflict and to create their own puppet shows with solutions to the problem

Plan

1.. New &Goods (p.36) 2. Elephant and Palm Tree (p.20) 3. Presentation of conflict(p.49) 4. Break up into small groups to discuss solutions(p.13) 5. Form groups of twos or threes to create puppet shows with solutions to the problem 6. Return to large group to present puppet shows (p.50) 7. General sharing of ideas offered through shows 8. Evaluation

Comments This session runs more smoothly if children have a chance to discuss solutions before they pick up the puppets,The initial discussion in the small groups is very important, especially with younger children, because it is here that the children's imaginations are nurtured and thus they are more capable of discover- ing creative solutions rather than playing "Punch and Judy"or acting only out of a conditioned response,

Usually there is very little structured discussion after the puppet shows, but instead, a general sharing of responses to them, As each puppet show has an intrinsic value and variety, there is little competing for the "best" show. .

.%41,-611

A SAMPLt WORKSHOP ON CONFLICT RESOLUTION

Theme- Conflict Resolution

Goal -(a) to help participants understand the feeling of beingexcluded and of excluding others (b) to give participants experience in findingways of including each individual in a group.

Plan - 1. Loosening up - "Zoom" (p. 20) 2. Exclusion - Gibberish Game (p. 60) 3. Exclusion Conflict Skits (p. 49 andp. 56) 5. Evaluation (p. 61) r

CommentA A possible scenario for the skit mightbe: Two friends go toa movie together. A third person approaches whoturns out to be A long time friend of one of the two. The third person is in town foronly an hour and wants to talk privately withthe old friend.

The Gibberish Game should bedone in a group with a strongsense of community where participantscan safely take the "risk" of feeling excluded. It is important to discuss how peoplefelt being excluded and excluding others. Similarly ask the participants in theroleplay how they felt being excludedor excluding. This is an intensive session that can lead to deep personalsharing.

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ILS APPLYING TECHNIQUES TO.. i 'ilI 1.4. I I . 1 , . i . - 4 1 CURRICLLM AREAS - .-- i .-...... -:- -:-

Int ro. Name Gime ' ( 1------L- I l; i n d A Rhyme Name. Game ' X ..i

Introduce Your Neighbor 1 7 X , I nt roducd Yourself Puppet i_ X t -11 Animal Name. Tags -1 X X X1X X X Three Question Interview 17 ...i. 1 Loosening-Up Game lc , 1 --X------X- 1 Mirror t' Lt...... 4...L.4.21 X 1i °bound X X 1 E,' .4N HuniTii0-i...a r a Ffoi- 7.--- -1 -rr------. Mask Passiu 19 X --r-\ Ilerman-Ilermina , 19 X 1 _Object Pantomime lo X Xt7X 1 X Occupation

Store Pantomime. lc) N. X X 4...... - .Chilleue Pantomime JD 4- 1.01 low 1 he Sound I9 --t-^x-±. ---4--L---t -----. -- Pass The Sound i 9 GuessThe Sound 20 4._ 4 --4 4

Group Cooperation Drawing 22 1 x X i X 1 r--I- Coo.pmt i ye Spelling 2c. X §toryt 41 ing___ 26 --X r -Cooperation- Sound Effects 27r . -± -r\-.1 -

Cooperation Slide._... Shows 4._:____X 41 X X 7_4_ .._. , Cooperation 1 in er Toys 1.Ti_ X. -+ 1m. . .'..______.x .4 .x...1_....x. .x. 4 .-----X L____- p, Mus teal Laps j . X . i .' X

S in_ging ..1 ______28 ____i ! Community MusicMakin 2q i L. ___.4. , ".C\ i ' Telegraph N .... . X X...... ---4...... -....1...... , _.,___. . --1- .. 1 Fi sh Bowl . . X . ______...1______', ._ ...4.__ _... _ ...... X_ Silhouettes .31 . :i .. ., _X...... -I .---.-41..X , x Stocking Fillers 4..il___I__ .i A lli nr..1 t ion %/Li 1 en t i nes , i . \ , X \ X

A ft' i rmat i on Fortune Cookies 0-, , ______4 .._, _ ._,_ i -.I. _s Grab Bag Alf i rmat i on }____3_-:..__i _ ...)...:: . X... P i ct ury Voc:abulary -t - -i ---3-L-.--I----.4\ -4- \ ------_-_1- :.), . I r My Feet Could Ta 1 k i X ______...... _.__1...... ___...... __,...._._

I n s t rument Making : .-1 4 \ \ - - ; \ +... X A ii i ma t i on Notebooks -k: 1 /. \ 4 \ 4 " 4 :..-4-4 ._4..._N7,...... 4._____4.- Coicm Strips _...2 .4 f \. Brainstorming Miry!ales . .._ .....______...1 Utopia Gallery _ . Card Game Goal Wish Problem Solving Conflict Stories I Comic Books

C5 BEST COPY AVAILABLI: SOME BOOKS WE HAVEFOUND HELPFUL

Abrams, Grace C. and Schmidt, Fran. LEARNING PEACE and PEACE ISIN OUR HANDS. Pennagtvania: The Jane Addano Peace A0660C.,1213 Race St. Phitadaphia, PA 19107., 1972 Excellent manuals on peace-related curriculum.

