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School context: The school is located in an area that has high unemployment rates, single
parent families, mixed race families including Anglo-Australian, Asian,
Tongan and Indigenous families.
Classroom Context: Year 5 class.
Diverse cultures including: Tongan students, Korean student (who has
English as an Additional Language and is placed on the Developing English
Continuum), Chinese students, Indigenous Australian and Anglo-Australian
students.

This rationale refers to the Storytelling of Rumpelstiltskin lesson plan and is centred on Lev
Vygotskys social cultural theory, with the belief that learning is constructed through the interaction
and participation in social and cultural environments (Churchill, Ferguson, Godinho, Johnson,
Keddie, Letts, Mackay, McGill, Moss, Nagel, Nicholson & Vick, 2011). Because of this social
constructivist approach there is a strong view of the students within my classroom as active
participants in their own learning, who bring with them a diverse range of experiences and prior
knowledge (Churchill et. al., 2011).
Taking this into consideration the students within my learning environment are exposed to a range of
sociological issues that are a direct result from low socio economic status (Churchill et. al., 2011).
These students are believed to be at risk due to the deficiency in their basic needs being met, resulting
in poor social and emotional wellbeing (Churchill et. al., 2011). Theoretically these basic needs are
what Abraham Maslow structured his hierarchy of needs on and encompass such things as
physiological needs (food, water, oxygen), safety, belongingness and love, self-esteem and finally
self-actualisation (Churchill et. al., 2011). In addition to Maslows hierarchy of needs Stepney (2010
p. 75) refers to Brendtro, Brokenleg & Bockerns (2002) identification of the four key factors
impacting students considered to be at risk including destructive relationships, climates of futility,
learned irresponsibility and lack of purpose. It is due to these ecological influences that I strive to
create an inclusive, safe, warm, responsive and supportive learning environment for all students
within my classroom (Marsh, 2010).

My pedagogical methodology is centred on fostering my students social and emotional wellbeing,
with the aim of engaging all students whilst still catering for the diversity of learners and learning
needs (Reicher, 2008). The lesson plan of storytelling Rumpelstiltskin is a drama inspired lesson with
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the integration of the Australian curriculums general capability of literacy including comprehending
text through listening, reading and viewing (ACARA, 2013).

In 2004 the Australian Council for Education Research highlighted the benefits of the arts in
education for facilitating student achievement (Ho, Mathews & Mitchell, 2005). The study found that
arts education allowed students to participate in activities that assist in the development of social
skills, literacy skills, higher order thinking, reflective thinking, creativity and self expression all
working together towards elevated self-esteem (Ho et. al., 2005). As a result, students who were
considered to be at risk exhibited higher levels of motivation towards learning (Ho et. al., 2005).More
recently, Brown & Sax (2012) examined the impact of arts education on the emotional condition of
preschoolers at risk from low socio-economic backgrounds and found equivalent results. These
findings are the driving force behind my choice in planning a lesson for the drama component of the
Essential Learnings for Year 5 (QSA, 2008).

The purpose of the Rumpelstiltskin storytelling lesson plan was to introduce students to some new
drama components; integrating literacy learning in the form of storytelling using literature that was
read to me as a child. My intention was to foster the relationships between students and myself and
students by inviting them into my childhood through this experience (Marsh, 2010).
The props required for this lesson were relatively inexpensive and although they were specifically
designed for the purpose of the Rumpelstiltskin role play I believe they could be adapted for future
dramatisations. Other resources incorporated into the lesson plan included copies of the story for each
member of the class, role play script cards and a video camera which upon reflection may not be
feasible in a low socio-economic school.

