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I desire my future classroom to be a place where stories are told and come to life. I was inspired by the Literature Alive project to read stories that are fun, culturally representative, or have a great meaning, and bring students into these stories by implementing activities like Magic Rock and Tableau.

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I can help students honor and experience different cultures. I could showcase music of the cultures my students represent, as well.

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Putumayo travels the world in search of exceptional songs from Congo to Cuba, Rome to Rio, New Orleans to Nova Scotia. Putumayo's meticulously researched and curated musical journeys are "guaranteed to make you feel good!". In addition to world music and kids music compilations and playlists, Putuma

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Yay Storytime! Musical Adventures with Children’s Picture Books, Part Nine

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Yay Storytime! Musical Adventures with Children’s Picture Books, Part Nine

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By Thomas Amoriello Jr. NAfME Council for Guitar Education Immediate Past Chair
The "Yay Storytime! Musical Adventures with Children's Picture Books" series continues with article number nine as we focus on works by authors Kim Tomsic and Susanna Reich. Guitar Genius: How Les Paul Engineered the Solid Body Electric Guitar and Rocked the World, as well as Fab Four Friends: The Boys Who Became the Beatles, are both books that are more than just about the guitar as an instrument or being a musician. There are plenty of cross circular benefits related to science, culture, character traits, friendship and more to inspire young minds and will add value to the classroom.

Please feel free to leave comments on social media for open dialog or reach out to me at tamoriel@frsd.k12.nj.us to share which music-themed children's picture books have been a success in your classroom. On behalf NAfME, I would like to thank Ms. Tomsic and Ms. Reich for sharing their thoughts with the membership.

Susanna Reich is an award-winning author of fiction and nonfiction for children and young adults, Susanna Reich has driven big trucks, designed flowers in honor of the Emperor and Empress of Japan, and done graduate work in ancient Hawaiian hula. Her honors include the Rip Van Winkle Award for Outstanding Contributions to Children's Literature, Tomas Rivera Mexican American Children's Book Award, International Latino Book Award, NCTE Orbis Pictus Honor, ALA Notable & Best Books for Young Adults, School Library Journal Best Books, Kirkus Best Young Adult Books, and Booklist Top Ten Arts Books for Youth. She is Immediate Past Chair of the Children's and Young Adult Books Committee of PEN America and lives in New York's Hudson Valley with her husband, children's book author Gary Golio.

I really like how your book brings attention to the early hard work of the Beatles as they paid their dues before fame and fortune hit. I think it is important for children to see the struggle (sweat) of musicians and artists.

It's easy to think that the Beatles became famous overnight when they appeared on the "Ed Sullivan Show" in 1964. In fact, by that time John, Paul, and George had been playing together for six years. (Ringo was the latecomer, having joined in 1962.) Fab Four Friends shows how four seemingly average kids from Liverpool became world-class musicians. It took a lot more than talent and luck. It took years of practice and dedication. There were plenty of obstacles along the way and many moments when the boys felt discouraged, but they didn't give up. It's a story of determination and perseverance that also shows how the bonds of friendship helped sustain them through the tough times.

Your book also shows the therapeutic aspect that music has as John, Paul, George, and Ringo deal with parental loss, abandonment, poverty, and severe hospitalization. Fab Four Friends could also provide kinship with a reader or listener with a non-"traditional" family situation.

Liverpool was not an easy place to grow up during and after World War II. The city was badly damaged by German bombs, food was rationed, times were hard. John was raised by an aunt and uncle, and Ringo by a single mom. Both John and Paul lost their mothers when the boys were in their teens. "Just bashing away" on their guitars was a lifeline. Ringo spent several years in the hospital as a child. That's where he discovered the drums. In George's first childhood home, the toilet was outdoors and only the kitchen was heated. Readers from non-"traditional" families as well as those whose families are struggling will be able to relate.

Your book also makes use of some musical terminology as well as obscure music references such as "skiffle"?

Yes, that's why there's a glossary in the back. Kids (and most adults, for that matter) don't know what skiffle is, or teddy boys, or scousers. I like to expand readers' knowledge by including unfamiliar words and expressions, while being careful to define them, either in context or in the glossary. It makes for a richer reading experience and teaches history in an entertaining way. I hope that readers will appreciate the songs more, too, once they learn who the Beatles were and where they came from.

How has the lyrical writing of Lennon and McCartney and sometimes Harrison influenced you as a storyteller through children's picture books?

