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Evidence 9: Storm Boy Lesson Sequences 

1.3, 1.4, 1.6, 2.4, 6.1, 6.2, 7.4

Annotation:

Due to my background in Puppetry and puppet making, I have created a miniature unit of work to fit in with year 7/8 Australian Curriculum- and the pre exisiting course content, based on a 2013 interpretation of the story by Sydney Theatre Company. I differentiated this content accordingly and scaffolded various activities within this set of lesson plans (1.5) as almost half of my cohort identify identify as having a disability (physical or cognitive) (1.6). This work was adapted from a previous unit that I created for a previous school, when I was on placement. The head of performing arts liked this unit so much and felt it so beneficial for the students that she has integrated it as part of the program permanently. Included is my 6 lesson plans for a miniature unit within a broader Year 7 Unit, focusing on the Australian classic 'Storm Boy'. I have ensured a particular focus on unpacking the story, characters, setting, the themes and then translating them for stage utilising hand made puppets. Through careful design and robust implementation, these activities support for a wide range of differentiation and student preference that support the participation of students with a disability (1.6).

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Reflection

Prior to teaching I was employed as the Education Officer for the Canberra Theatre Centre (2013-2015). In this time two Indigenous plays were part of the Education program. They were 'Black Diggers' by Tom Wright and 'Sugarland' by Rachael Coopes. I created the Education content for each performance for Canberra secondary school students. For the showing of 'Black Diggers' I arranged for a Q&A with an Indigenous youth group after the show (which they saw free of charge). I facilitated this discussion and saw first hand the impact of Indigenous perspectives in the theatre. This shaped my commitment to ensuring good quality teaching of this important content for both Indigenous and non Indigenous students with a deep respect for all indigenous stories and for all elders-past, present and emerging. Indigenous Education strategies must be carefully considered, constructed and contextualised with input from professional teaching networks and wider communities (7.4) in order to create authentic strategies for teaching Aboriginal and Torres Strait Islander students (1.4) and; in teaching aspects of this culture to non indigenous and diverse students. As such, this is how I have created the following miniature unit. Throughout my placements as a pre service teacher and in my career in education, it has been somewhat challenging to meet this criteria- occasionally due to the demographic of students at a particular school or even that many students in this category might not identify as being so.

 

As a non-Indigenous Australian myself, I have made a commitment to identify and plan professional learning for Indigenous Education in the Performing Arts (6.1). I have aquatinted myself with Indigenous works or works with Indigenous themes for various age groups and have engaged in professional learning by acquiring these scripts, reading them and using them for workshops in my classes (6.2). These texts include 'Stolen' by Jane Harrison, 'Black Diggers'. by Tom Wright, 'Sugarland'  by Rachael Coopes, 'Windmill Baby' by David Milroy and; texts such as Colin Thiele's 'Storm Boy' and the various theatrical adaptations of this work.

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