Barnes, EllenEyman, Bill and Engolz, Maddy Brager. TEACH AND REACH, Sykactae: Human Pobcy PAC'S'S, 1974. An excellent reference for books, organizations, and ideas for resources inthe classroom,

Braga, Joseph and Laurie. CHILDREN AND ADULTS: ACTIVITIES FOR GROWINGTOGETHER. Englewood Mi466: P4entice Hatt, Inc.,1976. Activities that adultscan do with children from birth to age 6,

Brearly, Molly (ed.). THE TEACHING OF YOUNG CHILDREN: SOMEAPPLICATIONS OF PIAGET'S LEARNING THEORY. New Yo Ate: Schocizen Bookz, 1970. Perhaps the best guide available to applya developmental Piagetian point of view to work with children.

Brown, George, HUMAN_ TEACHING FOR HUMAN LEARNING. Viking,1971, George Brown, a professor of education anda creativity workshops trainer, be- lieves that since all human leatning involvesboth the intellect and theemo- tions, education incorporating both, elementscould lead to better growth of the whole person.

Brown, George, and other eds. THE LIVE CLASSROOM: INNOVATION THROUGH CONFLUENT EDUCATION AND GESTALT. Viking,1975. Confluent education is botha philosophy and a process of teaching and learning which combines both the emotional and theintellectual aspects of learning. The book is divided into fourgroups of essays: gestalt awareness to confluent education; theory; practical applications; examples of lessons, units, and course outlines.

Canfield, Jack. 101 WAYS.TO ENHANCE SELF-CONCEPt IN THE CLASSROOM.Englewood Cti66z; Puntice-Hatt, inc., 1975. A good starter in a new curriculumarea. It is filled with excellent ideas, some of which have been around for a long time. Deals with major themes in the study of one's self, and of relationshipswith others.

Carpenter, Susan, A REPERTOIRE OF PEACEMAKING SKILLS. Centeh InteAnationat Educati.on, Hittis South, Univ, 06 Mca4., Amhutzt, MA 01002 An array of useful peace promoting skills in seven major categories compiled from responses to a broad questionnaire. Skills can be brought.to bear on many specific situations. C..stilio, Gloria. LEFT HANDED TEACHING, LESSONS IN AFFECTIVE EDUCATION. New Votk: Pizaegen Pub4'isho46,1974 Proposes new methods for stimulating students' involvementin the learning process regardless of their socio-economic and cultural background, Provides a model for teaching based on pupils'concerns and feelings rather than on cognitive goals.

Choifetz, Dan. THEATER IN MY HEAD. B06ton: Li ttte EnownandCo., 1971 Record of author's experience witha free, racially integrated theater workshop for young children in New York City. His purpose was to have them learn and grow through dramatic play. Besides his observations of this group's experience, Cheifetz outlines a lucid practical program for helping children stretch their perceptions of themselves and the world. 106 BEST COPYAVAILABLE 100

Curwin, Richard L. and Geri, DEVELOPING INYIVIDUAE VALUES IN THE CLASSROOM Pcae AC to: Hancibouk6, 1974. A good guide to values clarification philosophy and techniques including integration into curriculum.

Dewey, .John. EXPERIENCE AND EDUCATION. Ni_ia) Yokk: Catie:, 1973. The best brief account (120 pages) of Dewey's explanation of the role of.experience in the classroom.

Ehrlich, Harriet W., Editor, CREATIVE DRAMATICS HANDBOOK, Ph.i.e.acletplia :The Schocf. 13116Pc.irt 06 Phifaciefrh,i.a, 1974. For elementary school children. This handbook incorporates goals for fun and academic learning There are techniques which teach the five senses; others deal with emotion, characterization, dialogue, story dramatization.Much of the book contains sections on using dramatic arts with Math, Social Studies, Lan- guage Arts, History, There is an excellent bibliography, (Distributed by the Na- tional Council of Teachers of Engli,:h, 1111 Kenyon Road, Urbana, Illinois 61801)

Fiarotta, Phyllis. STICKS & STONhS & ICE CREAM CONES, THE CRAFT BOOK FOR CHILDREN. ,Nose Ywik: (t'oithman Pub0:6116qg Company, 1973. A good guide to imaginative projects with the simflast of materials. Focuses on

the child's expression of himself and his world, . )od for small group projects.

Freire, Paulo. PEDAGOGY OF THE OPPRESSED. Now YcOz: The Seabuity Piteds,s,1968. A Brazilian educator's philosophy of getting people involved in their own decision-making. Freire claims that educators have many different tasks, tools, areas that they need to organize to get a broader view (This book has been a prime source for CCRC.)

Furth, Hans G. and Wachs, flurry. THINKING GOES TO SCHOOL, PIAGET'S THEORY IN PRAC- TICE, New Yoqk: Oxoq4 P10.5 S, 1974, An attempt to gear classroom activity toward a thinking environment, Piaget's theories are explained. A hold curriculum is set forth with more than 175 games described in detail, each with intention of helping the child deal success-

fully with specific academic t.. jests.