When I write biography-or in this case, collective biography-I try to channel the subject(s) by immersing myself in their lives and work through my research. The "voice" that emerges in my writing will then (hopefully) reflect the subject. In Fab Four Friends, I sprinkle the text with mid-century British lingo, calling the boys "lads," for example, and their mothers, "Mum." I read many, many books by and about the Beatles in order to find fun and interesting quotes and expressions, like "the bee's knees."
The Beatles "I Want to Hold Your Hand," performed on the "Ed Sullivan Show" on February 9, 1963
Respectfully, the legacy of the Beatles has been successfully remarketed to generations since they broke up in 1970. Most children are familiar with "Golden Slumbers," "Blackbird" from films such as "Sing" and "The Boss Baby." In what other ways can the music of the Beatles speak to the younger generation today and their aspirations and struggles?

Let's face it: John Lennon and Paul McCartney were genius songwriters. George wrote some terrific songs, too. Their music is classic; it'll never go out of style. And listeners can grow with it: from the early songs that are simple pop tunes (albeit with some unusual chords), to some of the later music that's more complex and experimental. The lyrics appeal to people around the world because they're universal. Just look at "Nowhere Man," "Hey, Jude," "All You Need is Love," "In My Life," or "Let It Be."

Kim Tomsic is a word wrangler, gesticulator, and exclamation point abuser! She was born on an American military base in Italy and has lived in various parts of the United States, thus forcing her to find her way as the new kid at many schools. Now, she is a declared extrovert and enjoys helping others connect. Although Kim admires nice shoes, she's super-awkward in heels and can usually be found in flip-flops and on her way to a yoga class. She is active with the SCBWI and also serves on the Board of Directors for the Friends of Haiti, a 501(c)3 charity organized to provide Haitian students the opportunity to go to school. Kim claims two super-powers: parallel parking and fierce loyalty. She has one husband, two children, and one dog-all keep her laughing.

Your story Guitar Genius is so much more than a story about the guitar. How can your children's picture book benefit the non-guitar educator as well as students?

You are correct, Guitar Genius: How Les Paul Engineered the Solid Body Electric Guitar and Rocked the World is about more than just Les Paul's engineering wizardry. It's a story about perseverance-facing criticism and failures and yet never giving up!

You dedicated the book to your "guitar hero" son, Cayman, and the illustrator Brett Helquist's dedication to his guitar teacher Woody. How important do you feel this instrument is to society?

First, I'll answer with this blanket statement: Music is transformative and nurturing for the soul. The guitar is an exciting instrument to listen to-be it jazz, rock, classical, progrock, progmetal, hillbilly, country, blues, etc. And its various visual forms are often artistic wonders-enchanting or at least intriguing to the senses. Furthermore, the instrument affords a musician a way to express their "voice" and say something, and it provides a path for listeners to experience feelings in a way that is different than what reading or conversation can offer.

Second, though I'm no psychologist, I understand that music therapy has been successful for reasons beyond what a novice like me can ever know!

Thirdly, I'll throw in some brain science: Guitars are genius-makers (IMHO), because music engages all parts of the brain-the temporal lobe (auditory cortex), the amygdala (responding to a loud or abrupt sound), the hippocampus (when a song triggers a memory), and then the occipital lobe when a mental image from that memory activates it. I could go on, but one of the more interesting findings to me is how closely related music theory and mathematics seem to be. Okay, maybe I'm biased, but shout-out to my "guitar genius" son, Cayman, who is using his COVID stay-at-home time to go to coding school (online, of course).

For more about "The Brain on Music," please visit this page.

If you were a music educator, what type of lesson plan would you envision to present to your upper elementary students utilizing Guitar Genius?

If I were a music teacher, I'd click on the " Teacher's Guide" for Guitar Genius which was created by literary specialist and classroom educator Michele Knott. Inside the guide, you'll find vocabulary sorts, craft activities, video links, social-emotional learning suggestions, Common Core engineering goals, discussion questions, and makerspace ideas to tinker and create! Here's the link.

Words that caught my attention that you use to describe Les Paul and which could inspire students included curiosity, ingenuity, and perseverance. Also, problem-solving and tinkering are overriding themes that will resonate with students. Your thoughts?

I couldn't be happier that perseverance and curiosity are words that stood out to you. I spent two years communicating with Sue Baker when I was writing this book. Sue is not only the program director for the Les Paul Foundation, but she was also one of Les's closest friends during the last ten years of his life. The number one thing Sue wants kids to know when she talks about Les is his dedication to hard work and perseverance. I'm thrilled that his grit shined through in my telling.

As you probably saw, I couldn't resist including in my author's note at the end of the book that when Les shattered his right arm in a car accident in 1948, doctors wanted to amputate, but in the can-do attitude he had all his life, he convinced them to set his arm at a right angle, so he could keep whipping out licks on his guitar. There are so many more examples of his doggedness peppered throughout Les Paul's life.

