Hi guys,
Merry xmas and happy new year to all. I have put up my academic draft and other drafts of descriptive, would be very grateful if anyone could comment on them, espesically the academic style - i have found this quite hard and don't really know if im going down the right route.
hope everyone is well
thankyou laura
Sunday 3 January 2010
Descriptive Piece Draft 3
We were interrupted by the very loud ringing of a school bell, the high pitched sound echoed in my ears, silence rippled amongst us as we all became still. We all set our eyes upon the large black and white plastic clock above the hall entrance, and realised our fate, the first performance of ‘Tales from Geppetto’s workshop’ was about to draw back its curtains to an audience for the first time. Our hard work, which felt like our new born baby, was about to be examined by the most honest audience participant a performer could ever have, children.
I took a long heavy breath to calm my heart which was thumping like a bass drum, as I prepared myself for my starting statue like position. We all waited in suspense as I could hear the cheeky, chirpy children’s voices bouncing around on the other side of the wooden doors.
Suddenly the grand doors which looked liked they had grown taller in seconds swung open with a gust of wind throwing dust in my eyes. Through the doors entered a woman surfing a wave of happy hands pulling and tugging. The innocent children were all walking on their tip toes with excitement, all ready for a new day of fun learning, knowing they had a very special treat in store.
The children were staring with joy at our brightly coloured costumes so much that they were bumping into each other like a small car pileup. A Roar of “ooo’s” & “Ahh’s” filled the hall as the eager audience were marvelled as Mark; a fellow performer, balanced on one hand up side down. This broke the imaginary divider between the performers and the audience, as it seemed each child started to ask a million and one questions all at the same time.
But before I could answer any of them the show had begin, cue music, I could feel my nerves rippling from my toes up to my head, cue actors, I swallowed a deep breath to compose myself and it was me in the beaming limelight. My eyes witnessed nearly two hundred children in a sea of red uniforms fixated on me.
Without racking my nerves I introduced my character with confidence and pride in a low strong voice, “Pinocchi-A”. I am a talented musical wind-up toy who is old and wise and loves to perform. I lapped up the children’s undivided attention as I told my story, “I was first created very slow, created without any flow, quickly made from head to toe, my joints would stop and start to go, but my secret passion and my dream, is to make my sound and to be seen, telling jokes the stage was mine, but my jaw got stuck”… I was then joined by a fluffy yellow and white friend, my conscience in the show Jiminy chick, a magical puppet.
The show went down a treat, leaving our very hungry audience wanting even more!
An overwhelming burst of cheers, claps and beaming smiles left me with a great sense of achievement. I found their amazing reaction and huge amounts of energy gave me lots inspiration and confidence for future performances.
I took a long heavy breath to calm my heart which was thumping like a bass drum, as I prepared myself for my starting statue like position. We all waited in suspense as I could hear the cheeky, chirpy children’s voices bouncing around on the other side of the wooden doors.
Suddenly the grand doors which looked liked they had grown taller in seconds swung open with a gust of wind throwing dust in my eyes. Through the doors entered a woman surfing a wave of happy hands pulling and tugging. The innocent children were all walking on their tip toes with excitement, all ready for a new day of fun learning, knowing they had a very special treat in store.
The children were staring with joy at our brightly coloured costumes so much that they were bumping into each other like a small car pileup. A Roar of “ooo’s” & “Ahh’s” filled the hall as the eager audience were marvelled as Mark; a fellow performer, balanced on one hand up side down. This broke the imaginary divider between the performers and the audience, as it seemed each child started to ask a million and one questions all at the same time.
But before I could answer any of them the show had begin, cue music, I could feel my nerves rippling from my toes up to my head, cue actors, I swallowed a deep breath to compose myself and it was me in the beaming limelight. My eyes witnessed nearly two hundred children in a sea of red uniforms fixated on me.
Without racking my nerves I introduced my character with confidence and pride in a low strong voice, “Pinocchi-A”. I am a talented musical wind-up toy who is old and wise and loves to perform. I lapped up the children’s undivided attention as I told my story, “I was first created very slow, created without any flow, quickly made from head to toe, my joints would stop and start to go, but my secret passion and my dream, is to make my sound and to be seen, telling jokes the stage was mine, but my jaw got stuck”… I was then joined by a fluffy yellow and white friend, my conscience in the show Jiminy chick, a magical puppet.
