Journeys – Year 9 curriculum pack
Route through week 3: Exploring and discovering
Work based on the ‘monsters’ images
Starter activities
1. Setting the context. Revisit the key quotations for this week. Simply ask
student groups to reconsider them and ask themselves: how true are they? What
examples can they think of each statement in their own experiences? They could
use the additional sheet entitled Week 3 quotations for this task. The resource
includes illustrative examples of the sorts of things students might write.
Encourage students to cross out examples they disagree with.
2. Ideas about aliens. Ask students to look through the pictures of strange,
mysterious monsters. Also show them some pictures of ‘aliens’ as depicted in
films. What are the common features of all these ‘aliens’ — both from outer
space and from remote corners of the world? What advantages might the
‘monsters’ gain from their ‘alien’ characteristics?
3. Describing accurately. Put students into pairs, and seat them back-to-back.
Give one of the partners a picture of one of the monsters. They have to describe
the monster so that their partner can draw it accurately. The artist is not
allowed to ask questions. The description needs to be careful and accurate.
Differentiation: To support those who find it hard to describe accurately (or
draw accurately!), you could prepare some outline drawings of some of the
monsters. These would be easier to describe and to draw.
Main activities
1. Writing accurately. Get students to write a clear description of one of the
monsters. Insist they concentrate on clarity and succinctness, and on accuracy of
grammar and punctuation. You could model this with one monster.
2. Creative writing. Get students to write an explorer’s account of his/her
encounter with one of the tribes depicted. Alternatively, imagine that one of
these tribes really does exist and that one of its own explorers ‘discovers’ our
area of the world. What would they make of the monsters (us) that they
‘discover’? Get students to write the account of the meeting with ‘us’. To help
this process, you could display random pictures of people (including celebrities)
and ask students what conclusions about our world/civilisation an outsider might
come to on the basis of these people.
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Differentiation: The alternative suggestion above is likely to be useful for
challenging imaginative students, who love alternative viewpoints. On the other
hand, less skilled writers would need the main task to be scaffolded. You could
generate with them a list of aspects of humans that these explorer monsters
would want to deal with in their account.
Plenary activities
1. Reader-writer groups. Group all students into threes. Stop the writing every so
often and insist that the trios share their work and give each other helpful
feedback aimed at making the rest of the writing even better.
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Work based on ‘Amundsen’s arrival at the South Pole’
Starter activities
1. Pre-reading. Before students read Amundsen's account, get them to imagine the
last few miles of the journey. What would the team have been thinking and
feeling? What would they be hearing, seeing, smelling? Show them photos and
videos of Antarctica to fuel their imaginations.
2. Role play. Ask students to consider what might have motivated these men to go
on such a dangerous expedition. Put students into groups of five and get them to
develop a drama of the last few miles of the journey and what the explorers say
to each other during a pause in their progress.
Main activities
1. Character reactions. Ask students to read Amundsen’s account. Prompt them to
notice his thoughts and feelings. Ask them to compare what he writes with the
content of their group's improvisation. Are they surprised by his actual attitudes
and feelings?
2. Reader reactions. Tell students to compare their reactions to the killing of the
dog. Prompt them to consider the way Amundsen tells this part of the story. Is
he trying to shock the reader? Does the way he writes affect how we feel about
the event? Ask students to rewrite part of the description so that it does not
come across so bluntly and brutally. What did they have to do to ‘soften’ the
writing?
Differentiation: Model this for students. Writing part of it with them would help
to ensure that less confident students can concentrate on language style, rather
than content.
3. Amundsen in depth. Model for students how to write an analysis of Amundsen’s
thoughts and feelings and how these are expressed. To prepare for this, you
could ask students to identify three parts of the text (each of no more than 15
words) which they find particularly striking in relation to how Amundsen relates
the incident and its aftermath.
Plenary activities
1. Ping-pong. Put students into two teams. Give members of one team a possible
feeling of Amundsen OR of the reader (a mixture would be fine). Tell the other
team that when a feeling/reader reaction is called out from the first team, a
member of the second team has to quickly find a perfect, very short quotation
that has potential for evidence for the offered feeling/reaction.