Opportunity did not show up for him on a silver platter; Les made his opportunities. He worked hard, for example, he made 500 copies of his song "Lover" until he felt it was right. And as far as tinkering-if Les had a problem, and the solution wasn't already invented, then he invented it. Les holds many patents. At the end of his life, he was still inventing and created a guitar pick so that his injured right hand could grasp it a bit more easily.

As a virtuosic musician, Les had performed for President Franklin D. Roosevelt at the age of 24 and could have just stopped there, but he was constantly dreaming to enhance the sound experience, whether his work with multi-track recording or mic placement techniques. His mother did not interfere with his wild whims of taking household items apart. Hopefully, a young reader will be inspired to discover the next technology.

I hope a young reader will be inspired to create the next big technology discovery, too! Les was a curious child. As a boy, he would tie a string to his big toe and dangle it out his window with a note attached to the other end that essentially invited friends to give it a tug if anything interesting was happening. He couldn't stand the idea of missing out on a chance to experience something new!

Les chased after "sound" from an early age. As a boy, Les would walk eight miles to the Waukesha Beach Amusement Park, so he could sneak under the tent and hear musicians play. Not only did his mother not scold him for that, she absolutely believed that anything that ignited his curiosity must be worthwhile. His shenanigans included but were not limited to taking apart phones, radios, and the family's player piano-and like I said, his mother encouraged his tinkering. I often ask kids during school visits what would happen if they took apart their family phone, dishwasher, or iPad. I usually get an answer like, "I'd be grounded for life!" But I wonder if parents were in the audience, would they have a change of heart about tinkering?

Les cared about sound and engineering all the way up to his nineties. In the final years of his life, he spent time working on designing better hearing aids.

Any final thoughts that you care to share with the NAfME membership regarding music and literacy?

Yes, in Les's words, "Keep on pickin'!"
Read past articles by Thomas Amoriello Jr.: About the author:
Thomas Amoriello Jr. is the Immediate Past Chair of the NAfME Council for Guitar Education and is also the former Chairperson for the New Jersey Music Education Association (NJMEA). He has had more than fifty guitar and ukulele advocacy articles published in music education journals in Michigan, Ohio, Virginia, Washington, Illinois, Rhode Island, and New Jersey. Tom has taught guitar classes for the Flemington Raritan School District in Flemington, New Jersey, since 2005 and was also an adjunct guitar instructor at Cumberland County College, New Jersey, for five years. He has earned a Master of Music Degree in Classical Guitar Performance from Shenandoah Conservatory and a Bachelor of Arts in Music from Rowan University. His primary teachers have been Alice Artzt, Glenn Caluda, David Crittenden, and Joseph Mayes. He has performed in the master classes of Benjamin Verdery in Maui, Hawaii, and Angelo Gilardino and Luigi Biscaldi in Biella, Italy.

During his time on the NJMEA board he has directed guitar festivals and drafted the proposal to approve the first ever NJMEA Honors Guitar Ensemble. Tom is an advocate for class guitar programs in public schools and has been a clinician presenting his "Guitar for the K-12 Music Educator" for the Guitar Foundation of America Festivals in Charleston, South Carolina, and Columbus, Georgia; Lehigh Valley Guitar Festival in Bethlehem, Pennsylvania; Philadelphia Classical Guitar Society Festival, Philadelphia, Pennsylvania; NAfME Biennial Conferences in Baltimore and Atlantic City; as well as other state music education conferences in New Jersey, Massachusetts, New York, and Virginia. He has twice been featured on episodes of "Classroom Closeup-NJ," which aired on New Jersey Public Television. He is the author of the children's picture books A Journey to Guitarland with Maestro Armadillo and Ukulele Sam Strums in the Sand, both available from Black Rose Writing. He recently made a heavy metal recording with a stellar roster of musicians including former members of Black Sabbath, Whitesnake, Ozzy Osbourne, Yngwie J. Malmsteen's Rising Force, and Dio that was released on H42 Records of Hamburg, Germany. The record released on 12-inch vinyl and digital platforms has received favorable reviews in many European rock magazines and appeared on the 2018 Top 15 Metal Albums list by Los Angeles KNAC Radio (Contributor Dr. Metal). His next recording is a 5-track EP called "Dear Dark," which will be released by Ice Fall Records on cassette in March 2020 and features former members of Megadeth, King Diamond, TNT, and Dokken. Visit thomasamoriello.com for more information.
Did this blog spur new ideas for your music program? The National Association for Music Education (NAfME) provides a number of forums for the sharing of information and opinion, including blogs and postings on our website, articles and columns in our magazines and journals, and postings to our Amplify member portal. Unless specifically noted, the views expressed in these media do not necessarily represent the policy or views of the Association, its officers, or its employees. Share them on Amplify! Interested in reprinting this article? Please review the reprint guidelines.
October 29, 2020. © National Association for Music Education ( NAfME.org)

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Yay Storytime! Musical Adventures with Children's Picture Books, Part Nine - NAfME

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By Thomas Amoriello Jr. NAfME Council for Guitar Education Immediate Past Chair The "Yay Storytime! Musical Adventures with Children's Picture Books" series continues with article number nine as we focus on works by authors Kim Tomsic and Susanna Reich.