Gallagher, M.B., McGinnis,T.B. and K.k., and McGivern, M.A. EDUCATING FOR PEACE AND JUSTICE, A MANUAL FOR TEACHERS. St. Lout, ,5: InZtZtute 604 the. Study o6 Peace, St. Lou ib Orm:velt6kto, 310 (t'. Rine St., St.LOui4, MO 63103, 1974. A thorough collection of current peace education literature from the first grade through college level. OF scs:4:1-1 relevance are Conflict, Violence and Nonvi- olent. Conflict Re:olution id ,:ction of Part I) and all of Part III ("Mutual Ed- ucation") Helpful bibliographies are included on pp 523, 527, 531 and 539.

: G.aolt, Haim TEACHM Y(a(JAiCfoo , .1') 7.7. A human and practik:al h )0k - helpful for establishing good communication and moral climate of mutual reipect between teacher and child.

Glasser, William. PEALIC.( THLRAa. N,-,c 11,71!)o't 6 row,1965 Glasser makes two assumptton; which we .:1;17-e,two assumptions based on the need for self-love, self-tecm,tppreci:ition or celebratIon of oneself. The first is that all c-lotional py':)biuns,from slight to serious, are symptomatic of the frustration of He fund4mital human need for a sense of personal worth, Sec- ondly, he says, the self-ima,,,e of the individual will he the radical determining factor of al: mac behavior, the cue to the other. 101 Glasser, William. SCW1LS koTTHO're'!-AILURE. Nect Yo,": akoen and Row,1969. Failure is the main obstaclo in school;, and untilit is iemoveal school's will continue to fail to meet: the needs of children. lie examines the, deficiencies in education that lead to school failure and emphasizesthe structure of classroom meetings as a way of correcting the deficiencies. The classroom meeting is a meeting in which the teacher leadsa whole class in a nonjudgmental discussion about what is important and relevantto them. He presents three types: 1) the social problem-solving meeting for thepurpose of.discussing the problems of the whole class and of individual studentswithin the class, 2) Educational di- agnostic meeting which is used to geta quick evalUation of whether or not teaching procedures in the classare effective. 3) The opca-ended meeting to stimulate children to think and to relate whatthey know to the issues being discussed,.

Gordon, Thomas: PARENT EFFECTIVENESS TRAINING: THE "NO-LOSE" PROGRAM FORRAISING RESPONSIBLE CHILDREN. New Voick: Wyden, 1970. P.E.T. is an alternative to the authoritarianapproach (the children lose) and permissiveness (the parents lose). It enables parents and teachers to show children how to solve their own problems withno rancor, accusation, guilt, or shame involved.

Gordon, Thomas and Peter H. TEACHER EFFECTIVENESS TRAINING. New Yordv Wyden, 1974. Helpful to teachers in eliminating obstaclesbetween themselves and students. He defines "obstacles"- ways of phrasing messages which destroy further efforts at communication. "You're acting like a first grader, notsomeone ready for junior high."Moralizing and judgmental remarks result in students feelingthat they are incompetent and irresponsible.

Gordon, ThopPs. IN ACTION.New Yank: Wyden, 1976. An investigation of parents who have used P.E.T., withmore information on "Active listening", "el messages", and "No-lose ConflictResolution".

Hafner, Helen, INSTANT GUITAR AND UKELELE. Wington: Nationat Reckeation and Pank A6ociaton, 1974. Teachers and others who have had no experience leadinggroup singing (an important community-building exercise) may find that this skillcPn be quickly devel-- oped through the use of this manual. Geared to teach without readings, notes and chords,

Haratonik, Peter and Layboure, Kit. VIDEO AND KIDS. New V0102: Gokdon and 13 each, Science Pubfille44, Inc.,1974. An excellent book on the concept of video and what hasgone on in video, Lots of good activities on using video'with kids.

Harrison, !larta and the Nonviolence and Children's Program. FOR THE FUN OF IT: SELECTED COOPERATIVE GAMES FOR CHILDREN AND ADULTS, Nonviofence and Chi.e.- FAiend6 Peace. Committee, 1515 Cheney St/tut, PhU., Pa.19102,

An excellent handbook ongames. This has been integrated intoa manual on Non-Violence and Children edited byStephanie Judson mentioned later inthe bibliography. It is still available separately.

Hawley, R,C., VALUES EXPLORATION- THROUGH ROLE-PLAYING, New Vokk: Halt, 1'05. He provides step-by-step instruction fornumerous formats for role playing, R,P.is one of the best ways to bringa class "alive" and to stimulate active involvement by all students.

Hayes, Edward. ROLEPLAYING IN THE CLASSROOM Amekican Fk_iend6 Sckv.ice Com- mittee, Uppel New Yon! State Ahea(Mice, 821 Eucfid Avenue, Spacue, New Vonk 13210, A pamphlet including ideas on using and setting up role lays. Available for 10t at the above address. BESTCOPY E '41.2 :raw.

102

Hayes, Edward. PUPPETRY AS A TEACHING To01. Amt'n.i ca Fitend6 Sehvice Commit- tee,Uppers New Vo4f. State Anea 044.iee,821 Cucka Avenue, Sy4acu6e, New Voltz13210. This pamphlet includes ideas for puppet shows, making simple puppets and stages, and writing your own !.haws. Available for 10(t at above address.

