Equipment:

• Book: Wojtowicz, J. (2005). The Boy Who Grew Flowers. Cambridge: Barefoot Book
  
• Shoebox with mock shoes.
  
• Craft materials for grass heads.
  
• Print out of front cover of book.
  
• Two hats (similar in make). One has flowers sprouting out of the top.
  
• Flower on a clip.
  
• Bunch of roses (preferably fake).
  
• Dance posters.
  
• Similar / Difference Sheet and Textas.
  
• Butcher’s Paper.

Process:
1. Warm-up - Nambols: Students create nambols to present to the class. This requires them to say their name in a ‘different’ voice (varying tone, pitch, volume etc.) and adding a physical movement to their name. It is like a moving / physical signature. Each student presents their nabol to the class and the class must repeat it in exactly the same voice with exactly the same movement. This is done in unison. Pair Jive: Students move around the space to music. When the music stops they must find a partner. They can not work with the same partner twice. When they have their partner they must wait quietly until they are given a pair challenge to complete. They only have 30 seconds to complete the challenge. Challenges could include - Creating a secret handshake, a thumb war, sharing what ice-cream flavour you would be if you were ice-scream, sharing a favourite movie, create a new innovative high five, having a wheel barrow race. The point of this exercise is to relax students and get them to feel more comfortable working with each other. 

2. Contract - As the students are new to Drama, begin by establishing the guidelines for today’s workshop. Each student can contribute a rule or thought to a class contract. (Eg. Today we will listen to each others ideas.) These points should come from the students themselves - not from the teacher. Also, use this moment to let the students know that you will be playing characters at different points in the workshop. You will clearly indicate this by changing your clothing or adding an accessory. Giving them a heads up saves confusion!

3. Front Cover - Sit students in a circle. Place a picture of the front cover of the book in front of the students. Ask the students to take a moment to look at the picture. What do they see? What do they think? What do they wonder? Discuss. Make one student stand like the boy in the picture. Give the student pink flowers and shoes to hold. Taking it in turns around the circle, students add a sentence to Rink’s story. This is an opportunity to turn their imaginations on. You can begin by reading, “Rink Bowagon was a boy from a deep country.” After each student has had a turn read the whole first page to the class.

4. Special Talents - Settle the students. “Sit in your own space. Make sure you have room to move without interrupting or distracting another. Close your eyes and listen to my voice. What is your special talent or skill? Maybe you can sing like a nightingale or balance a spoon on your nose… or maybe you can become invisible or walk a tightrope between mountains. You might already know what your special talent is or maybe you dream of some magical power. Think about what this talent might be and imagine yourself doing it. (Pause). Whatever that talent is I want you to open your eyes and begin practicing your talent or skill in the space you have around you. Imagine you have the equipment you need in front of you. Slowly practice this talent over and over again until you get it perfect.” Give students the opportunity to practice their talent and once you think they all have something invite them to the circle. One by one ask them to introduce themselves again. They being with their nambol, say what their talent is and then act out their talent. Give each student the biggest, most amazing round of applause ever. When you are finished read the page, “The Bowagons were the only folks ….and exotic talents. Rink’s Uncle Dud liked to tame rattlesnakes… (and here add in all the wonderful talents that the students just imagined. Eg. If a student named Anna pretended to tightrope walk in the early part of this activity you would insert her name and talent here… ‘His sister Anna could walk on tightropes that reached from the peak of one mountain to the next’ and so on.) “

5. Introduce Rink - Teacher steps into role as Rink. You could make a hat with flowers sprouting from the top as a prop. (I began with a plain hat, then asked them to close their eyes and when they opened it I had another hat on with flowers sprouting.) “Hi… I’m Rink and I have a pretty special talent… I well… um… you promise not to laugh? Well um… I don’t really tell people this, but I um… well I sprout flowers all over my body during the full moon.” Transition out of role. Read the part of the story, “Yes…. Rink himself had the most special talent of all…. you ever saw.” 

