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MAKING A MEANINGFUL CONNECTION:
THE INTEGRATION OF PHYSICAL EDUCATION AND WRITING
Josephine K. Sahli
B.Ed.(Elem.)
The University of British Columbia, 1976
THESIS SUBMITTED IN PARTIAL FULFILLMENT OF
THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF ARTS
in the Faculty
of
Education
@Josephine
R . Sahli 1993
SIMON FRASER UNIVERSITY
April 1993
A11 rights reserved. This work may not be
reproduced in whole or in part, by photocopy
or other means, without permission of the author.
1*1
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Btre imprim6s ou
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ISBN 0-315-91061-5
-
-
APPROVAL
Name:
Josephine Katherine Sahli
Degree:
Master of Arts
Title of Thesis:
Making a Meaningful Connection: The
Integration of Physical Education and Writing
Examining Committee:
Chair:
Celia Haig-Brown
Y
Stephen J. Smith
Senior Supervisor
---
Meguido Zola
Associate Professor
-
-
-
,
c ~ i r c h n e r
Professor Emeritus
Faculty of Education
Simon Fraser University
Burnaby, B.C.
External Examiner
Dale Approved
-
Partial Copyright License
I hereby grant to Simon Fraser University the right to lend my thesis,
project or extended essay (the title of which is shown below) to users of
the Simon Fraser University Library, and to make partial or single copies
onfy for such users or in response to a request from the library of any
other university, or other educational institution, on its own behalf or for
one of its users. i further agree that permission for multiple copying of
this work for scholarly purposes may be granted by me or the Dean of
Graduate Studies. It is understood that copying or publication of this work
for financial gain shall not be allowed without my written permission.
Title of Thesis/Project/Extended Essay
Making a Meaningful Connection: The Integration of Physical
Education and Writing
Author
(signature)
Josephine Katherine Sahli
ABSTRACT
This
investigation
education
proposes
involves
thesis
and
that
education
the
of
four
meaningful
writing
the
a
at
part,
descriptive
integration
of
physical
t h e elementary school l e v e l .
teaching
of
a
broad-based
p r o g r a m , f o u n d e d on Rudolf L a b a n ' s
It
physical
framework
for
the
a n a l y s i s o f inovement, p r o v i d e s a r i c h and v a r i e d c o n t e x t
for
writing.
gymnastic
and
expression.
evolve
The
It
thesis
dance
experiences
identifies
naturally
describes
from
three
a
variety
which
foster
types
physical
of
to
written
writing
education
t r a n s a c t i o n a l w r i t i n g ( w r i t i n g intended
game,
of
which
experiences:
i n s t r u c t , inform
o r p e r s u a d e an a u d i e n c e ) , e x p r e s s i v e w r i t i n g ( w r i t i n g w r i t t e n
for
oneself o r t r u s t e d
creative
create
close
to
o r p o e t i c w r i t i n g (language used
a
certain
mood
experiences
education-
beyond
The
or effect).
the
writer)
aesthetically
and
to
The t h e s i s a r g u e s t h a t
t o r e i n f o r c e , c l a r i f y or extend t h e i r
writing helps children
the
traditional
context
of
physical
t h e s i s concludes w i t h a sample of c h i l d r e n ' s
writing, r e l a t i n g t o
reflect
people
physical
education
e x p e r i e n c e s , which
t h e g o a l s o f t h e P r i m a r y program f o u n d a t i o n document
(B.C. 1 9 9 0 ~ ) and
the
draft
d a t ions (B .C., 1 9 9 2 ) .
iii
of
The i n t e r m e d i a t e Program:
This thesis describes
writing
and
physical
e x p e r i e n c e s ss i n t e r d e p e n d e n t and i n t e r r e l a t e d .
evidence
of
writing
it
physical
provides
It provides
helped c h i l d r e n develop a b e t t e r
that
understanding of themselves
well,
education
and t h e p h y s i c a l experience.
e v i d e n c e of t o p i c s
generated
from
As
the
education experiences t h a t helped c h i l d r e n t o l e a r n
more a b o u t w r i t i n g .
The
thesis
defends
t h e w r i t i n g which
developed from t h e p h y s i c a l e d u c a t i o n e x p e r i e n c e s as p e r s o n a l
and m e a n i n g f u l t o e a c h c h i l d .
Acknowledgements
I wish
Smith,
my
to
express
senior
my
sincere
thanks
who
provided
advisor,
t o D r . Stephen
me
with
the
m o t i v a t i o n , c h a l l e n g e and s u p p o r t t o w r i t e t h e t h e s i s .
To
my
best
friend,
Andy
Nemeth, who
"lived"
every
c h a p t e r of t h i s thesis I s a y thank-you f o r l i s t e n i n g .
To m y dear f r i e n d , J o Owens, I say thank-you f o r h e l p i n g
me t o g e t s t a r t e d .
A s w e l l , I would l i k e
to
acknowledge
and Gordon J a r v i s who s o w i l l i n g l y t y p e d
time.
the
t h e work of Mona
t h e s i s on "my"
TABLE OF CONTENTS
TITLE .................................................
i
APPROVAL
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii
ABSTRACT
............................................
iii
ACKNOWLEDGEMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v
TABLE OF CONTENTS
CHAPTER I
...................................
.vi
BACKGROUND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I
RATIONALE
............................... 7
RESEARCH DESCRIPTION
. . . . . . . . . . . . . . . . . . . 16
INSTRUCTIONAL MODEL
. . . . . . . . . . . . . . . . . . . . 17
DEFINITIONS
.....