Hayes, Edward. AN APPROACH TO IMPROVINt: CLASSROOM COMMUNICATION, Amen cant Seqviee Committee, Uppeil Now Vonk State Anea Mice, 821 Ectid Avenue, Sy4(ccuse, New Voq 13210. A pamphlet which included plans for seven sessions on Communication. Available for lOft at above address. Hendricks, Guy and Wills, Russel. THE CENTERING BOOK New Jelt.6ey:Fkentice- ime, 111c_, 1975. A series of activities which help children, parents and teachers to gain self awareness through physical relaxation, movement, mind relaxation and centering or feeling one's inner strength. There are alip sections which deal with 'dreams and imagery.

Hennings, Dorothy Grant, Smiles, Nods and Pauses. New Volth: CitationPhe66, 1974. A collection of verbal and non-verbal communication skills.

Hodgson, John and Richards, Ernest. IMPROVISATION. London: Methuen and Co., Ltd., 1971. Shows that drama can he a community activity that is deeply influential. The authors make many practical suggestions for situations and subjects upon which an improvisation may be built,

Hunter, Elizabeth and Amidon, E. IMPROVING TEACHING, New Vo4k: Hoit, 1966. This book defines teaching as an interactive process which takes place between teachers and pupils and occurs during certain definite.activities-- motivating, planning, informing, leading discuss 1, disciplining, counseling, and evaluation.

INSIDE OlFI':A GUIDE FOR TEACHERS. Na,c,onat7vi 6tituCtiOnatTete.viision Ce- tell, 1973. A handbook for teachers using t'le series "Inside Out", designed for eight to ten year olds. Material gathered trom thirty-three educational broadcasting agen- cies. Has helpful material on conflict resolution.

Jackins, Harvey. HUMAN SIDE OF HUMAN BEINGS, THE THEORY OF RE-EVALUATION COUNSEL - INC. Rat('onaf Isfand Pub.,1965. A boors which has helped us develop our theme of affirmation.

Judson, Stephanie, Ed. A MANUAL ON \ONVIOI.ENCE AND CHILDREN. Fniend61Peace Committee, 1515 Che't,lu Seloct, ra.19102. 4c nigaly recommend this delightful Manua as a companion volume to the CCRC Handbook. The overlapping of specific games and techniques is inevitable because of the close relationship of cooperation and sharThg between the two groups over a period of years. However, there is much new material, and scores of useful observations, insights quotations and evaluations, Some are joyful, some profound, but all will enrich the understandings and skills of those who work with children...or adults! An especially valuable feature is the material on parent support groups.

Kessler, Michael and McLeod, John, NERDS AND WORDS, Venmont: The Quakn.0 Scheel', 9 Slial()IL} St.,Swan tutu, Vc.nmou.t 05488, 1976. A booklet sho,ing how a school has been successful in building cooperation and conflict resolution among children.

BESTCOPYAVAILABLE 109 8ESCOPYAVAILki

King, David. GL0BAI. PEMPLCT1V1:;: A HUMAAMIC INFLUENCE ON THE CURRICULUM. Ne.w Volik!Cento.;Acq( (,Lac Pc't.5peetive6, C. 18-th St., N.V., N.V. 10003, .1975. This booklet offers curriculum on dealing with conflict intwo sections, k-3 and 4-6

Kirschenbaum, Howard and Simon, Sidney B. READINGS IN VALUES CLARIFICATION. ;.!inneapoei.s: Win5ton P/e5.6,1973 An excellent hook on the theory andpractice of Value. Clarification. Sections include teaching school subjects witha focus on values.

Klagsbrun, Francine, ed. FREE TO BE YOU AND ME.New Votk: !IcG..caw-Hitt,1974. A collection of songs, poems, pictures and stories coocerning humanliberation.

Klein, Alan. ROLEPLAY1NG, New Vonk: A6sociation Pite66,1956. An overall view of roleplaying, particularlyas it can he used to improve meetings.

Kohlberg, L. COLLECTED PAPERS ON MORAL DEVELOPMENT AND MORAL EDUCATION.Cam- bkidge, Ma66.: Centel!. A04 Mona. Education, Laken Hatt, Haltvaftd UHivekAity, 1976.An excellent selectionon the moral development of the child.

Kozol, Jonathan THE NIGHT IS DARK AND I AM FAR PROM HOME. New Vonh:Bantam book. , 1977. "In this life we prepare for things, for moments and events and situations . . . We worry about wrongs, think about injustices, read what Tolstoi or Ruskin . . . has to say . . . Then, all of a sudden, the issue is not whetherwe agree with what we have heard and read and studied . _ . The issue is us, and what we have become." -Robert Coles.

Kramer, Edith. ART AS THERAPY WITH CHILDREN. New V o Schock., en Hock's, 1971. Shows how art can be used as therapy and how thevery act of creating becomes a powerful tool in the development of psychic organization. Author analyzes art- work in relation to problems childrenencounter: aggression, sublimation, and defense.

Krishnamurti, J. BEYOND VIOLENCE New Yank: Happen and Row, 1973. Treats the universal themes of violence, fear, self-awareness. The reader is cautioned against a passive listener-spectator attitudeand urged to become directly involved in "self-observation" and self-involvement- to become an active participant in the thinking-experienceprocess.