Differentiation: Put weaker students on the team that calls out
feelings/reactions. Very able students could form a third team. Their task is to
evaluate the relevance and usefulness of pieces of evidence chosen by members
of the second team.
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Journeys – Year 9 curriculum pack
Work based on ‘A perfect night’ from Travels with a Donkey in the
Cévennes by Robert Louis Stevenson
Starter activities
1. Moody reading. The atmosphere of this writing is crucial to its effect and
purpose: the atmosphere follows the contours of Stevenson's moods, which are so
different here than to the previous extracts. Ask students to:

identify moods and feelings in the passage, and

underline words and short phrases which are key contributors to the mood or
atmosphere at those points.
Alternatively, you could get groups to identify three key words or phrases each,
and then go and look at others’ annotated copies, before returning to their own
copy to add up to three extra words or phrases.
Differentiation: Group students into mixed ability groups to give support to
weaker students, or into same ability groups to encourage an appropriate level of
challenge in each group.
Main activities
1. Which is best? ‘Amundsen’s arrival at the South Pole’ and ‘A perfect night’ are
about very different perfect moments. It is worth getting students to compare
how the writers bring these episodes to life for the reader. Which text do the
students consider to be better written? Which one do they consider to be more
effective? Which one do they find more convincing and ‘authentic’ in conveying
the writer's feelings? Obviously they will need to get ready to explain and justify
their preferences.
2. Speed dating. If there are equal numbers of students supporting each text you
could run a 'speed-dating' debate in which students sit in opposing pairs and have
a couple of minutes to explain and discuss their positions. All supporters of one
text would then move onto the next table to make a new opposing partnership.
3. Reading assessment. You could use ‘Perfect Night’ as an assessment text to test
and sharpen students’ ability to make points and back them up by referring
closely to the text. The questions in Teachit resource 23643: A perfect night …
comprehension questions are designed to support this approach to assessment.
4. Autobiographical writing. Ask students to talk to each other about perfect
moments in their own lives: e.g.: When they won something; when a relative or
friend recovered from an illness; when they found themselves in a wonderful
place. Encourage them to choose one ‘moment’ (which could actually be as much
as a few hours) and tell their partner all about it and how they were feeling. Ask
students to write about this ‘moment’ so as to capture its special qualities for a
reader. If you are brave enough, you could tell them about your own ‘perfect
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moment’ and model for them how you would plan and write it in order to convey
the mood of the moment.
Plenary activities
1. Compare and contrast. Get students to create a Venn diagram in which they
compare and contrast the two texts. To do this, you could:
a) Ask students to get into groups of four or five.
b) Get them to write down five statements about ‘A perfect night’ and five
statements about ‘Amundsen’s arrival at the South Pole’. (At this point, students
should be clear in their minds about which excerpts their statements relate to,
but should keep this separate from the statements themselves.) The statements
could relate to any aspects of the texts including: form, structure, theme, style,
tone, language, character or setting.
c) Groups should then swap statements with each other. They should draw a Venn
diagram outline (as below) and position each of the statements that they have
been given in the appropriate place of the diagram.
‘A perfect night’
‘Amundsen’s arrival at the South Pole’
d) Groups should then report their findings, summing up main points of contrast and
similarity and resolving differences of opinion.
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Journeys – Year 9 curriculum pack
Work based on ‘Still I Rise’ by Maya Angelou
Maya Angelou’s poem, ‘Still I Rise’, suggests a metaphorical journey — a movement from
one state to another, a transformation. You could ask students to consider what a
poem, whose title is ‘Still I Rise’, could be about.
Angelou’s poem is easy to find on the web. It is published on the ‘American Academy of
Poets’ site here: www.poets.org/poetsorg/poem/still-i-rise.
The power of Angelou’s poem comes from its rise of energy and imagery that develops
throughout the poem. That comes across very dramatically when Angelou herself
performs the poem. You can find her performance on YouTube. However, it is best to
save her performance until students have already developed their own response.
Starter activities
1. Journey as metaphor. Point out that that we often use the word ‘journey’ when
we are talking about something other than physical travel: we are using the word
as a metaphor. For example, we say ‘her personal journey’; our ‘learning
journey’. A famous American play is called Long Day’s Journey into Night.