6. Flower Power - Ask the students to close their eyes again for a moment. “Imagine for a moment that you could sprout flowers from your body. What would it be like to spout flowers from your body? If this was your special talent, what type of flowers would you sprout? What would your flowers look like? Are they large or small? What colour are they? What are the shape of the petals? The leaves? What do your flowers smell like? Feel like? Imagine every small detail. (Pause) In a moment you will hear music. This signifies that the full moon has risen. When you hear the music, you are going to grow from your position on the floor to the flower you just imagined blooming. You will become the flower; making the shape of the stem and the petals with your body and once you have finished blooming you will freeze and open your eyes seeing all the other beautiful flowers that have bloomed under the full moon.” Play music and allow the students to bloom. Once they have fully bloomed move around the garden and talk about the flowers. (Eg. “I can see this flower is very tall and proud. Look at the delicate petals on this flower here etc.”) Once you are done discussing the flowers you can ask the students to relax and sit. What flowers did they admire the most as they looked around the room? Why do you think flowers bloomed on Rink? Read the following part of the book, “Some folks might say….so they stayed a safe distance from him.”

7. Playground Ease Dropping - Tell the students that they are now going to all imagine they are students in the playground at Rink’s school. It is the morning and everyone is arriving for the day. All the students are talking about Rink. They are spreading rumours about him. Tell them they can speak about Rink but when Rink comes near them they must change the topic of conversation or otherwise the teacher will be notified. Transition into role as Rink. Move around the space as students spread the rumours. They should change the topic of conversation as Rink approaches. Continue this task for approximately 5 minutes. Eventually remove your hat indicating your character and ask the children to sit down. What did they hear about Rink on the playground? How did they feel when they were spreading rumours about Rink? How did they feel when they saw Rink? How did they think Rink felt? Tell the students that they will now have an opportunity to see how Rink felt. They can ask Rink questions, but they aren’t playing the students in Rink’s own school. They are to ask questions as themselves. 

8. Rink Hot Seating - Teacher-in-role as Rink. Rink looks very sad. Students begin to ask questions. In role as Rink let the students know he doesn’t sit with the other kids at school. Rink also needs to divulge that he does have hope because their is a new girl at school named Angelina Quiz.  Her family is from Tuscaloosa and her family runs a ballroom dancing business… oh and she has one leg longer then the other and she always wears a flower behind her ear. Transition out of role. Read the following from the book, “One day…(through to)...The question rattled in their minds.”

9. Similar / Different - Give the students a similar / different sheet. (See file at the bottom of this post.) Ask the students to move around the space and for each student in the group find one thing they have in common and one thing that is different about them. The students write this on their sheets. Music can play in the background. When they have finished talk about some of the things they found they had in common and some of the things they found that were different. On a piece of butcher’s paper brainstorm as a class what Angelina and Rink have in common and what is different. When they are done ask the question, do you think they could end up being friends? Why?

10. Going to the Dance - Place a poster for a school dance up in the space. “The teacher announced that there was going to be a school dance and everyone wanted to go with Angelina.” Tell the students that they all want to go to the dance with Angelina. Each of them have to come up with a creative way to ask her. Tell the students that one of them will play Angelina and you are hoping they can convince her to go to the dance with them. Give the students some time to think. Tell them that will each take a turn to ask Angelina. You will then make a decision about who you will go with based on the most creative and heart-felt invitation. Transition a student into the role of Angelina. (Tell this student that she must turn down all of the offers in a very polite and kind manner. Eg. Thank you for you offer, but I am visiting my grandmother that evening.) The student may wear a flower behind their ear to signify the character. Students take it in turns to ask Angelina to the dance. She very kindly and gently turn them away. Transition the student out of role. Tell them that although the offers were very heartfelt and kind, Angelina was really thinking about Rink. Read the section of the book beginning, “One afternoon, the teacher….such a pretty, sunny day.” Ask the students what they think Rink ran home to do. What was his plan?

11. The Shoes - “Do you know what he did? He went home and made some dancing shoes for Angelina.” Produce a shoe box. You can put shoes in them for weight, but the box is never to be opened. Tell the students that Rink went home and made shoes for Angelina and they were in the box. Ask the students to imagine what you think these shoes are like. Ask them to think about how he made them and what they were made of. Explain that you are going to pass the box around the circle and when they receive the box they must tell us something about the shoes that we don’t already know. (Eg. One student might decide the colour… the next might describe buttons or the shape of the toe.) Encourage students to extend on their answers. (Eg. If a student says they are red ask them what sort of red… red like a stop sign, red like a rose etc.) When the box has been passed around the room completely, read the section of the book spanning from “When Rink reached his home…the top of his head.” However, as you read interject the descriptions the students came up with. (Eg. If they say they were made of velvet find velvet under the bed etc.) 