Each resource can be explicitly linked to the instruction within the lesson, beginning with the red
blanket in the middle of the classroom provided with role play props. This was designed to peak
students interest in the lesson and provides a hands on kinaesthetic experience (Marsh, 2010).
Additionally, my forethought when planning this experience centred on taking a non-authoritarian
position with my students, creating a relaxed classroom ethos so that all students would feel
comfortable (Harrison, 2012). This exercise is highlighted as a positive approach towards teaching
and learning for indigenous students and is highly inclusive of the indigenous cultures oral traditions
when listening to stories (Harrison, 2012). This orientating phase of my lesson is strongly grounded
on a social constructivist pedagogy with the combination of exploration of symbolic representations
of the lesson working together with the dialogue that would be generated between learners (Churchill
et. al., 2011; Marsh, 2010).
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The second component of the orientation phase of my lesson plan is to provide students with a brief
outline of the planned sequence of our lesson (Marsh, 2010). As a result, my students are provided
with a sense of predictability which in turn fosters their motivation towards engaging in the lesson
(Churchill et.al., 2011; Harrison, 2012).

Throughout my lesson I have a combination of teaching modes including directed questioning, role
playing and discussions (Marsh, 2010). In the course of the enhancing phase of my lesson, after the
modelled example of reading with expression I ask the directed question So during the reading of
those pages could anyone identify when the author was using the narrator to tell the story? This
higher order question is then further extended with the follow up question How did you know?
which allows my students to analyse their thinking (Marsh, 2010).

Following this demonstration students are provided with a copy of the narrative and are asked to read
aloud to the class applying their own expression (QSA, 2008). It is during this reading stage that I seat
the low level readers next to me for support including my EALD student who is able to read
independently however, still requires some assistance (ACARA, 2011). By placing students with
myself the educator or next to a peer who has a higher reading ability I am able to scaffold low-level
readers providing them with support including a section of the story that is smaller yet still
challenging (Churchill et. al., 2011 ;Harrison, 2012). Subsequently, students are invited to engage in
a group discussion. This provides students with an opportunity to listen to share and respond to ideas
regarding the literature and is a major element for comprehending texts within the literacy general
capabilities (ACARA, 2013).

Before moving forward to the role-playing mode of the lesson I ask students a low order question So
last week you were introduced to some new drama elements. Who can tell me what they
were?Prompting them to reflect on drama elements already taught (Marsh, 2010). This provides the
platform for me to introduce the new drama components of focus and mood before splitting the whole
class into smaller groups for a teacher-directed role-play practice (Marsh, 2010).

My instructions of the expectations for the role-play rehearsal and performance must be clear and
concise with allocated time limits noted (Stipek, 2002). By doing this I am empowering my students
with a sense of control in their own learning environment nurturing their self efficacy (Churchill et.
al., 2011; Stipek, 2002). During this time the mediation of groups ensures that they negotiate and
allocate parts promptly and fairly (Marsh, 2010). By providing students who are extremely anxious
about performing the role of director or cameraman, I am removing any undue stress whilst sustaining
their emotional wellbeing (Churchill et. al., 2011).
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I believe that the learning experiences I have provided within the one hour lesson for the storytelling
of Rumpelstiltkin are challenging yet achievable for all students within my classroom (Stipek, 2002).
I have taken into consideration the diversity of learners by developing learning experiences that
espouse Gardners theory of multiple intelligences (Churchill et. al., 2011). Providing students
opportunities for linguistic experience through the reading of literature as well as voice expression
during role play, bodily-kinaesthetic with the use their bodies to perform, interpersonal and
intrapersonal when taking on the role of a different character whilst adapting to their own fears or
motivations towards performance (Churchill et. al., 2011).

Throughout this lesson students would be actively motivated not only through my extrinsic verbal and
non-verbal encouragement but intrinsic motivation would be experienced by all students engagement
in and successful completion of their role play (Churchill et. al., 2011). Such motivation can
significantly enhance students self-esteem which in turn, results in higher self-confidence fuelling
their desire to participate in future tasks (Churchill et. al., 2011).