Reintroduce one of the quotes of the week, Ann Bancroft’s idea that ‘Exploration
is about that journey to the interior, into your own heart.’ Ask students what
‘journey’ might mean when it is being used in these sorts of contexts.
2. Appreciating the effect of rhyme. Give students a copy of the poem with the
rhymes removed. For example, you could replace ‘lies’ with ‘fibs’, ‘gloom’ with
‘sorrow’, and so on. Reading the poem without its rhymes will allow students to
sense the rhythm. Reading it later with the rhymes will help to appreciate how
rhyme can enhance rhythm.
3. Metaphors. Alternatively, you could give students a copy of the poem with the
most powerful metaphors (or images more generally) removed and replaced in
grey with literal synonyms. The students’ job would be to put in a suitable
image. This would allow them to compare their versions with Angelou’s later on.
For example, you could replace ‘dirt’ with ‘earth’, ‘pumping’ with ‘rising’.
Differentiation: Less able students will struggle with this task, so save it for the
main part of the lesson and model the process for them before they begin.
Main activities
1. Still I surmise: interpretation. Give students time to read the poem. Then put
them into small groups to discuss and interpret the poem. To focus their
discussions, you could ask them to decide who the narrator is; what can we work
out about them? What do they want? How are they feeling?
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Differentiation: You could direct students’ attention towards particular
words/phrases/lines that you want them to concentrate on. For example: ‘bitter,
twisted lies’; ‘Weakened by my soulful cries’; ‘You may kill me with your
hatefulness’.
Teachit resource 23658: ‘Still I Rise’ – group work tasks guides students through
this process.
2. Rehearsed performance. Ask students to perform the poem. They could work
on their own to develop an effective reading, or they could work with others to
develop a reading with movements that dramatically represent some of the
poem’s images as a backdrop to the reading.
Plenary activities
1. Challenge it. Regroup students so that they share and challenge each other’s
interpretations. Arm the ‘challenger’ students with questions and prompts such
as:

‘Can you show me any evidence to support that idea?’

‘I see. We read that bit differently. What we thought was ...’

‘Perhaps she might also mean ...’

‘How do you think that shows [idea]?’
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Resources week 3
Page
number
Resource
Where it’s used in the pack
Week 3 quotations
Week 3 — Work based on ‘monsters’ images
47
A perfect night …
comprehension questions
(23643)
Week 3 — Work based on the ‘A perfect night’ excerpt
from Travels with a Donkey in the Cévennes by Robert
Louis Stevenson
48
‘Still I Rise’ — group work
tasks (23658)
Week 3 — Work based on the poem ‘Still I Rise’ by Maya
Angelou
51
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Week 3 quotations
Week 3 quotations
We should
go to
remote
places that
very few
people visit
‘We must go beyond
textbooks, go out into the
bypaths and untrodden
depths of the wilderness
and travel and explore and
tell the world the glories of
our journey.’
John Hope Franklin, 1915–2009,
black American historian, author of
From Slavery to Freedom (1947)
When you
have to
make
important
decisions
you have to
explore your
own
thoughts
and feelings
© www.teachit.co.uk 2014
People
shouldn’t
just read
about a
place: they
should go
there
‘ … exploration is about
that journey to the
interior, into your own
heart.’
Ann Bancroft, born 1955, American
explorer, particularly of the Arctic
and Antarctic.
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A perfect night … comprehension questions (23643)
And yet even while I was exulting in my solitude I became aware of a strange lack. I
wished a companion to lie near me in the starlight, silent and not moving, but ever
within touch. For there is a fellowship more quiet even than solitude, and which, rightly
understood, is solitude made perfect. And to live out of doors with the woman a man
loves is of all lives the most complete and free.