12. Living Journal - This can be done in two ways. You could separate boys and girls with the boys becoming the collective voice for Rink and the girls becoming the collective voice for Angelina or the whole group could be the collective voice for Angelina or Rink. I separated boys and girls to get both perspectives of the story. As a collective voice ask students to recall the day that Rink took the shoes and asked Angelina to the dance. (Note: You haven’t read this part of the story yet. Hopefully, they will come up with a story just as good as the original!) Begin the diary entry, “Dear Diary, Today was a special day…” The students then take it in turns to continue the diary entry. The first student will vocalise the first part of the entry. The teacher will indicate when the next student takes it up etc. until all students have a turn contributing the diary entry for that day. Side-coach students through this exercise asking them to describe what they saw, heard, felt etc. When you are done read “That afternoon….(through to) …together down the path.” 

13. The Dance - Angelina told Rink that she was going to teach him how to dance. Ask the students to stand in a circle. Tell the students that we are all going to learn how to dance. When the music begins every body is going to copy the moves of the person in the centre of the circle. When the teacher says change the person in the centre of the circle points to another student who takes over the dance lesson in the centre of the circle. Assure the students that we all have different ways of dancing just like we have different talents and all forms of dancing will be embraced by the group. Each student dances and the group all follow their moves. When they are done ask them how it felt to dance freely and lead the group. How do you think Rink and Angelina would have felt dancing together?

14. The Reveal - Read the page that begins “After the dance…” Pair students up with each other. Tell the students that one of the pair will play Rink and one will play Angelina. They are to prepare a performance showing the conversation between Rink and Angelina in this moment of the play. What would be said? How would they respond? Tell them that they are going to show their performance to the class when they are done. Give them 6 minutes to prepare this conversation. When they perform they can wear Rink’s hat or the flower behind Angelina’s ear. Discuss the results of these performances. Which conversations were truthful? Why? How did they feel playing those characters? How have Rink and Angelina changed as a result of meeting each other?

15. Green Thumbs - Read them the remainder of the story. Tell them that they are going to create green Rink and Angelina’s children. Students create grass heads - See the link. Students then name and introduce their children to the group noting any other special talents they may have. Students can take these home with them.

16. Final Thoughts - Students are asked to reflect on the story. Set them up like a discussion panel. Teacher plays the host of a book review show. Students are interviewed about the story as though they are expert book reviewers, writers, publishers etc. The teacher asks them questions such as  - What did you think when you first saw the cover of the book? What was interesting about the characters in the story? How are the characters changed as a result of the events in the story? What can we learn from the different characters? What do you like / dislike about the illustrations? Would you recommend this story to others? Why? Thank them for their expert opinion. 

17. Evaluation - Students evaluate the day by vocalising some thoughts from the workshop. Encourage students to tell you what they liked; what they found difficult; what they would like you to do differently next time. Congratulate them for their participation!

Follow-up Writing Tasks:
Poem - Students write a poem about ‘The Boy Who Grew Flowers’ paying particular attention to the challenges this posed for him and the way he felt about his special talent.
Rink or Angelina’s Journal - Students write a journal entry from the perspective of Rink or Angelina based on their diary entry they performed as a group. This entry should be about the day Rink visited Angelina and asked her to the dance.
Letter to Angelina - Write a letter from Rink to Angelina thanking her for accompanying him to the dance. This letter should be heart-felt. Remind the students of the way they felt when they were dancing in the group activity.
Similar / Different - Students choose either Rink or Angelina and create a table listing the similarities and the differences between themselves and that character. 
Shoe Design - Students draw and label the shoes they imagined in the process drama paying particular attention to the little details that were described. 
Book Review - Students recall the panel discussion. Using this discussion as a stimulus for a written book review. You may need to scaffold the book review asking students to note the characters, plot, language, illustrations, themes/ideas and how they personally related to the text.
Dance Poster - Students create a poster to advertise the upcoming school dance. 
My Amazing Talent - Students write a personal reflection on their special talents and abilities. They may like to read this to the class. 