Reflective practice is a significant process not only for educators but for students also (Marsh, 2010).
By having a reflective discussion at the end of a lesson, students are able to articulate their cognitive
processes and make connections to the meaning making that took place (Churchill et. al., 2011;
Marsh, 2010). This process enables teachers to see if the specific details of the lesson have in fact
been absorbed by the students (Marsh, 2010). Consequently, the reflective and summative questioning
process within my lesson is used as formative assessment (Marsh, 2010).

Overall, I believe that my lesson plan successfully integrated literacy components through the reading,
listening and viewing of the Rumpelstiltskin narrative (ACARA, 2013). The use of drama in literacy
learning is believed to strongly enhance students with low level reading abilities (Adomat, 2012).
Adomat (2012, p.344) suggests Drama supports the idea of reading as an active process of meaning
making, in that it helps readers to experience and learn about texts from the inside perspective of
taking a role and moving around the story, and from the outside perspective of extending or reflecting
on the story.

Upon professional reflection of my lesson plan although I feel I catered for diversity through
Gardners Multiple Intelligences I found planning for learning for a fictional room of students
extremely abstract and a little difficult (Marsh, 2010). As a result, I do not think I successfully
incorporated differentiated learning experiences specifically catered to individual student needs
(Marsh, 2010). My instruction for the lesson plan perhaps could have been more detailed and specific
assisting any teacher relief with the specific goals for each section of the lesson however; this does
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provide a little more flexibility within the lesson (Marsh, 2010). The final critique would be I may
have tried to factor in too many learning outcomes however, cannot really make this judgment
without some practical experience.

































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References

ACARA (2013). General capabilities in the Australian curriculum: Literacy. Retrieved from:
http://leo.acu.edu.au/mod/resource/view.php?id=396659

ACARA (2011). English as an additional language or dialect: teacher resource. Retrieved from:
http://www.acara.edu.au/verve/_resources/EALD_Learning_Area_Annotations_English_Revi
sed_06_05_12.pdf

Adomat, D.S. (2012). Dramas potential for deepening young childrens understandings of stories.
Early childhood education journal 40 (6), 343-350. Retrieved from:
http://link.springer.com/content/pdf/10.1007%2Fs10643-012-0519-8.pdf

Brown, E. D. & Sax, K. L. (2012). Art enrichment and preschool emotions for low-income children at
risk. Early childhood research quarterly, 28(2), 337-346. Retrieved from:
http://www.sciencedirect.com.ezproxy1.acu.edu.au/science/article/pii/S0885200612000798

Churchill, R., Ferguson, P., Godinho, S., Johnson, N.F., Keddie, A., Letts, W., Mackay, J., McGill,
M., Moss, J., Nagal, M.C., Nicholson, P. & Vick, M. (2011). Teaching making a difference.
Milton, Qld: John Wiley & Sons Australia, Ltd.

Ho, R., Matthews,S., & Mitchell, J.(2005). The Creative Connection: Why the Arts Work with At-risk
Students. Teacher: The National Education Magazine 12-14. Retrieved from:
http://search.informit.com.au.ezproxy1.acu.edu.au/fullText;dn=992136280551755;res=IELH
SS

Marsh, C. (2010). Becoming a teacher: knowledge, skills and issues (5
th
Ed.). Frenchs Forest, NSW:
Pearson Australia.

QSA (2007). Essential Learning by the end of Year 5: The arts. Retrieved from:
http://www.qsa.qld.edu.au/downloads/p_10/qcar_el_arts_yr5.pdf

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Reicher, H. (2008). Building inclusive education on social and emotional learning: challenges
and perspectives a review. International Journal of Inclusive Education, 14 (3), 213-
246.

Stepney, S. A. (2010). Art therapy with students at risk: fostering resilience and growth through self
expression (2
nd
Ed.). Springfield, Illinois: Charles C. Thomas.

Stipek, D. (2002). Motivation to learn: Integrating theory and practice (4
th
Ed.). Boston,
Massachusetts: A Pearson Education Company.