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This Unique Maui School Encourages ‘Wild Ideas’ Through The Arts

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This Unique Maui School Encourages ‘Wild Ideas’ Through The Arts

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Pomaikai, with support from local and national arts organizations, opened in 2007 as Hawaii's first arts integrated school with 330 students. Within a few years, the public school's student body almost doubled.

Now, a decade later, the school lures students from all over the island. About 40 percent of the nearly 600 students live closer to other schools but requested to come to Pomaikai.

Spend a day on campus and it's clear just how different Pomaikai is from most other public schools.

Fourth-graders perform Shakespearean monologues. Students tend to kalo patches, control their emotions through meditative exercises and analyze pictures as if they were books. Kindergarteners learn the basics of division and multiplication by grouping themselves based on their clothing.

Recently, students sang an original song about the ohia tree's lehua blossom. In a mirrored dance studio, kids choreographed interpretive dances that explored the emotions of slaves finding freedom and depicted the evolution of native species in Hawaii wetlands.

Her students scrambled to depict textbook entries about the Wright Brothers. Some had their ideas rejected by peers and not everyone got it right the first time.

Ventura encouraged them to keep trying.

"For me, it's about the process," she told Civil Beat. "It's not about what the end picture looks like."

Pomaikai is recognized as the leading public school in the state that teaches through arts integration - a strategy in which regular subjects are taught through drama, song, dance or other art forms. Teachers don't just give students the right or wrong answers, but teach them to find the correct answer on their own through critical thinking.

Pomaikai, particularly with its stress on social and emotional learning, could prove a model for other Hawaii schools, even if they aren't sold on arts integration.

"I believe all schools can be whole child schools," said Rae Takemoto, curriculum coordinator and co-founder of the school. "What happens is that all the other (administrative) stuff distracts you from the bigger vision."

Pomaikai works within nearly the same budget as other Hawaii schools. Partnerships, fundraisers and grants only bring in about $75 more per student.

Other Arts Programs In Hawaii

The degree to which arts education is available in Hawaii varies significantly.

Arts classes are added "at the whim of school leadership," said Jim Shon, head of the Hawaii Educational Policy Center at the University of Hawaii. Schools tend to prioritize academic courses.

"Thousands of students who might blossom through self esteem and self expression, they'll never even know there's an opportunity because someone decides (art classes are) not important," Shon said.

Becoming Risk-Takers

Second-graders in Theresa Neeck's classroom learned to create patterns through dance.

The students formed groups, lined up in rows and practiced in front of the class. Each student performed a gesture that differed from the one before. Together, they made a pattern.

When every group had a chance to perform, Neeck sent the students back to their desks to draw patterns and write about what they had just learned. Journaling improves students' test-taking skills, she said, and teaches them to put into words what they've learned with their bodies.

"Once they make a dance and stick it in their body, their brain just takes away," Neeck said. "And now they see patterns everywhere."

Pomaikai teachers will be the first to say arts integration isn't easy, but they believe it resonates with students in a way that other strategies don't.

Kate Welsch, curriculum coordinator and parent of a Pomaikai student, teared up when talking about how the school brought out her daughter's sociable side.

"I remember ... thinking one day when I have kids, my kids are going to come here," Welsch said. "My daughter's in second grade and she's everything I wish I could have been."

Research clearly indicates that students with arts experience perform better in school, but it's unclear why, said Catherine McTamaney, a Vanderbilt University professor and expert in teaching through the arts.

Arts education primarily benefits students by encouraging them to take risks and give critical feedback, she said. It can also reduce absenteeism because kids often feel most comfortable in art or band class.

Though education reformers are now calling for the return of arts in schools, it can take time to see academic results, McTamaney said. Reform initiatives are often abandoned before they're able to make a measurable impact.

Teaching Arts On A Budget

Pomaikai focuses primarily on using drama to teach language arts. Drama strategies are optimal for teaching language arts, Takemoto said, and literacy is key in elementary school.

Educators say drama is easier for teachers to execute than other arts programs without much training, works across all subjects and is a cost-effective strategy because it doesn't require supplies.

Visual arts can be useful in teaching math, in part because they help students visualize abstract concepts like patterns or equations. Likewise, music and dance involve counts or beats that represent divisions of time.

There's no single strategy that works best for all schools. Each school has unique needs, Takemoto said.

"You have limited resources in time and money," she said. "You can't do it all and do it well."