CHAPTER I1
WHAT TYPES OF PHYSICAL EDUCATION
EXPERIENCES PROVIDE A CONTEXT
FOR WRITING? ...........................28
CHAPTER 111
WHAT TYPES OF WRITING EVOLVE FROM
PHYSICAL EDUCATION EXPERIENCES? . . . . . . . . 58
Expressive Writing
. . . . . . . . . . . . . . . . 58
Transactional Writing
. . . . . . . . . . . . . 66
P o e t i c or C r e a t i v e W r i t i n g
CHAPTER I V
. . . . . . . . 70
HOW DOES WRITING HELP CHILDREN TO
REINFORCE, CLARIFY OR EXTEND THE
PHYSICAL EXPERIENCE? . . . . . . . . . . . . . . . . . . . 77
Reinforcing the Physical
E x p e r i e n c e . . . . . . . . . . . . . . . . . . . . . . . . 78
Clarifying the Physical
E x p e r i e n c e . . . . . . . . . . . . . . . . . . . . . . . . 82
Extending t h e Physical
Experience . . . . . . . . . . . . . . . . . . . . . . . . wQ, 7
Conclusion
CHAPTER V
. . . . . . . . . . . . . . . . . . . . . . . .92
HOW DOES THE INTEGRATION OF PHYSICAL
EDUCATION AND WRITING REFLECT THE GOALS
OF THE PRIMARY AND INTERMEDIATE
PROGRAMS? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Social and Emotional
Development . . . . . . . . . . . . . . . . . . . . 3
Social Responsibility
8
. . . . . . . . . . . .101
Aesthetic and Artistic
Development . . . . . . . . . . . . . . . . . . . . . . 103
Physical Development . . . . . . . . . . . . . 106
. . . . . . . . . 110
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Intellectual Development
CONCLUSION
vii
CHAPTER I
BACKGROUND
Over t h e p a s t n i n e t y y e a r s , t h e r e h a s b e e n a s i g n i f i c a n t
c h a n g e i n t h e t e a c h i n g and p h i l o s o p h y of
physical education.
T r a c i n g t h e major h i s t o r i c a l developments h e l p s t h e reader t o
u n d e r s t a n d how t h e p a s t
has influenced t h e present.
greater
importance
a f u l l e r understanding
present
teaching
is
of
of
Of e v e n
how
the
p h y s i c a l education might c h a l l e n g e t h e
f u t u r e t o e n s u r e a prominent
role
f o r physical education i n
t h e elementary school curriculum.
Prior
and
Sweden
t o t h e F i r s t World War, t h e p r o g r a m s
greatly
rigid
a
1986,
series of e x e r c i s e s
playground
Pangrazi,
or
p. 3).
a
desk i n t h e classroom
education programs c o n s i s t e d
and/or
educational
thinking
s o l e l y a s a means f o r
The S w e d i s h s y s t e m c o m p r i s e d a
drill
mainly
calisthenics
and
of tumbling, formalized
exercises.
The
predominant
a t t h i s t i m e viewed p h y s i c a l e d u c a t i m
D u r i n g World War
d e v e l o p i n g t h e body.
One, h o w e v e r , m i l i t a r y t r a i n i n g p r o g r a m s ,
strict
(Dauer
During t h i s t i m e i n Canada, p h y s i c a l
1986, p . 3 ) .
gymnastics
t e a c h e r s (Dauer
t h e c h i l d r e n c o u l d p e r f o r m on t h e
which
beside
The
system of gymnastics r e q u i r i n g
c o n s i d e r a b l e e q u i p m e n t and s p e c i a l l y t r a i n e d
Pangrazi,
Germany
i n f l u e n c e d t h o s e i n N o r t h America.
Germans e s t a b l i s h e d
and
of
to
include
which s h i f t e d from
games a n d
sports,
helped
broaden t h e s c h o o l program.
Early
in
the
t w e n t i e t h c e n t u r y t h e philosophy of John
Dewey s t r o n g l y i n f l u e n c e d t h e t e a c h i n g o f p h y s i c a l e d u c a t i o n .
I n Democracy a n d e d u c a t i o n Dewey ( 1 9 1 9 ) w r i t e s :
E x p e r i e n c e s h a v e shown t h a t when c h i l d r e n h a v e a
chance a t p h y s i c a l a c t i v i t i e s which b r i n g t h e i r
n a t u r a l impulses i n t o p l a y g o i n g t o s c h o o l is a
j o y , management is l e s s o f a b u r d e n a n d l e a r n i n g i s
easier. (pp.
228-229)
Dewey's
Cardinal
A i m s of Education which i n c l u d e d " t h e
a n d " w o r t h y u s e o f l e i s u r e t i m e " became
promotion of h e a l t h "
t h e r e s p o n s i b i l i t y of t h e school.
depression
years
of
the
1930's
Unfortunately,
the
during the
significant
r o l e of
p h y s i c a l e d u c a t i o n i n t h e s c h o o l c u r r i c u l u m d i m i n i s h e d and i n
many c a s e s w a s e l i m i n a t e d e n t i r e l y ( D a u e r a n d P a n g r a z i , 1 9 8 6 ,
P- 3).
D u r i n g t h e S e c o n d World War, p h y s i c a l f i t n e s s became t h e
main o b j e c t i v e of p h y s i c a l
Canadian
Association
of
education programs.
Health,
Physical
R e c r e a t i o n , e s t a b l i s h e d t e n years e a r l i e r ,
National
Physical
Act.
Fitness
To
I n 1943, t h e
Education
and
i n i t i a t e d Canada's
assist
the
goal
of
p r o m o t i n g n a t i o n a l p h y s i c a l f i t n e s s , t h e a s t p r o v i d e d f o r : an
extension
of
physical
education
institutes, better facilities,
and
the
in
educational
all
encouragement
a t h l e t i c s and i n c r e a s e d a t t e n t i o n
to
the
of s p o r t s
professional
t r a i n i n g of s p e c i a l i s t s i n p h y s i c a l e d u c a t i o n .
Post-war
research
in
the
areas
of
growth
and
development, motor l e a r n i n g and p h y s i c a l performance promoted
C1
S
a more b a l a n c e d p r o g r a m
of p h y s i c a l a c t i v i t i e s .
a
t i m e , t h e " p r e p a r a t i o n f o r l e i s u r e " became
A t t h e same
stated
aim o f
t h e s c h o o l c u r r i c u l u m ( D a u e r and P a n g r a z i , 1 9 8 6 , p . 3 ) .
facilitated the inclusion
built
and
the
This
a gymnasium i n e a c h new s c h o o l
of
establishment
of
new
facilities
in
the
community.
A t t h i s t i m e , P r i t a i n ' s l e a d e r s h i p influenced changes i n
the overall educational
world.