Music Suggestions:
Some of the music I used to enhance this workshop included:

• Jan A.P. Kaczmarek, Neverland Soundtrack, The Spoon on the Nose.
  
• Walk the Moon, Shut Up and Dance.
  
• The Piano Guys, The Cello Song.
  
• Glee Cast, True Colours.
  
• Yiruma, River Flows in You.
  
• Pharrell Williams, Happy.
  

Equipment:

• Book: Donaldson, J. and Scheffler, A. (2003) The Snail and the Whale. London: Macmillan Children’s Books.
  
• Snail Tentacles and Eyes: Constructed using ping pong balls, pipe cleaners and head bands. 
  
• An insect / bug / creepy crawly card: Insects / bugs / creepy crawlies could include spiders, caterpillars, butterflies, bees, worms, flies, crickets etc. There should be a matching pair for each card in play. 
  
• A large cut out of a whale tail and small cut out snails with tape or blue tac to stick them onto the tail.
  
• Material for water.
  
• A skipping rope.
  
• Thinking hats - made out of paper.
  
• Butcher’s paper.
  
• White board marker.
  
• Textas.

Process:
1.Warm up -  Life boats: Begin the workshop with a game of lifeboats. Newspaper is spread on the floor around the room. Students are told the following, “Today we are going to go on a journey on the ocean. I want you to imagine that the carpet is the sea and the newspaper are vessels - boats and ships. The sun is out and it is time for a dip, but beware…sharks swim near to here. If I see a shark, I will let you know. Jump on a boat and you will be safe… but please don’t forget to save your mates.” Music is played as the students swim around the space. The teacher calls out SHARK at different points, stopping the music. The students must jump on the boats and make sure their team mates are safe. As the game progresses the teacher removes various boats forcing more students to work together to stay safe. You may chose to make this an elimination game or you may be a very forgiving shark!

2. Contract - As the students are new to Drama, begin by establishing the guidelines for today’s workshop. Each student can contribute a rule or thought to the verbal class contract. (Eg. Today we will listen to each others ideas.) These points should come from the students themselves - not from the teacher. Also, use this moment to let the students know that you will be playing characters at different points in the workshop. You will clearly indicate this by changing your clothing or adding an accessory. Giving them a heads up saves confusion!

3. Creepy Crawlies -  Each student choses a creepy crawly card. The student must embody the creepy crawly through their body and movement. Without speaking they must find their partner by observing each other’s portrayal of the creepy crawly. Once they think they have found their partner they reveal their cards. If their card is different they must begin searching once again until the correct partner is found. Students are taken through a Think, Pair, Share process with their partners around the question - If you could be a creepy crawly what would you be and why? Give them a moment to think of a response. Then ask them to share what they would be with their partner encouraging them to listen to each other and ask questions. Come back into a whole group sitting in a circle. One by one each student shares their partners ideas. (Eg. Tom wants to be a spider as he loves to climb and hang upside down from very high places.) After each student shares the idea the teacher declares each creepy crawly out loud adding an action. (Eg. The teacher says, “Tom the Spider” and uses her hands to show a spider climbing a web.) The students repeat the words and actions of the teacher,

4. Sam the Snail - This activity requires the teacher in role as Sam the Snail. Begin, “If I was a creepy crawly I would be a snail so I could travel the world on the back of a whale.” As you do this, place on your tentacles and sit on a black box that will act as your rock. Transform into Sam the snail. Another teacher or student able to read could read the first two lines of the story to introduce you, alternatively you could read them as you transform into character. “Sam’s my name. I have been a snail for (pauses to think) as long as I can remember… and well everything has been the same for as long as I can remember. But, I am very happy to meet all of you creepy crawlies like (insert students names in here Eg. Tom the spider…). I am sure you want to know more about being a snail. So ask me as many questions as you like. I would be very happy to answer them.” Students begin to question Sam the snail. The teacher improvises telling the students about life as a snail and his dreams to travel the world. Some facts about snails that may assist you in this process include:

• Snails hibernate during the cooler months. 
  