In her own classroom years ago, Takemoto saw arts integration build camaraderie and challenge students to think differently. It made them happy, too.

It's important to first build a strong, cohesive sense of community among students and staff when transitioning to arts integration, she said. Pomaikai students and staff are used to being put on the spot, given feedback and taking risks.

Takemoto stressed the importance of building long-term partnerships with arts organizations in the community, which she said are eager to work with schools. Hiring arts experts to train teachers and teach students is central to Pomaikai's strategy.

'Pretty Incredible' Changes

A few other Hawaii public schools were introduced to arts integration through the Turnaround Arts program in 2015. The program was initiated by the now-disbanded President's Committee on the Arts and the Humanities, but is now run by the Kennedy Center for Performing Arts.

The three-year program aims to ease schools into arts integration strategies. It operates in 17 states plus Washington, D.C., across 38 school districts and 73 schools. Those schools are among the lowest-performing in their state.

Two Hawaii public schools - Kalihi Kai Elementary and Waianae Elementary - and Kamaile Academy, a public charter school in Waianae, are in their final year of Turnaround Arts. They will continue to receive local support and resources thanks to a partnership with the Hawaii Arts Alliance.

Schools receive free resources, such as training and supplies, said Lei Ahsing, who works with Hawaii's Turnaround Arts program on behalf of Hawaii Arts Alliance. Those resources have tapered off over the last two years and schools are now planning to continue on their own.

All three schools have seen fewer disciplinary referrals since Turnaround Arts started, Ahsing said, and students appear to be more confident and joyful.

At Kalihi Kai, for example, she recalled a time when students were quiet, didn't look her in the eye and hesitated to answer questions. Now students readily share their thoughts and engage in conversation, Ahsing said.

The academic achievement gap is narrowing between high- and low-performing students thanks to Turnaround Arts and other school initiatives.

"What our schools have achieved in three years I think is pretty incredible," she said. "You may not see it in numbers, in scores, but you can certainly feel it when you walk on campus."

Turnaround Arts isn't a "magic pill," she said. Implementing arts integration takes hard work and buy-in from teachers, who may be weary from being battered with "flavor of the month" initiatives.

For new schools looking to try arts integration, Ahsing says it's important that teachers meet regularly to discuss and improve curriculum. The group has to be large enough to ensure there's still support at that school even if key teachers leave.

Reading visual text, or having students analyze pictures, is a simple strategy for schools new to arts integration, she said. It's interactive, free and can reveal unseen strengths in a student.

Kids are "bombarded with visual images and things constantly on social media," said Sara Mizban, implementation coordinator of Turnaround Arts in Hawaii. "We're trying to utilize those same processes ... so kids don't have to constantly feel like they're coming in a room and have to sit in a room and can tune out."

Earning Credits Out Of Class

Some of Hawaii's public schools have developed notable arts programs.

A third of Moanalua High School's student body is enrolled in music programs, said Principal Robin Martin. The school offers music programs and courses such as band, orchestra, ukulele and music theory.

Nearly a quarter of students live elsewhere but requested to come to the school.

"Even I'm amazed every time I see it," she said.

The center boasts the island's only full-time high school dance program, said Kelly Wadlegger, head of the dance programs. It offers early college courses to local high school students and auditions students from all around the island for certain productions. Other students in Oahu visit the center on field trips to watch some of its shows, she said.

The center puts on a range of productions from "Seussical" to "Les Miserables." Performances at a recent dance show included African, Chinese, ballet and urban dances.

"I tell the students that they should think of themselves as pre-conservatory, pre-professionals," Wadlegger said. "And if they really want to do it, they can pursue it."

Looking For A Lasting Impact

Pomaikai, as an elementary school, isn't looking to prepare students for a career in the arts.

But Takemoto believes that encouraging collaboration and risk taking at a young age could have a lasting impact on the lives of students.

"If every elementary school paid attention to social and emotional learning ... every day, can you imagine the change that we could make as a whole society?" she said.
Listen to Civil Beat's On Campus podcast to learn how Pomaikai Elementary served as the inspiration for a new charter school on Oahu. Thoughts on this or any other story? Write a Letter to the Editor. Send to news@civilbeat.org and put Letter in the subject line. 200 words max. You need to use your name and city and include a contact phone for verification purposes. And you can still comment on stories on our Facebook page

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This Unique Maui School Encourages 'Wild Ideas' Through The Arts

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Pomaikai, with support from local and national arts organizations, opened in 2007 as Hawaii's first arts integrated school with 330 students. Within a few years, the public school's student body almost doubled. Now, a decade later, the school lures students from all over the island.

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Same Same but Different (Lit Alive Demo)

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Same Same but Different (Lit Alive Demo)

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Sign Language in story telling

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A great way to have students practice improv.