Leonard, George. THE ULTIMATE ATHLETE. New Yokk: Viking, 1975 Mr. Leonard holds that play (sports) will mitigate thesinglemindedness that cramps our culture with tension- "concentration", the key word for that in our culture which makes us become defensive, constricting, andrigid. By a re-definition of "games", he suggests that increasingviolence can he "danced", can be turned on itself and absorbed in thegame. No defiance of the law, but a new context in which the law is part of the rules of thegame.

Lowenfeld, Margaret. PLAY IN CHILDHOOD. Pontway Bath: Ceditic Chive46 Ltd., 1969. An analysis of the play activities of children,i.e., play as bodily activity, as repetition of experience, as demonstration of fantasy,etc. Attention is given to group games and to children whocannot play.

May, Rollo THE COURAGE TO CREATE. New Vetch: Noitton, 1975 We feel it is important to explore creativity more. Th17 hook offers a general introduction to the area, an essay that posits thatcreativity requires limits to struggle against. "Consciousness emerges out of the tension between possibilities and limitations." 110 BEST' COPY AVAILABLE 104

Palumare!;, Ovaldo, A CURRICULUM ON CONFLICT MANAGEMENT. PRACTICAL METHODS FOR HELPING CHILDREN EXPLORE CREATIVE ALTERNATIVES IN DEALING WITH CONFLICT. La Nh'SO: Veveeol.miell? 111,5tiute,1975. A ucoful :.ource hook un theory, lesson guides, and game techniques for dealing with conflict resolution in the classroom.

Pfeiffer, William J., Ph.D. and Jones, John E., Ph.D. STRUCTURED EXPERIENCES FOR HUMAN RELATIONS TRAINING, Iowa City: Upt,ive/t6.ity A6Sociate6 Pite66, 1971, This handbook contains several exercises in group process which would work well with adults and could be adapted for children.

Piaget, J. THI: MORAL JUDGMENT OF THE CHILD. New Voith: The FAee Phe66, 1965. (Olijinat F4coch edition, 1932.) The classic book on moral development.

Prince, George H. THE PRACTICE OF CREATIVITY. New Vonle: COitiek 8006,_ 1970. This book discussesSynecticb, a structured method of problem solving. It explains why groups so often have problems getting things done. After defining the roles of a successful group meeting, Prince goes on to discuss ways of tapping everyone's creativity to find new solutions to problems.

Renfield, Richard, IF TEACHERS WERE FREE.New Yonja: Vett, 1971. Mr. Renfeld holds that the basic defect in education is not the carrying out of the system; the basic defect is the system itself. He proposes a new system based on the preMise that because children are so curious, if we respond to their curiosity, they would learn far more. "We would be cooperating with nature rather than fighting."

Richmond, Arthur, ed. REMO BUFANO'S BOOK OF PUPPETRY. New Volth: Macmillan, 1950. Instructions for building puppets and marionettes as well as making a stage and producing plays. Four suggested plays are included.

Rogers, Carl. FREEDOM TO LEARN. CoiumblvS, Ohio: Chaitte6 E. MeAnittPub. Co., 1969. The theme of the book is that students can be trusted to learn and to enjoy learning, when a facilitative person can set up an attitudinal and concreteen- vironment which encourages responsible participation in selection of goals and ways of reaching them.

Sharp, Gene. EXTENDING HORIZONS EXPLORING NONVIOLENT ALTERNATIVES. Cambridge: PoltteA Sargent, 1970. Nearly 200 methods of nonviolent action have been identified, including such tactics as boycotts, strikes, and fasts. This is one of the few books on the theoretical and academic study of nonviolence,

Schrank, Jeffrey. TEACHING HUMAN BEINGS, 101 SUBVERSIVE ACTIVITIES FOR THE CLASS- ROOM. Bt's ton: Beacon P4e66, 1972. A good resource book for many ingenious group activities. Also includes an excellent bibliography.

Shaftel, George and Fannie. ROLEPLAYING FOR SOCIAL VALUES, New Voitk:Pitentice- fia.Cf, 1967. What role should education play in moving a child from self-centeredness to concern for others? Through roleplaying children can be helped to become aware of their own personal value system, and made sensitive to the feelings and welfare of others.

1 1 1 105

Sha fte I, ;et) and Vann] e WWI INC FOR SOCIAL VALUES PJV VC) Pt Pnent4ce- liaf v6 . What role should education play inmoving a child from self-centeredness cern for others? to con- Through roleplaying childrencan he helped to becomeaware of their own personal value system, and made sensitive to thefeelings and welfare of others.

Simon, Sidney. VALUES CLARIFICATION, A HANDBOOKOF PRACTICAL STRATEGIES FORTEACH- ER AND STUDENTS. New Voqtz:flaitt PuefithingCompany,1972. A guide to exercises that help children to examine theirown values. Spolin, Viola. IMPROVISATION FOR THE THEATRE, Evan6ton, letinci6: No ttitce6t- VimUn4.vekoityPke44,1963. A complete guide to theatre exercises, with a special section forchildren. Stanford, Barbara. PEACEMAKING: A GUIDE TO CONFLICTRESOLUTION FOR INDIVIDUALS, GROUPS AND NATIONS. New Yonk: Bantam,1975. The best book on the topic that we have discovered. It is designed to provide an introduction to the field of peace studies for students and generalpublic. The activities encourage problem solving to develop creative andcritical thinking skills rather than indoctrination in a particular belief aboutpeacemaking or memorizing of information.