As I thus lay, between content and longing, a faint noise stole towards me through the
pines. I thought, at first, it was the crowing of cocks or the barking of dogs at some very
distant farm; but steadily and gradually it took articulate shape in my ears, until I
became aware that a passenger was going by upon the high-road in the valley, and
singing loudly as he went. There was more of good-will than grace in his performance;
but he trolled with ample lungs; and the sound of his voice took hold upon the hillside
and set the air shaking in the leafy glens. I have heard people passing by night in
sleeping cities; some of them sang; one, I remember, played loudly on the bagpipes. I
have heard the rattle of a cart or carriage spring up suddenly after hours of stillness, and
pass, for some minutes, within the range of my hearing as I lay abed. There is a romance
about all who are abroad in the black hours, and with something of a thrill we try to
guess their business. But here the romance was double: first, this glad passenger,
lighted internally with wine, who sent up his voice in music through the night; and then I,
on the other hand, buckled into my sack, and smoking alone in the pine-woods between
four and five thousand feet towards the stars.
When I awoke again, many of the stars had disappeared; only the stronger companions of
the night still burned visibly overhead; and away towards the east I saw a faint haze of
light upon the horizon, such as had been the Milky Way when I was last awake. Day
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A perfect night … comprehension questions (23643)
was at hand. I lighted my lantern, and by its glow-worm light put on my boots and
gaiters; then I broke up some bread for Modestine, filled my can at the water-tap, and lit
my spirit-lamp to boil myself some chocolate. The blue darkness lay long in the glade
where I had so sweetly slumbered; but soon there was a broad streak of orange melting
into gold along the mountain-tops of Vivarais. A solemn glee possessed my mind at this
gradual and lovely coming in of day. Nothing had altered but the light, and that, indeed,
shed over all a spirit of life and of breathing peace, and moved me to a strange
exhilaration.
… I strolled here and there, and up and down about the glade. While I was thus delaying,
a gush of steady wind, as long as a heavy sigh, poured direct out of the quarter of the
morning. It was cold, and set me sneezing … I could see the thin distant spires of pine
along the edge of the hill rock slightly to and fro against the golden east. Ten minutes
after, the sunlight spread at a gallop along the hillside, scattering shadows, and the day
had come completely.
I hastened to prepare my pack, and tackle the steep ascent that lay before me; but I had
something on my mind … I had been most hospitably received and punctually served in
my green caravanserai. The room was airy, the water excellent. I say nothing of the
tapestries or the inimitable ceiling, nor yet of the view which I commanded from the
windows; but I felt I was in some one’s debt for all this. And so it pleased me, in a halflaughing way, to leave pieces of money on the turf as I went along, until I had left
enough for my night’s lodging. I trust that they did not fall to some rich or churlish
drover.
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A perfect night … comprehension questions (23643)
Read and answer the questions (a-f) on this page.
The number after each question shows you how much detail you should go into in your
answer:
1 = a very brief answer
5 = an answer you should explain carefully, referring to details in the text to
support what you write.
Questions
a) Look at the word stole in the first sentence. Stevenson (the writer and narrator)
could have used another word, such as ‘crept’ or ‘came’. Why do you think the
writer used the word stole? (2)
b) What is the noise that Stevenson hears? (1)
c) How do we know that the man is singing badly? (2)
d) Carefully read paragraph three. (This paragraph begins, ‘When I awoke again
...’.) Describe how Stevenson is feeling in this paragraph. Use your own words
as far as possible, but do refer to words that Stevenson uses. (4)
e) Carefully read the last paragraph. (This paragraph begins, ‘I hastened to prepare
my pack...’) In your own words, explain what Stevenson decides to do, and
why he does it. (3)
f) Read back over the whole passage. Explain the effect the night has had on
Stevenson, and how the words he uses help us to understand the effect on
him. (5)
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‘Still I Rise’ – group work tasks (23658)
‘Still I Rise’ is a well-known poem, and many people like it very much. However, there
are lots of different ways of interpreting the poem / making sense of it. Perhaps not
even the poet, Maya Angelou, was absolutely sure what she meant.
Read the poem carefully to yourself. If possible, read it aloud, as it is a poem that is
full of wonderful sounds.
Now work in a small group.
1. Talk about who the narrator might be. In other words, who is ‘me’ in the first line
of verse one, the ‘I’ in the last line?
 What clues in the poem help you to decide who the narrator is?
 What sort of person does the narrator sound like by the way they speak to us?
 What is their attitude, and how is this attitude expressed?
 What do they want?
 How are they feeling?