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What is Hot Seating?

A character is questioned by the group about his or her background, behaviour and motivation. The method may be used for developing a role in the drama lesson or rehearsals, or analysing a play post-performance. Even done without preparation, it is an excellent way of fleshing out a character. Characters may be hot-seated individually, in pairs or small groups. The technique is additionally useful for developing questioning skills with the rest of the group.
How do you do hot seating?
The traditional approach is for the pupil playing the character to sit on a chair in front of the group (arranged in a semi-circle), although characters may be hot-seated in pairs or groups. It is helpful if the teacher takes on the role of facilitator to guide the questioning in constructive directions.To help students begin you can try hot-seating children in pairs (e.g. a pair of street urchins) or in groups (e.g. environmental protesters, refugees).

If the background of the character is familiar to the pupils, then it may not be necessary for those playing the characters to do much preparation. Although some roles obviously require research you may be surprised at how much detail students can add from their own imaginations. It is important that the rest of the group are primed to ask pertinent questions. Don't get bogged down in facts during hot seating, but concentrate on personal feelings and observations instead.
Examples
Characters to hot seat include famous people such as Florence Nightingale, President Kennedy or Tutankhamen as well as ordinary people like a chimney sweep, a Roman soldier or a Saxon farmer. Students can be asked to research historical characters with opposing points of view and then be hot-seated by the class as part of a debate.

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A character is questioned by the group about his or her background, behaviour and motivation.

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Teacher in role (TiR) is an invaluable technique for shaping the dramatic process and developing students' learning. Simply put, the teacher or facilitator assumes a role in relation to the pupils. This may be as a leader, an equal, or a low-status role - whatever is useful in the development of the lesson. The teacher may ask questions of the students, perhaps putting them into role as members of a specific group and encouraging them to hot-seat her in return.
Why use it?
The teacher is able to directly participate in the dramatic process and influence it from the inside. This makes it possible to present challenging and controversial points of view and to stimulate thought, discussion and action by pupils. Teacher in role validates and supports the children's involvement in a make-believe situation by enabling the teacher to work and 'play' alongside them. It is an instant way of setting a scene and directly involving the pupils. Children are used to stepping into and out of role in everyday play and are likely to be keen to participate.
How to do it
Teacher in Role does not require great acting skills. It can be seen as an extension of the ever-changing role-play that we all experience - whether as parent, child, teacher, student, colleague and so on. The strategy simply involves 'stepping into somebody else's shoes' for a while to put forward their point of view. This can be done by subtly changing your tone of voice and body language to communicate key attitudes, emotions and viewpoints. If you can use different voices for characters when you tell a story then you are certainly able to carry out teacher in role.

A role can be adopted quite simply to communicate the key attitudes and emotions of a particular character. It won't take much for most children to believe in your character although the use of a token prop or piece of costume will clarify when you are stepping in and out of role: "When I put on this scarf I will be Anne Frank", or "When I sit in this chair I will be the King". Although not essential, you may wish to place furniture and props to represent a different place - but keep it simple.

If you are unsure how to begin, try hot-seating first. This will give you valuable experience of assuming a role in relation to the students and responding to their comments and questions. You can progress to teacher in role by encouraging the students to participate and becoming more active as the character. Reply to their questions as though they are also in role and encourage them to become involved in occupational mime activities.

Teacher in role can easily be used right across the curriculum. In Art, you can take the role of a character from a painting; Geography provides opportunities as an aid worker or explorer; History lessons can be livened up by a Roman centurion, an Ancient Egyptian child, a workhouse overseer or an archaeologist; in Literacy, stories provide the greatest source of characters - ranging from the Gruffalo to the Minotaur, from Red Riding Hood to Oliver Twist, from Anansi to Cyclops.

This is an adapted extract from Learning Through Drama in the Primary Years by David Farmer, where many more examples and lesson ideas can be found.

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Teacher in role (TiR) is an invaluable technique for shaping the dramatic process and developing students' learning. Simply put, the teacher or facilitator assumes a role in relation to the pupils. This may be as a leader, an equal, or a low-status role - whatever is useful in the development of the lesson.

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Drama Resource - Creative ideas for teaching drama

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Creative ideas for teaching drama including free newsletter and lesson plans

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This could be a fun morning activity and I could extend it by having students create their own.

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Last Updated on

Funny tongue twisters for kids have been around since generations, and not only are they fun, but they help you speak better and boost your repertoire of exciting and fun-sounding words. Here's our lowdown on some popular tongue twisters, and why you and your kids should recite them together.

What are Tongue Twisters?

In reality, tongue twisters are phrases, which have similar sounding words in a repetitive sequence. They aid language development, boost vocabulary, and are a lot of fun when recited together in a group.