In
Britain
education
took
system
in
c o u n t r i e s throughout the
one of t h e most s i g n i f i c a n t
place
Cunningham, 1981, v i i ) .
in
physical
education
(Blatt
in
and
A new p e r s p e c t i v e , e m e r g i n g from t h e
work of R u d o l f L a b a n , a d a n c e a n d e f f i c i e n c y
for
reforms
e x p e r t , focused
t h e f i r s t t i m e on t h e b o d y , mind a n d s p i r i t r e l a t i o n s h i p
i n movement ( G r e a t B r i t a i n ,
1952,
p.
man,
for
they
awareness and an a p p r e c i a t i o n
are
Thornton (1971)
a
way of more f u l l y
aimed
a t stimulating an
explains t h a t Laban's t h e o r i e s "provide
understanding
85).
of t h e r e c i p r o c a l l i n k between
t h e body a n d mind as i t is d i s p l a y e d t h r o u g h movement"
(P-
1).
Laban's
e x t e n s i v e s t u d y o f human e f f o r t
and
movement,
r e l a t i n g t o w o r k , d a n c e a n d t h e a t r e , r e s u l t e d i n a new t h e o r y
in
dance
which
he
called,
movement
p r o v i d e d a framework
analysis
of
children
with new c h a l l e n g e s ,
problems, c h i l d r e n could
"educational
movement."
for
His
presenting
T h r o u g h t h e s t u d y o f movement
e x p l o r e a f u l l e r r a n g e o f movement.
Laban (1975) d e s c r i b e d t h e most
obvious
difference
between
4
traditional European
and
dance
" n o d e r n dance": " I n s t e a d o f
s t u d y i n g e a c h p a r t i c u l a r movement, t h e
be
must
understood
and
principle
practised.
This
o f movement a n d its c f e m e n t s " ( p . 1 0 ) .
movement i n c l u d e d t h e e l e m e n t s o f :
and r e l a t i o n s h i p s ,
body
approach t o t h e
This
Laban's
could
described
relationship t o other
move
what
(spatial
performers
a n a l y s i s of
space, time, weight, flow
(body c o n c e p t s ) , how t h e body c o u l d move
the
moving
i n v o l v e s a new c o n c e p t i o n o f i t , namely,
m a t e r i a l of dancing
where
of
t h e body c o u l d d o
(effort
concepts),
concepts),
and
its
or apparatus (relationship
concepts).
I n i t i a l l y t e a c h e r s adapted Laban's a n a l y s i s
to
teach
dance
and
gymnastics,
incorporated i n t o a l l
program.
This
components
e v e n t u a l l y i t became
but
of
o f movement
t h e physical education
method g a i n e d p o p u l a r i t y a s i t p l a c e d
little
e m p h a s i s on c o m p e t i t i o n and f o c u s s e d a t t e n t i o n on t h e s u c c e s s
of t h e i n d i v i d u a l and ways t o maximize i n d i v i d u a l p o t e n t i a l .
Today movement e d u c a t i o n
holds
a firm place within the
B r i t i s h s c h o o l s y s t e m and o t h e r c o u n t r i e s o f t h e w o r l d ( B l a t t
and
Cunningham,
1981,
t h i s a p p r o a c h h a s been
in
most
(Thoinson,
on
Canadian
1980,
(B.
vii-viii)
pp.
slow
C.,
education
The
11!.
1975;
I n Canada, however,
t o emerge e v e n t h o u g h a d v o c a t e d
physical
p,
.
curriculum
guides
Elementary school ~ h v s i c a l
hereafter
referred
to
as
the
P h y s i c a l E d u c a t i o n C u r r i c u l u m G u i d e ) C u r r i c u l u m Guide s t a t e s :
The
objectives
of
a
broad
physical
education
program p r o v i d e f o r l e a r n i n g e x p e r i e n c e s i n s o c i a l ,
e m o t i o n a l and m e n t a l d e v e l o p m e n t . These o b j e c t i v e s
a r e r e a l i z e d when e a c h c h i l d becomes a w a r e of t h e
capabilities
and
l i m i t a t i o n s of h i s / h e r
body
t h r o u g h a k n o w l e d g e o f t h e p r i n c i p l e s o f movement,
r e l a t e s t h i s k n o w l e d g e t o t h e mind-body
concept,
a n d t h e n e f f e c t s optimum g r o w t h a n d d e v e l o p m e n t
through contribution
to
and p a r t i c i p a t i o n i n
physical education. (p. 2)
Thomson's 1 9 8 0 s t u d y o f B r i t i s h C o l u m b i a ' s e l e m e n t a r y s c h o o l
p h y s i c a l e d u c a t i o n programs r e v e a l e d
teachers
16).
My e x p e r i e n c e s o v e r
t h e p a s t t w e l v e years as a d i s t r i c t
school physical education resource
associate
and
elementary
further decline in the
school
teacher,
administrator
understanding
and
experience
ten full-time teachers,
movement
my
present
school,
preview
a
a
use
R e ~ i e w i n gt h e
-
(January
utilize
teachers
a d i r e c t method o f i n s t r u c t i o n .
c o l l a b o r a t i v e 1992 w i n t e r
suggest
most r e c e n t
My
education approach, t h e intermediate
predominantly
faculty
t h a t w h i l e f i v e o u t of
indicates
at
a
i m p l e m e n t a t io n of
physical education at t h e elementary l e v e l .
administrative
50% of t h e
only
i n c l u d e d a movement e d u c a t i o n a p p r o a c h i n
surveyed
t h e i r teaching (p.
and
that
March) o f t h e
i n t e r m e d i a t e t e a c h e r s i n d i c a t e s 75% o f t h e p h y s i c a l e d u c a t i o n
time
d e s i g n a t e d t o t h e t e a c h i n g o f t r a d i t i o n a l games, 15% t o
gymnastics and only
devoted
auger
10% t o d a n c e .
The small amount o f time
t o t h e teaching of gymnastics
w e l l w i t h a broad-based,
psycho-motor
activities
domain
that
these
provide
for
and
dance
does
e x p e r i e n t i a l program.
teachers
the
rely
release
not
In the
primarily
o f energy,
on
the
6
development
cognitive
of
game s k i l l s a n d p h y s i c a l
domain,
they
l e a r n i n g of r u l e s and
involve
strategies
fitness.
students
In
the
primarily in the
o f v a r i o u s games; a n d t h e y
r e l y s o l e l y on t h e d e v e l o p m e n t o f f a i r p l a y a n d s p o r t s m a n s h i p
in
the
this
affective
particular
colleagues
indicate
and
T h i s s i t u a t i o n is n o t u n i q u e t o
domain.
school.