2. Who is the poem talking to: who is ‘you’?
3. How does the narrator want ‘you’ to feel?
IMPORTANT ADVICE ...
As you talk, try not to be in a hurry to get to ‘right answers’. Instead, explore
possibilities. Look at details in the poem that might support your ideas.
Here are some of the words and phrases that it would be a good idea to talk about:
Words
Your thoughts
bitter, twisted lies
Did you want to see me
broken?
Weakened by my soulful
cries
You may kill me with your
hatefulness
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Journeys – Accompanying text excerpts
Text excerpts week 3
A selection of ‘monsters’ from Histoires Prodigieuses by Pierre
Boaistuau, a copy of which was presented to Queen Elizabeth I in 1560
© Wellcome Library, London
© Wellcome Library, London
Monstrous creature born to honourable parents.
Monster with horn like an elephant’s tusk and
monkey heads at breasts with dogs at elbows and
knees.
Monster born on the borders of England and
Normandy.
© Wellcome Library, London
© Wellcome Library, London
The monster which appeared by chance to St.
Anthony while he was doing penitence in the
desert.
Little male monster, who has four arms and four
legs.
© Wellcome Library, London
© Wellcome Library, London
Man monster who has been seen in France in our
time.
© www.teachit.co.uk 2014
Wild man or monster born on the borders of
England and Normandy.
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A selection of ‘monsters’ from a compendium about demons and magic,
1766
© Wellcome Library, London
© Wellcome Library, London
Beelzebub - portrayed with rabbit ears, a tiger's
face, scaled body, clawed fingers and a bird’s
legs.
The keeper of the beasts of hell.
© Wellcome Library, London
© Wellcome Library, London
Illustration of a three-headed creature.
© www.teachit.co.uk 2014
A three headed monster in an alchemical
flask, representing the composition of the
alchemical philosopher’s stone: salt,
sulphur, and mercury; from Salomon
Trismosin's ‘Splendor solis’.
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From The South Pole: An Account of the Norwegian Antarctic Expedition
in the “Fram”, 1910—1912 by Roald Amundsen. (Translated from the
Norwegian by A. G. Chater, 1912.)
Amundsen’s arrival at the South Pole
Roald Amundsen was a Norwegian explorer. In 1911 he and his team became the first
humans to reach the South Pole. Here he writes about the moment they reached the
South Pole, how he felt, and how they celebrated.
© Wellcome Library, London
At three in the afternoon a simultaneous “Halt!” rang out from the drivers … The goal
was reached, the journey ended. I cannot say — though I know it would sound much
more effective — that the object of my life was attained. That would be romancing
rather too bare-facedly. I had better be honest and admit straight out that I have never
known any man to be placed in such a diametrically opposite position to the goal of his
desires as I was at that moment. The regions around the North Pole — well, yes, the
North Pole itself — had attracted me from childhood, and here I was at the South Pole.
Can anything more topsy-turvy be imagined?
… After we had halted we collected and congratulated each other … After this we
proceeded to the greatest and most solemn act of the whole journey — the planting of
our flag. Pride and affection shone in the five pairs of eyes that gazed upon the flag, as
it unfurled itself with a sharp crack, and waved over the Pole. I had determined that
the act of planting it — the historic event — should be equally divided among us all. It
was not for one man to do this; it was for all who had staked their lives in the struggle,
and held together through thick and thin. This was the only way in which I could show
my gratitude to my comrades in this desolate spot. I could see that they understood and
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accepted it in the spirit in which it was offered. Five weather-beaten, frost-bitten fists
they were that grasped the pole, raised the waving flag in the air, and planted it as the
first at the geographical South Pole. “Thus we plant thee, beloved flag, at the South
Pole, and give to the plain on which it lies the name of King Haakon the Seventh’s
Plateau.” That moment will certainly be remembered by all of us who stood there.
One gets out of the way of protracted ceremonies in those regions — the shorter they
are the better. Everyday life began again at once. When we had got the tent up,
Hanssen set about slaughtering Helge, and it was hard for him to have to part from his
best friend. Helge had been an uncommonly useful and good-natured dog; without
making any fuss he had pulled from morning to night, and had been a shining example to
the team. But during the last week he had quite fallen away, and on our arrival at the
Pole there was only a shadow of the old Helge left. He was only a drag on the others,
and did absolutely no work. One blow on the skull, and Helge had ceased to live.