• Snail live long lives up to 25 years old.
  
• Snails leave a trail of mucus behind them to stop friction against the surface they are moving on. This allows them to climb up walls and around corners.
  
• Snails travel slowly at around 1.3 cm per second. Snails are one of the slowest animals on earth.
  
• Snails are generally nocturnal.
  
• They eat various types of plants.
  
• Snails can lift up to 10 times their body weight.
  
• Most land snails have two sets of tentacles. They can see, but they can’t hear.

(Sourced from http://www.snail-world.com/snail-facts/ )

Sam takes final questions and thanks the other creepy crawlies for taking the time to get to know him. The teacher, or assisting teacher or student can read the remainder of page 1 of the book as the steps out of role.

5. The Snail Community - Students are shown the picture of all the snails on the black rock on page 2 of the story. The teacher (or assisting teacher) reads the first four lines of page 2 introducing the other snails. The teacher says, “I wonder what else the other snails thought about Sam’s dream to travel the world. Let’s find out.” Each student chooses pre-made tentacles and are asked to draw their eyes on. Once this is done they should place on their tentacles and take on the body of a snail. Begin moving silent through the space in a snail like manner. Slowly encourage them to find their snail voice and ask them to greet each other as they pass on by. Eventually ask them to find another snail to introduce themselves to. They must have a conversation with the other snail about Sam’s dream to travel around the world. After they have discussed their opinions on Sam’s dream they come back into the circle. The teacher steps into role again, this time as a news reporter for The Daily Trail. “Gale Snail here, reporting from the smooth rock for The Daily Trail. I am joined today by a community of snails that are outraged by the large dreams of Sam Snail, the snail that wants to travel around the world on a whale. Let’s hear what some of his snail family and friends have to say.” Gale interviews the snails one by one asking their opinion and feelings regarding Sam’s dreams to travel. “You heard it first here folks. Sam Snail encouraged NOT to sail.”  Teacher finishes reading page and shows the students Sam’s message on the rock, “Lift wanted around the world.” (You can show them the page from the book or write it on the whiteboard.)

6. Catch the Whale - Read the page about the arrival of the whale. (You may wish to do this activity outside depending on your space.) Place the whale tale on one end of the room. Divide students up into teams giving each team member a snail cut out. Lay the water (material) on the floor and spread out the skipping rope. (If the space isn’t big enough to skip students could roll in their imaginary shells instead.) You are creating an obstacle course. Students must slide on their belly, dive under the water (crawl underneath the material), skip through the wave (skipping rope) and run to the whale tail where they place their snail. They must then return the same way and tag their team member. The first team to get all their snails on the tail are the winners. Cheer on each student until all are finished. At the end of the game ask the students how they felt when they finally made it to the whale. Ask them to close their eyes and imagine that they are Sam and they have just climbed onto the whale. You can play ocean sound effects if you like. How do they feel? What does the whale feel like? What can they hear? What can they smell? What can they see? Guide them step by step through the experience of being on the whale. Slowly get them to open their eyes. Ask them to tell the group one thing they saw, felt, heard, or smelt on the whale. Write these sentences on butcher’s paper / or a whiteboard to refer back to later. 

7. Postcards - Roll out butcher’s paper on the floor. Give students textas or pencils and ask them to gather around the paper. Put on some appropriate music (appropriate for sailing on a whale!) and ask students to begin to draw all the things the snail might have seen on his journey on the whale and all the places that the snail might have visited on the back of the whale. Give them about 5 minutes of quiet drawing. Once they have finished, discuss some of the images they have draw. (Eg. What is this? It is an iceberg. Where do you think the snail saw the icicle? Someone has drawn a monkey. What exotic land did he travel to in order to see a monkey?) After the discussion break the students into groups of three or four. Each group needs to use the images as stimulus to create a postcard image (tableaux) with their bodies depicting a place the snail may have visited. The place could be a country such as Africa or an environment like a tropical island. The teacher explains to each student that when they are tapped on the head in their frozen position they must say what they are. (Eg. I am a monkey that lives in a tree on the tropical island near Africa.) The teacher becomes Sam the snail again and slowly goes through the postcards discovering the elements of each image and responding appropriately. When each card has been explored Sam pretends to write a message back to the snails in the community on an imaginary postcard, “Dear Friends and Family, This is the sea… (read from the book) … I feel so small. Love, Sam the Snail, with the itchy foot. xxx”