Benefits of Tongue Twisters for Young Kids

Kids begin to develop their speech and diction at a young age, and tongue twisters can help them stretch the muscles that are necessary for speech. This helps them develop clear pronunciation and speech patterns.

Tongue Twisters for Children to Recite

Don't make your child recite tongue twisters, alone. Multiply the fun by participating in a group. Here are our 20 best tongue twisters in English for kids, which will give you a real challenge.

1. I Scream

I scream, you scream, we all scream, for ice cream!

2. Peter Piper
Peter Piper picked a peck of pickled peppers A peck of pickled peppers Peter Piper picked If Peter Piper picked a peck of pickled peppers Where's the peck of pickled peppers that Peter Piper picked?
3. Betty Botter
Betty Botter bought a bit of butter. "But," she said, "this bit of butter's bitter, But a bit of better butter mixed with this butter might just make my bit of bitter butter better." So, Betty bought a bit of better butter to make her bitter butter better.
4. Susie Shine
I saw Susie sitting in a shoe shine shop. Where she shines, she sits, and where she sits, she shines.
5. Woodchuck
How much wood would a woodchuck chuck, if the woodchuck could chuck wood? He would chuck, he would, as much as he could, And chuck as much wood as a woodchuck would, If a woodchuck could chuck wood.
6. Doctor Doctor
If one doctor doctors another doctor, Then which doctor is doctoring the doctored doctor?
Does the doctor who doctors the doctor, doctor the doctor the way the doctor he is doctoring doctors?

Or does he doctor the doctor the way the doctor who doctors doctors?

7. Thought A Thought
I thought a thought,
But the thought I thought wasn't the thought I thought I thought.

If the thought I thought I thought had been the thought I thought,
I wouldn't have thought so much.
8. Fuzzy Wuzzy
Fuzzy Wuzzy was a bear, Fuzzy Wuzzy had no hair, Fuzzy Wuzzy wasn't very fuzzy, was he?
9. She Sells
She sells sea shells by the seashore
And the shells she sells by the seashore are sea shells for sure.

10. All I Want is a Proper Cup of Coffee
All I want is a proper cup of coffee, Tin coffee pots and iron coffee pots
Brave, bleeding boys battle bald, biting babies Biting babies ride battle toys while bumbling boys brave bald biting babies. They're no use to me -Denise sees the fleece, Denise sees the fleas. At least Denise could sneeze And feed and freeze the fleas.
To sit in solemn silence in a dull, dark dock, In a pestilential prison, with a life-long lock, Awaiting the sensation of a short, sharp shock, From a cheap and chippy chopper on a big black block! If I can't have a proper cup of coffee Luke Luck likes lakes. Luke's duck likes lakes. Luke Luck licks lakes. Luke's duck licks lakes. Duck takes licks in lakes Luke Luck likes. Luke Luck takes licks in lakes duck likes.
In a proper copper coffee pot While these fleas flew, freezy breeze blew Freezy breeze made these three trees freeze Freezy trees made these trees' cheese freeze That's what made these three free fleas sneeze
Black background, brown background, Brown background, black background, I'll have a cup of tea.
Why do you cry, Willy? Why do you cry? Willy, Willy! Willy cry, why you cry, Willy? Made in a proper copper coffee pot Ned Nott was shot and Sam Shott was not. Some say Nott was not shot.
But Shott says he shot Nott.
Yellow butter, purple jelly, red jam, black bread. Spread it thick, say it quick! Yellow butter, purple jelly, red jam, black bread, Spread it thicker, say it quicker! Yellow butter, purple jelly, red jam, black bread. Don't eat until you are spreading it like a spread! Either the shot Shott shot at Nott was not shot, Chester cheetah chews a chunk of cheap cheddar cheese If the chunk of cheese chunked Chester cheetah, What would Chester cheetah chew and chunk on?
Also Read: Fun and Clever Riddles for Kids with Answers
English Learning Games and Activities for Kids
Smart Ideas to Teach Kids to Rhyme Words and Sounds
What is Child Speech Therapy?
Speech and Language Delay in Children Or Nott was shot.
So it is better to be Shott than Nott.
I may be off my dot
But I want a cup of coffee
From a proper coffee pot.
11. Bleeding Boys

12. Denise Sees

13. Dark Dock

14. Luke Luck

15. Cheese Trees

Through three cheese trees three free fleas flew

16. Black And Brown Background

Background background, black, black, brown, brown.

17. Why Willy?!

18. Ned Nott and Sam Shott

If the shot Shott shot shot Nott, Nott was shot.
But if the shot Shott shot shot Shott,
Then Shott was shot, not Nott.

However, the shot Shott shot shot not Shott, but Nott.