The show went down a treat, leaving our very hungry audience wanting even more!
An overwhelming burst of cheers, claps and beaming smiles left me with a great sense of achievement. I found their amazing reaction and huge amounts of energy gave me lots inspiration and confidence for future performances.
Saturday 2 January 2010
Writing Style 3
Every child matters
Clive Jones at Carton Television says that ‘We need an education system that gives our children an edge… We need to equip our young people with powers of innovation and creativity’[1] the children of today live in a world where they experience continuing changes in the economy, in work situations and employment. So it is vital that every child is equipped with the tools to grow and develop its full potential. This essay will look at how Chickenshed theatre inclusive theatre techniques are designed to develop all these areas.
The critical period for development of many foundational skills in all areas, particularly the creative development is the period from birth to eight years. It is extremely important to develop children’s creativity by providing support for their curiosity, through exploration and play. The National Strategies[2] recognizes the need for provision of these opportunities. ‘Children have a natural curiosity; they need to see, to hear, to feel and to touch. Children need to explore and share their thoughts, ideas and feelings, for example, through a variety of art, music, movement, dance, imaginative and role-play activities’ [3]. Key Stage One (5-7 years) gives particular focus on, for example, allowing the children to develop their own creativity, whilst learning key skills.
Chickenshed Tales team work throughout the country going into schools using their inclusive theatre approach with shows and workshops to develop children’s creativity. Using the Early Years Foundation Stages[4] as a stimulus for their theatre and workshop productions. Their aim is to include every child and help them to achieve their personal best. Within each show/workshop every child’s creativity is valued and is used in the final ‘Tales’ show. For example tales theme of the week is Animal; the tales team will give instructions through Lion to explore the children’s creativity and ideas. Whether a child gives an idea or suggestion that is not directly related to the theme, this is incorporated into the show. Tales team never miss an opportunity to develop a child’s creativity within the arts. Chickenshed, ‘where everyone is welcomed, and everyone is valued’ [5]
Enfield Education Authority is linked with Chickenshed to develop and contribute to the training/ development programmes that are offered to teaching assistants and teachers within Enfield borough. Early Years Training Course [6] Enfield uses the Tales programme ‘Tales from the Shed’ as a stimulus, to demonstrate that performing arts is a vital tool for supporting learning in the Early Years (0-8years) Every child will be enriched with a new positive inclusive method of learning within their class room. Every child learns and communicates in different ways; through the ‘Chickenshed Training and development programme’ [7] the teachers can learn new activities and apply new styles of teaching to each child’s needs.
The world can only benefit from the development of its greatest resource, its children. The more they are stimulated and encouraged to be creative the more they gain confidence with more effective communication the more it enriches society. The skills acquired during the creative process enable the children to achieve more successfully as adults.
[1] Government Report: Department of Education, May 1999. National Advisory Committee on Creative and Cultural Education. [All Our Futures: Creativity, Culture and Education], [Online] UK: HM Stationery Office. http://www.cypni.org.uk/downloads/alloutfutures.pdf [Accessed 21st November 2009].
[2] The National Strategies(2009) creative development
http://nationalstrategies.standards.dcsf.gov.uk/node/132718 [Accessed 21st November].
[3] Child, D, 1977, Psychology and the teacher. (2nd ed). Glasgow: William Collins Sons & Company Ltd.
[4] Early years foundation book
[5] Chickenshed, 2009. About Chickenshed http://www.chickenshed.org.uk/about/main [Accessed 20th November 2009].
[6] Chickenshed, 2006. Chickenshed Training and Development Programme. (Booklet twelve) Accessed 20th November 2009].
[7] Enfield Council (2009) Early Years Training Course Linked to Tales From the Shed [Accessed 20th November 2009].
Further research looked at but not directly quoted from:
Gillard, D. 'The Plowden Report', the encyclopaedia of informal education, www.infed.org/schooling/plowden_report.htm. [Accessed 21st Novemeber 2009].
Every Child Matters, 2009. About Every Child Matters [Online] http://www.dcsf.gov.uk/everychildmatters/about/ [Accessed 20th November 2009].