8. The Whale - Begin this section by reading the page starting “But then came the day, The whale lost his way…(through to)…’I must not fail,’ This is the tide, slipping away….” Place the picture of the beached whale in the centre of the circle. Play some whale music. Layer this song with the words from the book “And this is the whale lying beached in the bay… (through to)…’I must not fail’, Said the tiny snail.” When the song has finished ask the students to think about how the whale must have felt in this moment and how the snail must have felt. Ask them to chose either the whale or the snail and show the emotion this animal would be feeling through a frozen position. Tell the students that when you tap them on the head and they are to say the emotion they are expressing. Write the emotions on the whiteboard / butcher’s paper. Discuss this process. Ask the students what they think the snail might do next? Do you think he can save the whale?

9. Hero Snail - Read the section of the book beginning with “This is the bell on the school in the bay…. (through to)…A silvery trail saying…” Write the words ‘Save the Whale’ on the board. Teacher moves into role this time as Miss Hail the teacher at the school visited by the snail. “Well children this is a surprise… lucky for the whale that this cute little snail visited our school - “The School of Environmental Learning”. Children grab your thinking hats!” Hand out the thinking hats to the students. “Right, we need to figure out how to help this beached whale. Has anyone saved a whale before? Never mind. You are the smartest students in the country. I am sure we can come up with a plan. (Teacher divides students into teams.) In your teams you are going to act out for us your plan for saving the whale. You have 5 minutes thinking time. Go!”  Students begin to come up with their plans to act out to the class. The teacher, still in role, moves around side-coaching the process. When they are done the teacher calls them to attention and each group acts out their plan for saving the whale. The teacher is flabbergasted at the wonderful ideas of each group, writing them up on the board for the students to see. Well we have no time to waste. Let’s get to it.

10. Saving the Whale - The teacher transitions out of role. She reads, “These are the children… (through to)…keep the whale cool.”  Explain to the children that you want them to go about miming their plans to rescue the whale. They only speak when Gale Snail speaks with them. Transition to Gale Snail. “Gale Snail here reporting from the shore and what a remarkable sight we have here today. Beached on this shore is the whale, famously known for transporting a snail. Children from The School of Environmental Learning (home of the smartest students in the country) have come down to the beach to see if they can assist in ensuring the whale is returned safely to the ocean. Let’s speak to some of them now. (Gail the Snail interviews the students as they go about their work. She asks questions such as ‘Exactly what is your plan to save the whale?’ ‘How did you know the whale was in need of help?’ , ‘What will happen if your plan doesn’t work today?’) Well folks… we will keep you updated as the day prog… wait a moment…. This is the tide coming across the bay, And these are the villagers shouting “Hooray!’ As the whale and the snail travel safely away….” Transition out of Gale.

11. The Return - Students are asked to get their tentacles and become the community of snails again. Waiting, in a frozen position for the snail on the rock. Explain to the students that they can see the whale and the snail returning to the rock. They are in conversation with each other about Sam and his adventures. What are they thinking? What are they feeling? What will they say to Sam when he returns? When the teacher moves near them they come to life and their conversation and thoughts are overheard. The teacher moves around the space until all students have an opportunity to articulate their thoughts. The students are asked to sit as she reads, “Back to the dock…saved the life of the humpback whale.” Ask the students to close their eyes. Talk them through the following - “Imagine you are Sam the Snail, travelling back home on the top of a whale. Your friends and family wait for you, How do you feel happy or blue? I want you now to become Sam the Snail. When you open you eyes you are Sam. One by one I am going to speak to each Sam and ask you to tell us one thing you have learnt from your journey on the back of the whale. Think about what that thing might be, get ready, open your eyes, share with me.” Students open their eyes and each tell you one thing that they learnt from travelling on the back of a whale. You may write these thoughts down on the whiteboard or butcher’s paper. When they are done, read them the remainder of the book.