“What is death to one is food to another,” is a saying that can scarcely find a better
application than these dog meals. Helge was portioned out on the spot, and within a
couple of hours there was nothing left of him but his teeth and the tuft at the end of his
tail. This was the second of our eighteen dogs that we had lost … We now had sixteen
dogs left, and these we intended to divide into two equal teams …
Of course, there was a festivity in the tent that evening — not that champagne corks
were popping and wine flowing — no, we contented ourselves with a little piece of seal
meat each, and it tasted well and did us good. There was no other sign of festival
indoors. Outside we heard the flag flapping in the breeze. Conversation was lively in
the tent that evening, and we talked of many things. Perhaps, too, our thoughts sent
messages home of what we had done.
(NB The excerpt is taken from the Cooper Square Publishers Inc 2000 edition.)
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From Travels with a Donkey in the Cévennes by Robert Louis Stevenson
A perfect night
And yet even while I was exulting in my
solitude I became aware of a strange lack. I
wished a companion to lie near me in the
starlight, silent and not moving, but ever
within touch. For there is a fellowship more
quiet even than solitude, and which, rightly
understood, is solitude made perfect. And to
live out of doors with the woman a man loves
is of all lives the most complete and free.
As I thus lay, between content and longing, a faint noise stole towards me through the
pines. I thought, at first, it was the crowing of cocks or the barking of dogs at some very
distant farm; but steadily and gradually it took articulate shape in my ears, until I
became aware that a passenger was going by upon the high-road in the valley, and
singing loudly as he went. There was more of good-will than grace in his performance;
but he trolled with ample lungs; and the sound of his voice took hold upon the hillside
and set the air shaking in the leafy glens. I have
heard people passing by night in sleeping cities;
some of them sang; one, I remember, played
loudly on the bagpipes. I have heard the rattle of
a cart or carriage spring up suddenly after hours of
stillness, and pass, for some minutes, within the
range of my hearing as I lay abed. There is a
romance about all who are abroad in the black
hours, and with something of a thrill we try to
guess their business. But here the romance was
double: first, this glad passenger, lighted
internally with wine, who sent up his voice in
music through the night; and then I, on the other
hand, buckled into my sack, and smoking alone in the pine-woods between four and five
thousand feet towards the stars.
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When I awoke again, many of the stars had disappeared; only the stronger companions
of the night still burned visibly overhead; and away towards the east I saw a faint haze
of light upon the horizon, such as had been the Milky Way when I was last awake. Day
was at hand. I lighted my lantern, and by its glow-worm light put on my boots and
gaiters; then I broke up some bread for Modestine, filled my can at the water-tap, and
lit my spirit-lamp to boil myself some chocolate. The blue darkness lay long in the glade
where I had so sweetly slumbered; but soon there was a broad streak of orange melting
into gold along the mountain-tops of Vivarais. A solemn glee possessed my mind at this
gradual and lovely coming in of day. Nothing had altered but the light, and that,
indeed, shed over all a spirit of life and of breathing peace, and moved me to a strange
exhilaration.
… I strolled here and there, and up and
down about the glade. While I was
thus delaying, a gush of steady wind, as
long as a heavy sigh, poured direct out
of the quarter of the morning. It was
cold, and set me sneezing … I could see
the thin distant spires of pine along the
edge of the hill rock slightly to and fro
against the golden east. Ten minutes
after, the sunlight spread at a gallop
along the hillside, scattering shadows,
and the day had come completely.
I hastened to prepare my pack, and tackle the steep ascent that lay before me; but I
had something on my mind … I had been most hospitably received and punctually served
in my green caravanserai. The room was airy, the water excellent. I say nothing of the
tapestries or the inimitable ceiling, nor yet of the view which I commanded from the
windows; but I felt I was in some one’s debt for all this. And so it pleased me, in a halflaughing way, to leave pieces of money on the turf as I went along, until I had left
enough for my night’s lodging. I trust that they did not fall to some rich or churlish
drover.
(NB The excerpt is taken from the 2009 Floating Press edition.)
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