Discussions
with
administrative
d i s t r i c t personnel throughout
similar
conditions
in
other
the
schools.
province
While t h e
P h y s i c a l E d u c a t i o n C u r r i c u l u m G u i d e recommends d a i l y p h y s i c a l
education,
within
a telephone survey of elementary
this
district,
writer's
administrators,
i n d i c a t e s t h a t o n l y s i x of
forty-six elementary schools p a r t i c i p a t e d i n a d a i l y physical
e d u c a t i o n p r o g r a m d u r i n g t h e 1 9 9 1 -1992 s c h o o l y e a r .
A l t h o u g h many c h a n g e s i n t h e p h i l o s o p h y
and t e a c h i n g of
p h y s i c a l e d u c a t i o n have evolved d u r i n g t h e t w e n t i e t h c e n t u r y ,
a greater
elementary
understanding
school
of
physical
education
c u r r i c u l u m is r e q u i r e d .
Goodson
in
the
(1987)
e x p l a i n s t h a t " p r a c t i c a l " s u b j e c t s s u c h as p h y s i c a l e d u c a t i o n
still
c a r r y w i t h them
"academic"
a
physical education
status
with
other
"intellectual
U n f o r t u n a t e l y , many t e a c h e r s s t i l l v i e w
as
an
adjunct
to
implementation remains narrow i n scope
on
compared
concerned w i t h a c h i l d ' s
subjects
development" (p. 4 ) .
low
t h e curriculum.
and
Its
its s i g n i f i c a n c e
t h e d e v e l o p m e n t o f t h e "whole" c h i l d g r e a t l y u n d e r v a l u e d .
Teachers seldom provide o p p o r t u n i t i e s f o r s t u d e n t s t o p r e p a r e
for
their
physical
education
experiences
o r extend t h e i r
7
learning
in
the
opportunities
classroom,
for
and
rarely
do
they
provide
s t u d e n t s t o d i s c u s s and w r i t e a b o u t t h e i r
physical experiences.
Kirk
" U n l e s s we a s
(1988) s t r e s s e s :
p r o f e s s i o n a l s are w i l l i n g and a b l e t o
make
a
educational
then
our p o t e n t i a l t o
value
of
our
contribute t o education
subject,
an
as
case
for the
e m a n c i p a t o r y p r o c e s s w i l l be
s t r i c t l y r e s t r i c t e d " (p. 44).
Quality
than
just
physical
"playing
significant
education concerns i t s e l f
a game" and r e c r e a t i o n .
contribution
a
to
child's
development, it a l s o p l a y s an important
cognitive,
social,
emotional,
with
Along w i t h i t s
overall
role
more
in
aesthetic
physical
a
and
child's
artistic
development.
This study s t r i v e s t o demonstrate t h e p o t e n t i a l
of
education f o r curricular
movement
integration
and
its
i m p a c t on t h e e d u c a t i o n o f t h e whole c h i l d .
RATIONALE
The B r i t i s h C o l u m b i a P r i m a r y P r o g r a m f o u n d a t i o n
document
(B. C . , 1 9 9 0 ~ ;h e r e a f t e r r e f e r r e d t o a s t h e P r i m a r y
Program) and
revised
(B.
foundations
Intermediate
C.,
draft
Program)
development,
development,
physical
the e-
1992; h e r e a f t e r
promote
foster a c h i l d ' s personal
emotional
of
D r a u
referred
learning
to
as
experiences
the
that
g r o w t h i n t h e a r e a s o f : s o c i a l and
social responsibility,
development,
intellectuaZ
a e s t h e t i c and
artistic
8
development.
The new p r o g r a m s e m p h a s i z e
and r e f l e c t i v e t h i n k i n g .
integration
a
as
recommend
Both documents
focus
Columbia's school-aged
critical,
for
the
children.
creative
identify curricular
education
of
British
Furthermore, t h e programs
t h a t teachers present learning
experiences
a
as
whole t h r o u g h i n t e g r a t i o n , b o t h , w i t h i n a s u b j e c t
meaningful
a r e a and a c r o s s t h e s e p a r a t e s u b j e c t a r e a s .
The e a r l i e r d r a f t d o c u m e n t
(B. C . ,
1990a)
methodology
the
or
of
t h e I n t e r m e d i a t e program
describes
integration
strategy.
I t is an o r i e n t a t i o n t h a t a c c e p t s
integrative
nature
of
knowledge
and
r e l a t i o n s h i p s t h a t e x i s t b e t w e e n and among
89).
It
further
and
discrete
fragmentation
of
school
and
interconnected
learning
experiences;
a t t i t u d e s , s k i l l s and
personal
knowledge;
interpretation
and
with
and t h e i r
and
new
others
to
25).
of c u r r i c u l a r i n t e g r a t i o n i n
1 3 8 9 ) and l a c k
of r e s e a r c h s u p p o r t i n g i t p r o m p t e d me
complete
the
help
between t h e c u r r i c u l u m and
C.,
on
The
that
existing
the f i r s t d r a f t of the Primary Proaram (B.
study
89).
curriculum
c r e a t e a n i n t e g r a t e d community o f l e a r n e r s ( p .
vague
(p.
learning
(p.
experiences
between
t h e r e a l world; a c r o s s t h e curriculum;
The
things"
all
experiences"
c h i l d r e n make c o n n e c t i o n s : b e t w e e n t h e
lives
a
learnings within each subject
given rise t o t h e d i s i n t e g r a t i o n of
P r i m a r y Program e m p h a s i z e s
own
than
s t a t e s t h a t t h e s e p a r a t i o n of s u b j e c t s and
t h e s p e c i f i c a t i o n of
"has
more
"as
to
t o p i c The i n t e g r a t i o n - o f
a
field
reading,,writing,
9
l l s t e n l n a . ~ e a k i n @and movement w i t h e l e m e n t a r y
children.
This
research.