12. The Full Story - Students are now going to engage with the full story in one go. You may invite an audience to watch and listen if you wish. Draw symbols on the board and explain to the students that when you point to a symbol they will act out their part. Symbols will correlate with the following: 

• Snail Community interview with Gale the Snail
  
• Their feelings of catching the whale
  
• Their postcards of Sam’s travels
  
• The frozen emotions when the whale becomes beached
  
• Their plans to save the whale
  
• Shouting hooray
  
• Their thoughts as the Snail Community on Sam’s return
  

The teacher will read out what they learnt from sailing on the back of the whale. As you read add numbers 1-8 into moments in your story. If you have a teacher assistant they could read the story and you could play Sam and Gale. 

13. Today I learnt… - This is an opportunity for the students to analyse the text. Sit the students in a circle. One by one ask the students what they have learnt from the story of The Snail and The Whale. 

14. Evaluation - Students evaluate the day by vocalising some thoughts from the workshop. Encourage students to tell you what they liked; what they found difficult; what they would like you to do differently next time. Congratulate them for their participation!

Follow-up Writing Tasks:
Postcards: Students create their own postcards from Sam to the snails back on the rock. They could draw the picture they created with their bodies earlier.
Whale Emergency Plan: Students recall their time at The School of Environmental Learning. They create a whale emergency plan for the rescue of future beached whales. 
Travel Brochure: Students create a travel brochure for snails enticing them to travel the world on the back of the whale.
News-Report: Write a news-report as Gail Snail for the local paper documenting the amazing rescue of the whale by the local school children.
Whale's Perspective: Students write the story from the perspective of the whale. As a starting point ask them why the whale stopped for the snail? 
Snail / Whale Table: Students research information about whales and snails. They could write up this information in a table noting the similarities and differences between the two creatures. This could even extend into a science lesson on classification.

Music Suggestions:
 Some of the music I used to enhance this workshop included:

• Disney's Little Mermaid, Under the Sea.
  
• The Soundtrack from Whale Rider, Paikea's Whale.
  
• Enya, Sail Away.
  
• Jimmy Parbuckle and The James Craig Reelers, The Whale.
  
• Survivor, Eye of the Tiger. (For the relay activity)
  
• Cirque du Soleil, The Cockroach Dance.

Project <3 (Project Heart) is a 20 week program designed for young females (13-16) who are currently experiencing low self-esteem, anxiety, facing social challenges or recovering from trauma. This program has been designed for students to focus on the positive aspects of their life, find joy in the everyday, build healthy relationships, express themselves positively and develop their self-esteem. 

Inspired by the work of Hannah Marcotti, this program guides young women to fall in love with themselves through 20 weeks of guided journalling and visioning. The program includes both mentors notes and participant prompts. I would love to see this program being used in schools around the world to promote the well-being and happiness of young women. As a result, the materials are free to download. I would love to hear from you if you choose to implement this program in your school or have any feedback regarding the content. 

Two years ago when I was running this program in my school, one young lady said to me:
"All my life people - doctor's, psychologists, teachers -  have asked me what is wrong; what is bad in my life; what is making me depressed. This is the first time someone has asked me what is good in my life. Thank you."

Like Rumi said, “When you do things from your soul, you feel a river moving in you, a joy.” This is the power of this project.


DOWNLOAD THE MENTOR NOTES AND PROMPTS BELOW:

The learning matrix is a grid designed to differentiate tasks for all learners and build independence in the classroom. I have used the learning matrix in a number of contexts from year 7 - 12, and I have found that student engagement is increased substantially as they are given choice about their learning path. 