19. Butter And Jelly

20. Chester Cheetah

Try out these tongue twisters at home with your kids and see if you can recite them at breakneck speeds. Let us know how it went, by getting in touch with us.

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20 Short and Easy Tongue Twisters in English for Kids

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Last Updated on Funny tongue twisters for kids have been around since generations, and not only are they fun, but they help you speak better and boost your repertoire of exciting and fun-sounding words. Here's our lowdown on some popular tongue twisters, and why you and your kids should recite them together.

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I can showcase this video to students as examples of different kinds of dance they can try.

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Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.

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Such a beautiful resource marrying science and music. Students can learn from local musicians from home and in the classroom.

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Through a partnership with University of Hawaii, Hawaii Symphony Orchestra, and the Bishop Museum, Symphony of the Hawaiian Birds aims to educate elementary and secondary students of O'ahu through science, music, and art to teach about Hawaii's native bird species and the importance of conservation efforts.

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Through a partnership with University of Hawaii, Hawaii Symphony Orchestra, and the Bishop Museum, Symphony of the Hawaiian Birds aims to educate elementary and secondary students of O'ahu through science, music, and art to teach about Hawaii's native bird species and the importance of conservation efforts.

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Queen Lili'uokalani, Hawai'i's last ruling monarch, was a talented poet and an accomplished musician. She and her three siblings, referred to as Na Lani 'Eha (the Royal Four), wrote some of the most treasured and beloved songs of Hawaiʻi.

Listen Now

Listen Later

"To compose," she once said, "was as natural to me as to breathe."

Many of her compositions were love songs in the tradition of mele ho'oipoipo, full of nature metaphors. She also wrote about the issues of her day, and her compositions have endured as expressions of Hawaiian identity. Despite being immersed in the political jockeying that would culminate in her overthrow in 1893, she remained faithful to her musical interests.

Liliʻuokalani distinguished herself by the sheer number of works she produced, her ability to notate her songs, and her attention to preserving and publishing them.

"These songs are to be heard amongst our people to the present day," she said.

This collection of songs is intended to do just that: to bring the Queen's music to life, to make it available and accessible to as wide an audience as possible, and perpetuate her legacy.

Hear and enjoy the music, by and for Queen Liliʻuokalani.

CD Booklet

The CD booklet includes an introduction by Moon Kauakahi with both Hawaiian and English lyrics for each song.
Download Booklet
The making of E Lei Hoʻi, E Liliʻulani Ē

Special Thanks

Liliʻuoklani Trust is honored to recognize these artists for their contributions to this project.

Mixing and mastering at GumpofWump Inc. Studio, 848 Rainbow Blvd. #850, Las Vegas, NV 89107

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Queen Lili'uokalani, Hawai'i's last ruling monarch, was a talented poet and an accomplished musician. She and her three siblings, referred to as Na Lani 'Eha (the Royal Four), wrote some of the most treasured and beloved songs of Hawaiʻi. "To compose," she once said, "was as natural to me as to breathe."

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I want to teach a similar lesson!

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Kathy can inspire my students, as they can see themselves in her. A Marshallese woman who grew up in Hawaii, advocating for climate change action.

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Iakwe and welcome to my official artist page. My name is Kathy Jetn̄il-Kijiner. I am a writer and performer of Marshall Islander ancestry - jowi en̄ ao ke Ri-mae, im n̄a juon ledrik in Aur, Jaluit, Likiep, Ebon, im Namdrik. I was born in the Marshall Islands, raised in Hawai'i, and am currently based in Majuro, the capital city of the Marshall Islands.

My primary creative practice explores my culture's rich storytelling and how they intersect and dialogue with evolving issues threatening our islands and community. My focus has been climate change and the legacy of nuclear testing in the Marshall Islands. I share these explorations through the mediums of poetry, performance, and media. This practice is also informed by the community organizing I spearhead through the Marshall Islands based nonprofit Jo-Jikum that I co-founded and direct, a nonprofit dedicated to Marshallese youth and environmentalism. In addition to continuing to write and run Jo-Jikum, I am currently serving as Climate Envoy for the Marshall Islands Ministry of Environment, and pursuing my PhD in Pacific Studies at Australia National University. At this time, I am not taking performance or speaking requests.

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Iakwe and welcome to my official artist page. My name is Kathy Jetn̄il-Kijiner. I am a writer and performer of Marshall Islander ancestry - jowi en̄ ao ke Ri-mae, im n̄a juon ledrik in

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One Voice Children's Choir - inspire the world

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Allow students to express themselves through dance however they'd like. Create a project like this that they can see themselves in and be proud of.

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Nextcloud - a safe home for all your data

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Nextcloud - a safe home for all your data

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Resource that I will remember for when I am a teacher.

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Bring stories to life!

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I can have students make their own parodies. Students would love to watch a video like this in class!