It describes children's
stories
their
and
poems
writing
experiences.
nature
of
pilot
project
provided
r e s p o n s e s t o a v a r i e t y of
and
documents
t o t h i s and o t h e r p h y s i c a l e d u c a t i o n
The s t u d y s u p p o r t s
the
t h e i m p e t u s f o r my
s t u d i e d t h r o u g h movement
related
school-aged
individual
not
only
subject
the
areas
integrative
(i.e.
physical
e d u c a t i o n and l a n g u a g e a r t s ) , b u t a l s o t h e s i g n i f i c a n t impact
on l e a r n i n g when i n t e g r a t i n g a c r o s s t h e two c u r r i c u l a r a r e a s .
The c h i l d r e n ' s w r i t i n g
confirms
that
physical
physical
well-being
of
process f o r t h a t child.
collected
education
a
child
The
f o r the pilot project
concerns
but
emotional,
intellectual,
the
children's
experiences i n a l l contexts of
revealed
physical,
not
only
the
t o t a l educative
w r i t t e n expression
movement:
social,
a e s t h e t i c and a r t i s t i c .
I n t h e a r e a of language arts, c h i l d r e n engaged i n t h e w r i t i n g
p r o c e s s d i s c u s s e d and l i s t e n e d t o each
read
their
revision,
writing
and
ideas.
They
own w r i t i n g , t h e w r i t i n g o f p e e r s a n d o f t e n r e a d
r e l a t e d s t o r i e s and
peer
others'
poems.
served
developed
as
They
provided
an audience
suggestions f o r
for
the
published
a n a p p r e c i a t i o n a n d u n d e r s t a n d i n g of
good w r i t i n g .
When i n t e g r a t i n g t h e
study
of
movement, t h e c h i l d r e n c o m m i t t e d t h e m s e l v e s
of
reading,
activities.
writing,
listening,
a n d poems w i t h
stories
to
speaking
long periods
and
movement
T h e y o f t e n read a n d r e r e a d a story o r poem
many
times t o e x t r a c t t h e
vocabulary.
action
involved
reading
worked
individually,
group t o i n t e r p r e t
movement
the
sequences.
experience
they
text
Prior
wrote
domain.
The
with a partner o r i n a small
by
to
developing
and
or following
learning
polishing
the
physical
l o g r e s p o n s e s o r t h e i r own
Each t i m e , d i s c u s s i o n and w r i t i n g h e l p e d
s t o r i e s and poems.
students
Likewise,
practice" (p. 74).
f o s t e r e d h o u r s of p r a c t i c e i n t h e p h y s i c a l
children
"Becoming
w i t h s t o r i e s and r e a d i n g d r a w s c h i l d r e n
t o h o u r s of v o l u n t a r y
the
and a n a l y z e t h e movement
F o r r e s t e r and R e i n a r t (1989) e x p l a i n :
physically
it
words
to
prepare
for
or
extend
the
physical
experience,
In
t h e i r w r i t i n g t h e c h i l d r e n shared t h e i r hopes, f e a r s
o r understandings of t h e p h y s i c a l experience w i t h o t h e r s : t h e
t e a c h e r , t h e i r p e e r s , sometimes o t h e r s t u d e n t s
or
the
The r a t i o n a l e
school,
statement
and
in
sometimes
the
British
their
parents.
C.,
to
supports
this
students
l e a r n t o c l a r i f y thought, emotion
to
share
finding:
these
o t h e r s " ( p . 13).
"Through
ideas,
writing
studied.
and
and
speaking,
experience,
e m o t i o n s , and e x p e r i e n c e s w i t h
Through t h e w r i t t e n e x p r e s s i o n t h e c h i l d r e n
f u r t h e r c l a r i f i e d o r r e i n f o r c e d t h e movement
concepts
1990b; h e r e a f t e r
t h e Language A r t s E n g l i s h C u r r i c u l u m G u i d e )
referred
and
in
J,anguaPe A r t s E n g l i s h
Columbia
uation curriculum auide (B.
as
staff
They
vocabulary
and
made d e c i s i o n s a b o u t t h e i r work i n
t h e gymnasium - a n a l y z i n g t h o s e a r e a s f o r f u r t h e r p r a c t i c e o r
11
new areas f o r e x p l o r a t i o n .
Above a l l , t h e c h i l d r e n ' s w r i t i n g
d e m o n s t r a t e d a n a p p r e c i a t i o n f o r t h e movement
a
provided
vehicle
accomplishments.
for
the
celebration
Since t h e children's
p r o j e c t provided t h e g r e a t e s t insight
physical
education,
it
focus for integration
the
is
e x p e r i e n c e and
of
l e a r n i n g and
writing
in the pilot
into
the
meaning
of
w r i t i n g t h a t s e r v e s as t h e
with physical education i n the present
study.
R e s e a r c h e r s u s e t h e term i n t e g r a t i o n
different
promoting
Humphrey
ways.
the
integration
(1990),
of
terms
"the
as:
physical
process
a
variety
physical
a
elementary school curriculum, describes
simplest
in
of
educator
education
in
the
integration
in
its
whole.
To
of
making
i n t e g r a t e is t o make w h o l e o r b r i n g t o g e t h e r t h e p a r t s o f t h e
w h o l e i n f u n c t i o n a l u n i t y , o r t o become
Jacobs
also
(1989)
integration, refers
an
educator
knowledge
applies
view
She d e f i n e s i n t e r d i s c i p l i n a r y as:
and c u r r i c u l u m a p p r o a c h t h a t c o n s c i o u s l y
methodology
experience"
and
language
(p.
8).
Programs describe integration
bcth
definitions.
"personal
their
First,
integration,
learning
by
56).
i n t h e area o f c u r r i c u l a r
d i s c i p l i n e t o examine a c e n t r a l theme,
or
(p.
integration across t h e curriculum as
to
interdisciplinary studies,
"a
complete"
"
The
on
they
helping
drawing
from
one
and
Intermediate
levels, i n c o r p o r a t i n g
emphasize
children
upon
than
i s s u e , problem, t o p i c
Primary
two
more
prior
the
need
for
t o make s e n s e of
knowledge
and
12
experiences.
learning
helping
Second,
through
children
they
describe
the
facilitation
"curricular integration."
This
of
involves
t o make m e a n i n g f u l c o n n e c t i o n s b e t w e e n t h e
v a r i o u s c o n t e n t and
skill
a r e a s addressed within a subject,
b e t w e e n s u b j e c t s o r w i t h i n two o r more r e l a t e d s u b j e c t s .