Stetzel, Warren. SCHOOL FOR THE LIVING. Celo Pkezz,Akthun Motgan School, BuAnzv.i.tte, N.C. 28714. A beautiful book! Encouraged and supported by hisstudents and friends to write it, the report was a chance for Wctren to piece together intoa whole what he had discovered about nonviolence.

"COOPERATIVE, SPELLING: 'ME'" (See p.25 )

122 RESOURCES : GROUPS AND INDIVIDUALS

I. PEOPLE WHO HAVE RECEIVED THEIR TRAhING THROUGH CCRC AND HAVE ISIARLISHLD PROGRAMS IN OTHER LOCALITIES. Spontaneous -nribustion P.O. Box 441] Connie Jump San Rafdel, "A94903 2818 Boyer Ave. East Sea Ltle, WA 98102 Global Education Associates (206)322-2566 Att: Pat Miscue and Jeff Erown 552 Park Avenue Susi Woodman East Orange, NJ 07017 98 Mt. Rose Rd. Hopewell, NJ 08525 Institute for Education in Peace and Justice Liz Yeats Att: Jim McGinnis RFD 1 St. Louis University Castleton, VT 05735 3700 West Pine Blvd. (802) 468-5196 St Louis, Mo. 63108

Robert Girvan Pasadena Office Becker School/Research American Friends Service Committee Learning Center Att: Betty Cole. Clarion State College 980 N. Fair Oaks Avenue Clarion, PA 16214 Pasadena, CA 91103

Gretchen Bodenhamer Intercommunity Center for Justice Creative Response to Conflict and Peace Nashville Panel Att: Kathleen Kanet Whitley Bldg., Suite 404 20 Washington Square North 1701 21st Ave. South New York, NY 10011 Nashville, TE 37212 (Please note that CRC is an Center for Conflict Resolution independent program estab- 736 State Street lished by the Nashville Panel) Madison, WI 53706

II. GROUPS INVOLVED IN RELATED Consortium on Peace Research, Education PROGRAMS. WE HAVE MAINTAINED a and Development (CoPRED) CLOSE CONTACT WITH MANY OF THESE. Bethel College North Newton, KS 671 Non-Violence and Children Prograth Friends Peace Committee Institute for World Order 1515 Cherry Street 1140 Avenue of the Americas Philadelphia, PA 19143 New York, NY 10036

Peace Studies Program Womens International League for American Friends Service Committee Peace & Freedom (WILPF) 821 Euclid Avenue 1213 Race Street Syracuse, NY 13210 Philadelphia, PA 19107

Rhode Island Education Project National Humanistic Education Center 2 Stimson Avenue 110 Spring Street Providence, RI 02906 Saratoga Springs, NY 12866 (401) 751-4488 Center for Global Perspectives Children and Non-Violence Program 218 East 18th Street American Friends Service Committee New York, NY 10003 48 Inman Street "Intercom" Magazine Cambridge, MA 02139 Center for Teaching About Peace & War Fellowship of Reconciliation Wayne State University Box 271 5229 Cass Avenue Nyack, NY 10960 113 Detroit, MI 48262 107