The matrix can be manipulated to meet the individual needs of your class or the topic you are studying. The matrix below was created for a VET Entertainment class. It is built on the principles of Multiple Intelligence and Bloom's Taxonomy. For this matrix I have used colour coding to guide students use of the grid. If students completed the yellow shaded tasks correctly and the purple task (which is the final assessment) they would be competent and demonstrate the outcomes for the course. However, they could complete these task in which ever order they wished and also extend into other areas of interest to enhance their basic knowledge further. Each task was also allocated wattage. This measured the difficulty of the task. Completing Kinesthetic Task 9 for example would obtaining them 20 units of wattage. This also operated like a point system. The students called this 'Powering Up' and they would set themselves weekly wattage goals to achieve. It also allowed me to monitor their progress throughout the unit. Work was saved to Google Drive for marking. It was instant and continuous allowing me to progressively mark and provide them with ongoing feedback on their progress. They also had the option to choose whether they wanted to work as an individual (I), a pair (P) or a group (Group of 3 = G3). This was the core of the audio / vision unit and I operated as a facilitator in class to assist the students in their completion of tasks. Throughout the unit I would run mini workshops on the apps, equipment, and concepts built into the matrix and the students that needed this specific knowledge would attend these workshops. If they already knew how to roll a lead correctly, they wouldn't attend that specific workshop. This allowed for students to maximise their learning time and increase their overall skill base.

This next matrix was used as a supplement to an introduction unit on Drama Essentials. It simply focused on Multiple Intelligences, as it was the first matrix the students had used. In this unit students covered the topics What is Drama?, Working with Others, The Elements of Drama, Voice, Movement and Improvisation. The tasks were colour coded for each specific topic (Eg. Yellow = Movement). Students had to complete a specific number of tasks in each colour, but could chose which tasks of that colour they completed. These were submitted for marking as part of their logbooks. Students presented practical tasks and activities at Curtain Call each week. Curtain Call occurred at a set time each week and gave students the opportunity to showcase their work to date. This worked effectively as I was able to formatively assess them as they progressed through the matrix. Students enjoyed the flexibility of the matrix and were able to explore their individual areas of interest while extending and reflecting on their learning in class.

Gifted and talented students can extend themselves into further tasks and concepts. On a side note, I do find it better to sit with my learning support kids and map out the tasks with them prior to them beginning. Students with Asperger's Syndrome for example like to know what is coming but can get overwhelemed with the choice. So together we look at their strengths and decide what tasks they are going to tackle in what order. 

Why not experiment with a learning matrix for your next unit of work? It is a flexible tool that could be used in any context. It lends itself to student-centred, differentiated learning that is engaging and assists in developing time management, independent learning and specialised skill development.

In my role as a learning support teacher I had the opportunity to assist students in transition from primary school to high school. Transition can be a difficult time for both students and parents, especially those with special needs. As educators we need to do everything in our power to make this process as smooth as possible.

I was asked to give a talk on transition to parents of kids who had significant learning needs. This is the advice I gave them and I am sharing it here in the hope other teachers will share this information with parents who need it too. Here is a list of my top seven transition strategies for parents and the slides from my presentation. If you have any questions about this process or would like further information please do not hesitate to contact me.

How can parents assist the transition from primary school to high school?

1.   Be positive. If you are worried and stressed it is likely that your child will be too.

2.   Ask questions of your child and of your school. Talk with your child so you know how they are feeling and address any worries they have. Talk to the high-school if you are uncertain about anything so we can alleviate your concerns.

3.   Ask for help if you feel you need it. Our role is not only supporting the transition of students into high school but also helping parents on this journey too. Reach out to both the primary and high school for support. 

4.   Information is vital. Introduce your child to us by giving us as much information as you can. Any reports, documents or observations relating to your child are helpful. The better we know them, the better we can teach them.

5.   Equip your students with the tools they need to transition effectively. Work with your child to develop their confidence, manage stress, devise coping strategies and support social skills. Eg. Relaxation techniques, conversation starters, a step by step guide your child can follow if a problem arises.

6.   Insist on routine and sleep. Help them understand the school routine and assist them to stay in routine once school begins. Provide them with a watch so that they can follow the school routine independently. Sleep is also very important. Do not let them sleep to midday during the holidays as starting school will be even harder for them. Once school begins make sure they go to bed at a reasonable hour and have enough sleep to support them emotionally during the day.

7. Get organised. Organise a study area at home. Assist them in colour coding their school supplies and timetable.  Use zip lock pouches to organise exercise books, worksheets and text books for each subject. This makes their equipment easy to find and grab when visiting their lockers.  

A massive thank you to Ms. Allyson Blinman for teaching me so much about this process.