T h i s t h e s i s d r a w s upon t h e d e f i n i t i o n s
Jacobs
of
Humphry
f o r an i n t e r p r e t a t i o n of t h e term i n t e g r a t i o n .
of a l l , p h y s i c a l education
in
First
s u p p o r t s e a c h of t h e g o a l s of t h e
P r i m a r y and I n t e r m e d i a t e P r o g r a m s , t h u s
experience
and
providing
a "whole"
Physical education affords children
itself.
o p p o r t u n i t i e s f o r maximum
successful endeavors i n expressive
It
and f u n c t i o n a l ( o r o b j e c t i v e ) movement.
allows children
t o d e v e l o p p h y s i c a l and motor f i t n e s s t h r o u g h a c t i v i t i e s t h a t
i n t e r e s t and c h a l l e n g e
creative
fosters
and
social
self
and
alone, children a r e
them.
It provides opportunities f o r
expression.
Physical
emotional
development.
When
to
control, take
encouraged
r i s k s and become s e l f - d i r e c t e d .
use
education
self
When w o r k i n g
also
working
with a partner
o r small g r o u p many o p p o r t u n i t i e s e x i s t f o r c h i l d r e n t o l e a r n
t o share, co-operate,
their
needs.
movement,
of
that
education
be
Through
c o n s i d e r a t e of o t h e r s and t o l e r a t e
t h e a n a l y s i s and
interpretation
of
c h i l d r e n d e v e l o p an u n d e r s t a n d i n g and a p p r e c i a t i o n
movement.
Second,
when
with language arts, w r i t i n g
integrating
physical
a
powerful
provides
c o n t e x t t o r e f l e c t , t h i n k c r i t i c a l l y and c r e a t i v e l y a b o u t t h e
physical
education
experience.
The i n t e g r a t i o n o f t h e two
c u r r i c u l a r areas, therefore,
allows
children
t o l e a r n more
a b o u t w r i t i n g as w e l l as p h y s i c a l e d u c a t i o n
On t h e t o p i c , " I n t e l l e c t u a l and p r a c t i c a l
successful
integration,"
David
Akerman
criteria
for
r a i s e s two
(1989)
p e r t i n e n t questions concerning successful integration:
"1.
Does i t make i n t e l l e 2 t u a l s e n s e t o i n t e g r a t e p a r t o f t h e
2.
Does
c o n s i d e r e d ? " (p.
25).
curriculum?
Intellectually,
i t make p r a c t i c a l
writing
s e n s e of t h e p h y s i c a l
helps
experience
sense
children
which
can
all
things
make p e r s o n a l
be shared with
G r a v e s (1931) e x p l a i n s :
others.
I w r i t e t o make s e n s e o f s o m e t h i n g f o r m y s e l f . B u t
i f I a m t r u e t o t h e s u b j e c t and h a v e l i s t e n e d
I
will
a l s o make a
c a r e f u l l y t o my t e x t ,
c o n t r i b u t i o n t o o t h e r s i n t h e c l a s s , I want t h e
children t o r e a l i z e t h a t writing causes others t o
a c t , p r o v i d e s i n f o r m a t i o n f o r t h e i r own t h i n k i n g
and w r i t i n g , and is a s o u r c e of enjoyment as w e l l
as a medium t h a t can t r i g g e r new t h o u g h t s , s t o r i e s
and i n f o r m a t i o n i n
t h e i r classmates. ( p . 56)
Writing
also
expressive
allows children t o further
or
poetic,
opportunities
to
--
-fie.-.,-.
I U G U L 1 3
analyze
GA-
LUL
of purposes ( e . g ,
expressive).
related t o the physical
----a*
a 1 = r v = s a= u
both
the
f u n c t i o n a l e l e m e n t s o f movement i n a v a r i e t y
and
of forms and f o r a v a r i e t y
creative
explore
any
one
experience.
It
transactional,
provides
children
o r c o m b i n a t i o n o f ideas
Additionally,
writing
-.9*-f,*
- and ref l e z t i o n .
GVQLUatiai;
Writing h e l p s me to transcend myself i n s p a c e and
time.
When I r e r e a d a p i e c e I wrote m o n t h s a g o , I
w i t n e s s how I h a v e c h a n g e d s i n c e t h e n ; o r 1 may
r e a d i n t o a c h r o n i c l e I w r o t e many years ago t o
relive t h a t day o r r e t r i e v e i n f o r m a t i o n f r o m i t .
T h e s e a r e t h e miracles o f w r i t i n g .
P - 62)
The u s e o f w r i t i n g
to
express
a
physical
i n v o l v e s c o g n i t i v e p r o c e s s e s which f o s t e r
understanding.
Langor
and
t h a t "gmd w r i t i n g and
3).
(Graves, 1991,
new
related.
learning
and
Applebee (1987) e x p r e s s t h e view
c a r e f u l t h i n k i n g g o hand i n h a n d " ( p .
Berthoff (1981) a l s o c o n s i d e r s t h i n k i n g
profoundly
experience
and
w r i t i n g as
She e x p l a i n s t h a t " t o t e a c h c o m p o s i t i o n
is t o t e a c h t h e p r o c e s s
of
making
meaning"
(p.
18).
She
describes the writing process:
The composer d e v e l o p s and o r g a n i z e s i d e a s , makes
s t a t e m e n t s a n d c r e a t e s images by way o f d i s c o v e r i n g
t h e p a r t s he o r s h e wants t o assemble and, i n t h e
process,
i n v e n t s and o r d e r s an a s s e m b l y t o s u i t
p u r p o s e and a u d i e n c e . I f w e t e a c h composing as a
mode o f l e a r n i n g , a way o f t h i n k i n g , t h e n w e w i l l
b e t e a c h i n g it a s a p r o c e s s . ( p . 20)
Analyzing
advocates
of
the
writing
Young, 1 9 8 2 ; Newkirk
1991;
practical
Langor
perspective
across
the
of
c u r r i c u l u m ( F u l w i l e r and
and A t w e l l , 1982; A t w e l l ,
1 9 8 7 ) stress
and A p p l e b e e ,
integration,
t a u g h t b e s t when r e l a t e d t o some c o n t e n t .
that
199Q; Graves,
thinking
is
Physical education
p r o v i d e s r i c h and m e a n i n g f u l c o n t e n t f o r t h i n k i n g and w r i t t e n
expression.