Titles of games, exercises andsongs are given COMMUNITY MUSIC MAKING29, 76 CONFLICT RESOLUTION in upper case. Chapter and section subjectsare 5, Z77 49, 96, 97 in script, uppercase. Page numbers of main des- Montclair TeacherCourse 77 criptive entriesare underlined. CONFLICT - Chart 71 Accusations, false (scenario) 58 Historical 63 Adult Conflict Scenarios 58 In Class 72 AFFIRMATION 8, 10, 14, 15, 35, 72, 74, 75, 95 - SCENARIOS 56 - 58 - CLAPPING - STORIES, PIXSONM: 52 -INTERVIEW 2.5_ - STORY READING 15, 53 - Name Tags 35 Confidence Building 73 -NOTEBOOK IT; 15, 40, 63, 75 Constraint and Egocentrism(Weybright - TEE SHIRTS D5 paper) 78 - VALENTINESIS COOPER SAYS 30 Agenda Settini-I2 COOPERATION ST 7, 11,22 75, 79, 93 Aggression 4, 5 -FRUIT SALAD 26 ALTER EGO (Roleplaying)51 CRAZY FACES, BIG AND SMALL21 ANIMAL I LIKE (NotebookSheet)42 Creative Writing, AffirmationNotebook as 63 ANIMAL NAME TAGS 17 CURRICULUM Approaches, CCRC r Applying Techniques to 98 Apsey, Lawrence S. 65 INTEGRATING CCRC METHODS INTO Atmosphere 5, 6, 13 7,IS 63, 76 DECISION MAKING 52 83 relaxed 9 DESCRIPTION GAME-31 supportive 78 Development, Stages of (Weybrightpaper)79,8 Authority, adult (Weybrightpaper) 75 Developmental Awareness and Action (Weybright paper) 79 - Idea 78 Balance, individual and group 12 - point of view 83 BALLOON SHEET (Affirmation Notebook) 43 Diagnosing needs of class 8 Beginning a session 9, 12 DIAPHRAM BREATHING EXERCISE 34 Behavior 4, 5, 72 DIRECTION FOLLOWING 31 Bibliography 99 Scenario 57 BLINDFOLDED TRUST WALK 59 Discussions 71 Bored class 9 DISTANCE SPEAKING GAJME.34 BOX SURPRISE 54 DOcA MOTION THAT EXPRESSESYOUR NAME 35 BRAINSTORMING 9, 15, 52 DOWN! DOWN! (Song) 21 Brearly, M. (Weybright paper) 79-82 DRAMA GAMES, GROUP COOPERATION25 BULLY (Scenario) 56, 58 DRAWING, GROUP COOPERATION BUTTON, MY VERY OWN 41 Blackboard 22 Capabilities, individual andgroup 83 -of a Desert Island 22 CARD GAME 55 -of a City Block 22 CHALLENGE PANTOMIME 19 -of Monsters 23 Changes, attitude anrbehavior 72 -for sharing feelings 73 Cheating (Scenario) 56 Silhouette- 75 Circle Structure 5, 12, 13 resistance to 73 small 14 City College of New York ELEPHANT AND PALM TREE ag Course 5, 65, 78, 83 EMOTIONALLY DISTURBEDCHTLDREN 63 Study Group 86 Energy, increasing 9,18 CLASS REVIEWS 70 - 77 EVALUATION 7, 10,13, 61-62 Cliques 9 One-to-One InterWevaii-S1 Closing Circle 13 Thumbs Up 61 Closing a session 9, 10, 13 -Sheet 61-62 COMIC STRIPS 53 Verbal 61 BOOKS 53 EVERYBODY HAS A NAME (Song)16 COMMUNICrION 8,30, 81, 94 Environment 5-6, 7 -Storytelling 31- see also ATMOSPHERE COMMUNITY BUILDING7, 9, 14, 22, 73 1? 4 EYEWITNESS SKIT 32 BEST COPY AVAILABLE EXCLUSION 97 Late Student (Scenario)56 Conflict skits 49,5b, Light and Livelies 9,20 EXERCISES 60 Listening -Scenario 56 -Skills 8, 11, 30,94 Experiencing, learning through 6 -Time 31 Experimental approach b LOOSENING-UP ACTIVITIES7, 9, 15, 18 FACILITATING 8, 12 MACHINE BUILDING.25 FAIRY TALE WRITING 53 MAGIC BOX 35 FAMILY MEETING (Scenario) 57 MAGIC MICROPHONE 27 FAMILY TREE (Notebook Sheets 44 MAGIC PENNY (Song) 88 Fighting 5, 15, 51, 66 FISHBOWL 33 MAP OF MY NEIGHBORHOOD (Notebook Sheet) 42 Flexibility in Plans 10 MASK PASSING 19 MEMORY NAME GAIL 63 FLOWERS, GROUP COOPERATION 25 FOLLOW THE SOUND 19 MIRROR EXERCISE 18 MONSTER MAKING 23-24 FORTUNE COOKIES CUPCAKES, AFFIRMATION 38 Montclair, N.J.,Teacher Course 77 FREEZE TECHNIQUE (Role playing)51 Fun, importance of 9 MORAL DILEMMA (Scenario) 57 GIBBERISH GAME 60, 99 "Mundo Imaginario" Exhibit 23-24 MUSICAL LAPS 27 Goals 8,14 MY BONNIE 21 GOAL WISH PROBLEM SOLVING 54 MY FAMILY Totebook Sheet) 44 GOGGLES (book by Ezra Jack Keats) 15 NAME GAMES GOOD MORNING TO YOU (Song) 87 INTRODUCTORY 16 GRAB BAG AFFIRMATION NOTES37 GRAB BAG DRAMATICS 26 MEMORY j Ground Rules 12 FIND-A-RHYME a Group Building 9 NAMES, LEARNING 9,1.6 GROUP COOPERATION NEW AND GOODS 36 OBSERVATION GAMES AND SKILLS 8, 31 -Drawing, blackboard22 Observation of Children (Weybright paper). 80-81 -Drawing of a Desert Island 22 OCCUPATION PANTOMIME 19 -Drawing of a City Block 22 ONE BOTTLE OF POP (Song) 27 -Monster Drawing 23 -Projects 26 ONE-TO-ONE INTERVIEWING (Evaluation) 61 ONE TO TEN MATH GAME 18 GUESS THE SOUND 19 OPEN-CLOSED GAME 31 HERMAN-HERMINA - IMAGINARY CLAY GAME 19 Openness 5 HIGH SCHOOL STUDENTS 63 Pantomime Games HOW I SPEND MY TIME (Notebook Sheet) 43 GROUP 25 HUMAN JIGSAW 21 OCCUPATION 25 HUMAN PRETZEL-71 ROOM BUILDING 25 HUMAN PROTRACTOR 18 FLOWERS 25 to tell time 18 MACHINE BUILDING 25 Humanizing concept 71 MAGIC BOX 35 I LOVE Yt HONEY, BUT I JUST CANT SMILE Pantomime IFI COULD DO ANYTHING I WANT ( Notebook Sheet) 43 -One Thing You Like to Do 35 IF MY FEET COULD TALK 15, 39 -This Object 19 I'M GOING ON A TRIP 35 PAPER BAG PUPPETS 39 IMACiNATION, USE OF 45 PARAPHRASING 31 "Imaginary World ExhiEit ",The 23-24 Parent-Child Conflict (Scenario) 57 INQUIRING REPORTER 34 Parents, 8, 13 INSTRUMENT MAKING 47:48 Park Slope Day Care Center 64 - Insult (Scenario) 56 Participation 10 Integration of CCRC program PASS THE SOUND 19 -into classroom 7, 15, 76, 84 PERSONAL CONFLICT STORIES 52 -into curriculum 7, 15, 76,63, 98 Personality Problems 14 Interviews 15, 75 Philosophy (CCRC) 4, 5 INTRODUCING THROUGH A PUPPET17 PHOTOGRAPH SHEET (Affirmation Notebook) 45 INTRODUCE YOUR NEIGHBOR 17 PHYSICAL EXCLUSION GAME 50 Isolation 9 Piaget, J. 65, 78-82 JUMP-IN EXERCISE 21 PICTURE VOCABULARY 15, 38 Kaleidoscope (A Poem) 68 -Games 38, 39, 76 KNOW YOUR ORANGE33 5 PLANNING WORKSHOPS 8-11 109