Phillip Pullman, 2003, ‘All around you is silence’, The Guardian [Online], 5 June. Available from: www.guardian.co.uk/education/2003/jun/05/schools.news [Accessed 23 November 2009].
Clive Jones at Carton Television says that ‘We need an education system that gives our children an edge… We need to equip our young people with powers of innovation and creativity’[1] the children of today live in a world where they experience continuing changes in the economy, in work situations and employment. So it is vital that every child is equipped with the tools to grow and develop its full potential. This essay will look at how Chickenshed theatre inclusive theatre techniques are designed to develop all these areas.
The critical period for development of many foundational skills in all areas, particularly the creative development is the period from birth to eight years. It is extremely important to develop children’s creativity by providing support for their curiosity, through exploration and play. The National Strategies[2] recognizes the need for provision of these opportunities. ‘Children have a natural curiosity; they need to see, to hear, to feel and to touch. Children need to explore and share their thoughts, ideas and feelings, for example, through a variety of art, music, movement, dance, imaginative and role-play activities’ [3]. Key Stage One (5-7 years) gives particular focus on, for example, allowing the children to develop their own creativity, whilst learning key skills.
Chickenshed Tales team work throughout the country going into schools using their inclusive theatre approach with shows and workshops to develop children’s creativity. Using the Early Years Foundation Stages[4] as a stimulus for their theatre and workshop productions. Their aim is to include every child and help them to achieve their personal best. Within each show/workshop every child’s creativity is valued and is used in the final ‘Tales’ show. For example tales theme of the week is Animal; the tales team will give instructions through Lion to explore the children’s creativity and ideas. Whether a child gives an idea or suggestion that is not directly related to the theme, this is incorporated into the show. Tales team never miss an opportunity to develop a child’s creativity within the arts. Chickenshed, ‘where everyone is welcomed, and everyone is valued’ [5]
Enfield Education Authority is linked with Chickenshed to develop and contribute to the training/ development programmes that are offered to teaching assistants and teachers within Enfield borough. Early Years Training Course [6] Enfield uses the Tales programme ‘Tales from the Shed’ as a stimulus, to demonstrate that performing arts is a vital tool for supporting learning in the Early Years (0-8years) Every child will be enriched with a new positive inclusive method of learning within their class room. Every child learns and communicates in different ways; through the ‘Chickenshed Training and development programme’ [7] the teachers can learn new activities and apply new styles of teaching to each child’s needs.
The world can only benefit from the development of its greatest resource, its children. The more they are stimulated and encouraged to be creative the more they gain confidence with more effective communication the more it enriches society. The skills acquired during the creative process enable the children to achieve more successfully as adults.
[1] Government Report: Department of Education, May 1999. National Advisory Committee on Creative and Cultural Education. [All Our Futures: Creativity, Culture and Education], [Online] UK: HM Stationery Office. http://www.cypni.org.uk/downloads/alloutfutures.pdf [Accessed 21st November 2009].
[2] The National Strategies(2009) creative development
http://nationalstrategies.standards.dcsf.gov.uk/node/132718 [Accessed 21st November].
[3] Child, D, 1977, Psychology and the teacher. (2nd ed). Glasgow: William Collins Sons & Company Ltd.
[4] Early years foundation book
[5] Chickenshed, 2009. About Chickenshed http://www.chickenshed.org.uk/about/main [Accessed 20th November 2009].
[6] Chickenshed, 2006. Chickenshed Training and Development Programme. (Booklet twelve) Accessed 20th November 2009].
[7] Enfield Council (2009) Early Years Training Course Linked to Tales From the Shed [Accessed 20th November 2009].
Further research looked at but not directly quoted from:
Gillard, D. 'The Plowden Report', the encyclopaedia of informal education, www.infed.org/schooling/plowden_report.htm. [Accessed 21st Novemeber 2009].
Every Child Matters, 2009. About Every Child Matters [Online] http://www.dcsf.gov.uk/everychildmatters/about/ [Accessed 20th November 2009].
Phillip Pullman, 2003, ‘All around you is silence’, The Guardian [Online], 5 June. Available from: www.guardian.co.uk/education/2003/jun/05/schools.news [Accessed 23 November 2009].
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