Calkin
Lucy
(1986)
in
The a r t o f t e a c h i n g
e x p l a i n s t h a t w r i t i n g becomes m e a n i n g f u l t o c h i l d r e n
when
it " c o n n e c t s
energize
their
physical
education
their
school
with
lives"
day.
the
(p.
class
purposes
111).
serves
D'Ambrozio
in
For
as
and
many
interests
children
that
the
t h e f a v o u r i t e p m t of
"Understanding
writing"
15
(Newkirk, A t w e l l , 1982)
[students] t o
states:
"I
continually
u r g e them
u s e t h e i r own e x p e r i e n c e s f o r s u b j e c t
matter,
b e c a u s e on s u c h s u b j e c t s t h e y a r e g e n u i n e e x p e r t s " ( p . 5 2 ) .
Another
practical
issue f o r consideration involves the
c o n s t r a i n t o f t i m e upon
teachers
expanding
curriculum.
Developing t h e
generated
d u r i n g p h y s i c a l e d u c a t i o n classes i n t h e classroom
during t h e language
w i t h an e v e r d e m a n d i n g a n d
language
children.
activity
required
F i t n e s s C a n a d a i n B e c a u s e t h e y ' r e voung A c t i v e
l i v i n g f o r C a n a d i a n c h i l d r e n and v o u t h
(1989)
minimum o f t h i r t y m i n u t e s d a i l y a c t i v i t y
of
ideas
arts time, allows t h e physical education
t i m e t o be devoted t o t h e d a i l y , vigorous
by
and
good
health.
children
require
recommends
a
f o r t h e maintenance
Furthermore, writing educators agree t h a t
daily
opportunities
extended p e r i o d s of t i m s ,
v a r i e t y of purposes.
in a variety
for
of
writing
forms
Calkin (1986) states:
and
over
for a
"If students are
g o i n g t o become d e e p l y i n v e s t e d i n t h e i r w r i t i n g , and i f t h e y
a r e g o i n g t o d r a f t and r e v i s e , s h a r i n g
other
as t h e y w r i t e ,
She c o n t i n u e s :
every
day,
t h e y n e e d t h e l u x u r y o f time" ( p .
"I urge
for
t h e i r texts with each
23j.
t e a c h e r s t o s e t a s i d e an hour a day,
t h e w r i t i n g workshop"
(p.
25).
Physical
e d u c a t i o n t h e n p r o v i d e s a n o t h e r medium f o r w r i t t e n e x p r e s s i o n
i n t h e classroom.
The
integration
of w r i t i n g w i t h p h y s i c a l
e d u c a t i o n a l l o w s c h i l d r e n t o l e a r n more,
physical
experience
themselves.
not
o n l y about t h e
and t h e w r i t i n g p r o c e s s , b u t a l s o a b o u t
It a d d r e s s e s p e r s o n a l i n t e g r a t i o n and c u r r i c u l a r
i n t e g r a t i o n i n a m e a n i n g f u l way.
The q u e s t i o n s f o r i n v e s t i g a t i o n i n t h i s s t u d y i n c l u d e :
1.
What t y p e s o f
physical
education
experiences
provide a context f o r writing?
2.
t y p e s of
What
writing
evolve
from
physical
education experiences?
Hon d o e s
3.
writing help
children t o
reinforce,
c l a r i f y o r extend t h e p h y s i c a l experience?
How d o e s
4.
and
writing
t h e i n t e g r a t i o n of p h y s i c a l education
reflect
the
goals
of
the
Primary
and
I n t e r m e d i a t e Programs?
RESEARCH DESCRIPTION
This
thesis
involves
i n v e s t i g a t i o n of t h e
a
integration
four
of
writing
education, w i t h elementary school-aged
mainland
in
school
school years,
British
The f i r s t
part,
provided
a
and
children,
Columbia
physical
i n a lower
d u r i n g t h e 1989-1992
p h a s e of t h e i n v e s t i g a t i o n i n v o l v e s
a d e s c r i p t i o n o f t h e games, g y m n a s t i c s and
which
descriptive
context f o r writing.
dance experiences
The s e c o n d p h a s e of
t h e i n v e s t i g a t i o n e x a m i n e s t h e t y p e s o f w r i t i n g which e v o l v e d
from t h e p h y s i c a l e x p e r i e n c e s .
ways
writing
in
which
phase explores t h e
h e l p s c h i l d r e n t o r e i n f o r c e , c l a r i f y o r extend
the physical experience.
ways
The t h i r d
the
Finally, the research describes the
integration
of physical
e d u c a t i o n and
writing
reflects
the
goals
of
the
new
Primary
six
different
and
I n t e r m e d i a t e Programs.
writer
The
worked
with
and f o r t y c h i l d r e n , over t h e t h r e e
a p p r o x i m a t e l y one hundred
W h i l e s h e worked w i t h f i v e o f t h e c l a s s e s ( i - e .
year period.
lYP/2YP,
2YP/3YP,
3YP/4YP,
e n t i r e school year,
she
4, G r a d e 415) f o r an
4YP/Grade
worked
a grade 6 / 7 class f o r
with
T h r o u g h o u t t h i s p a p e r t h e terms f i r s t year
o n l y f o u r months.
(IYP), s e c o n d year p r i m a r y (ZYP), t h i r d y e a r p r i m a r y
primary
(3YP),
classes,
and f o u r t h y e a r
British
children
primary
(4YP),
introduced
Columbia M i n i s t r y of Education
in
kindergarten,
respectively.
grade
in
grade
1,
t h i s writer
Occasionally
1990,
in
area
the
of
physical
the
refer
ta
2 and g r a d e 3 ,
worked
children i n t h e school, completing demonstration
teachers
by
with
other
lessons for
e d u c a t i o n and w r i t i n g .
These o c c a s i o n s a r e documented.
INSTRUCTIONAL MODEL
The t e a c h i n g o f p h y s i c a l
education,
b a l a n c e d p r o g r a m of games, g y m n a s t i c s a n d
education
approach
was
during physical education
of
themes,
i
the
predominatly
ciasses.
comprised a d a i l y ,
dance.
used
A movement
for instruction
Based upon a w i d e range
above three areas,
the
zhildren
uere
i n v o l v e d i n t h e s o l v i n g o f movement p r o b l e m s , t h e c r e a t i n g o f
movement
sequences
and
inventing
and
playing
of
games.