power, distriUution of 12 Speaking PRACTICE OF CREATIVITY (book) 54 in front ofgroup 34 Praising 13 reticence in- 12, 13 Pranks (Scenario) 56 too much- 12 Prince, George M. 54 -Skills 8, 34 PRISON WORKSHOPS, QPCC 65-67 SPELLING, COOPERATIVE 25 Privacy (Scenario) 58 Stealing (Scenario) 56, 58 PUPPETRY 50 STOCKING FILLERS 1, 15, 37 PUPPETS 39 45, 50, 96 STORE DRAWING 22, 93 Putdowns 5, 1.3,.14, 15 Storytelling 11, 14, 26 Quaker Project on CommunityConflict3,65,67 Student aides 8 QUESTIONS ABOUT ME (NotebookSheet) 42-43 Student Teachers 8, 13 QUICK DECISION MAKING 51,52 Supportive Environment 4, 10 Quiet Time 12, 13 SWAMI GAME 32 RAINSTORM 27 Tape READING STORIES 53 recording 11 Reading and writing skills76, 98 Sound Effects 27 REBOUND EXERCISE 18 Teacher -aids 13 Resources: Groups and Individuals106 Ritual 9 Child's Understanding of 73 ROLE REVERSAL 51 -Course, In-Service 77 ROLEPLAYING 51, 66, 71, 80 -Involvement in exercises 74 Explanation of exercises 74 WORKSHOPS 64 EXTENDED 52 Teacher's Pet (Scenario) 56 QUICK DECISION- 51 Teasing 15 Special Techniques 51 TEE SHIRTS, AFFIRMATION 41 Special Types 51 TELEGRAPH 30 ROLES PEOPLE PLAY 60 TELEPHONE GAME 30, 94 ROOM BUILDING 25 Themes, CCRC 6,7 Rules 78 THREE QUESTION INTERVIEW 17 RUMOR 33 Thumbs Up (Evaluation) 61 Sample Workshop Plans 10, 11,93-97 TINKER TOYS, COOPERATIVEBUILDING WITH 27 SCAVENGER HUNT 27 TOAST, THE (Song) 89 Self Concept (see alsoAffirmation)5,77 TOO-DA-LA (Song) 1r SELF PORTRAIT (Notebook Sheet)42 TOUCH BLUE 21 SENTENCE GAME 38 TRANSFORMING POWER FOR PEACE (book)67 SHARING CIRCLE 15, 59 Trust SHARING FEELINGS 59, 71 -Building 6 Drawing for 73 - Fall 60 SHEET FOR PUPPETS (Notebook) 45 - Games 59-60 Sibling Rivalry 73 - Lift 60 Scenario 57 UTOPIA GALLERY 53 Silhouette UTOPIAN PICTURE DRAWING 53 Drawing 75 VIDEO Statements 37 AFFIRMATION- 37 SILHOUETTES 15, 36 -PLAYBACK 51 Singing 9, 27 36, 74, 75 -TAPES, CoMict 55 Skills not enough 5 Violence S SKITS 49, 71 Voluntary Participation 7,12, 14, 70 Mask 71 Volunteers from Community13 resistance to- 73 Warm-Up Exercise 9 -to observe for detail 33 WE MIGHT JUST DO IT AGAIN(Song) 90 SLIDE SHOWS, GROUP COOPERATION27 Weybright, Loren 78, 83 SMALL GROUPS 13 WHAT KIND OF STORE IS THIS19, 93 Snap Question 14 Whip Question 14 SNOWFLAKES 25 WORD AND SENTENCE GAMES 15, 38,76 SOCIAL BAROMETER 59 WORD TICKLER 36 SOCK PUPPETS 39 Workshops SONGS 87-92 One of Three Approaches 7 Action 92 J6 Teacher 64 SOUND EFFECTS TAPE, GROUPCOOPERATION 27 Younger Children 63 ZOOM 20