18
Indirect
t e a c h i n g and f r e e p l a y accompanied t h e i n t r o d u c t i o n
o f a n y new c o n c e p t o r p i e c e o f a p p a r a t u s , a n d d i r e c t t e a c h i n g
was o f f e r e d as t h e c h i l d r e n d e m o n s t r a t e d
the
ability
to
learn
a
formal
an
i n t e r e s t and/or
skill.
For
example, i n
g y m n a s t i c s t h e o p e n i n g o f a l e s s o n i n c l u d e d some f r e e t i m e t o
work
on t h e m a t s o r o t h e r a p p a r a t u s r e l a t i n g
introduced.
Rather
than
expect
all
to
children
the
to
theme
learn a
h e a d s t a n d o r h a n d s t a n d a t t h e same t i m e , t h e theme o f b a l a n c e
allowed t h e c h i l d r e n o p p o r t u n i t i e s t o e x p l o r e
all
different
ways o f b a l a n c i n g a n d t o work a t t h e i r own a b i l i t y l e v e l .
t h e children demonstrated
to
perform
t h e s t r e n g t h r e q u i r e d and i n t e r e s t
headstand
a
As
or
handstand
they
were
taught
i n d i v i d u a l l y o r i n small g r o u p s . C h i l d r e n ' s p o l i s h e d s k i l l o r
sequence demonstrations,
accompanied w i t h a n a n a l y s i s by t h e
t e a c h e r o r a s t u d e n t , s e r v e d a s a model f o r t h e e n t i r e c l a s s .
A half
hour
writers'
workshop
time
followed
each
A p a r t f r o m w r i t e r s ' w o r k s h o p , some
p h y s i c a l e d u c a t i o n class.
o p p o r t u n i t i e s were p r o v i d e d f o r w r i t i n g p r i o r t o t h e p h y s i c a l
education class.
devoted
education.
to
Approximately
discussion
During
writing
workshop,
writers '
encouraged t o select
many
and/or
10% o f t h e w r i t i n g t i m e was
about
the
children
t h e i r own t o p i c s f o r w r i t i n g .
prewriting e x p e r i e n c e s i n v o l v e d d i s c u s s i o n ,
were
Although
brainstorm
relating
to
t h e physical experience, t h e
c h i l d r e n were n o t c o m p e l l e d
to
write
or
visualization
physical
e x p e r i e n c e u n l e s s it w a s
creatively
meaningful o r of
about t h e
i n t e r e s t t o them.
19
The
number
gymnasium
of
which
physical
education
lessons
the
On some o c c a s i o n s a
led t o writing varied.
s i n g l e e x p e r i e n c e prompted
in
a c r e a t i v e w r i t t e n response ( e . 8 .
a n i n d i v i d u a l s e q u e n c e ) ; on o t h e r o c c a s i o n s
(e-g. the study
o f a s t o r y o r poem), u p t o e i g h t l e s s o n s were u s e d t o d e v e l o p
t h e themes p r i o r t o
writing.
The
children
f r o m two t o f i v e d a y s t o c o m p l e t e t h e w r i t i n g
led
to
a
published
piece
writing
free
of
response
introduced f o r t h e purpose
about
teacher
comment
work r e l a t i n g t o a p h y s i c a l
writing or l e t t e r writing
learner
further
the
which
process
A t t i m e s a l l c h i l d r e n were i n v o l v e d i n
education experience.
a related
of
u s u a l l y worked
logs.
of
physical
activity
Learning
or
logs
the
were
encouraging children t o think
experience.
An
interactive
f o l l o w e d e a c h e n t r y ; however, t h e mechanics
of w r i t i n g were n o t
f o c u s s e d upon i n t h i s a c t i v i t y .
Teacher
r e s p o n s e s , whenever p o s s i b l e , modelled t h e c o r r e c t mechanics,
including
the
the student.
students
spelling
An e x p e c t a t i o n o f l a t e p r i m a r y a n d i n t e r m e d i a t e
included
punctuation,
o f t h o s e w o r d s s p e l t i n c o r r e c t l y by
the
courtesies
capitalization
and
of
correct
spelling,
grammar i n t h e i r p u b l i s h e d
writing.
D u r i n g w r i t e r s ' workshop, c h i l d r e n r e c e i v e d i n s t r u c t i o n ,
through s h o r t mini l e s s o n s of approximately
minutes,
on t h e w r i t i n g p r o c e s s .
ten
e d i t i n g and p r o o f - r e a d i n g ;
and
children
The
fifteen
Topics included: d r a f t i n g ;
s e l f , p a r t n e r o r group
presenting.
to
were
publishing
introduced t o several
20
f o r m s and g e n r e s of w r i t i n g , and models
were
shared
with
them.
physical experience,
When
the
of
writing
children
good
literature
c r e a t i v e l y about a
chose t h e s p e c i f i c t o p i c
and w r i t i n g f o r m .
The t e a c h i n g o f p h y s i c a l e d u c a t i o n a n d
thesis,
work
along
of
occasions
with
writing for t h i s
t h e w r i t i n g samples c o l l e c t e d , were t h e
entirely,
t h i s writer
except
for
two
when t h e w r i t e r a c t e d i n a r e s o u r c e
different
teaching/team
t e a c h i n g c a p a c i t y w i t h one of t h e t e a c h e r s i n t h e s c h o o l .
one
occasion
gymnastics
the
lesson
writer
in
the
completed
gymnasi:~m
the
teaching
while
the
teacher c a r r i e d out t h e w r i t i n g i n t h e classroom.
occasion t h e classroom
teacher,
in
development
e x p e r i e n c e s accompanies
A
goal.
the
of
a
classroom
On a n o t h e r
collaboration with t h i s
writer, involved h i s s t u d e n t s i n t h e s e l f - e v a l u a t i o n
physical
On
description
research.
of
of
the
these
The work w i t h buddy
c l a s s e s i n t h e s c h o o l involved i n s t r u c t i o n by t h i s w r i t e r .
DEFINITIONS
. .
i v e wrlt-:
language
which
Also
known
functions
aesthetically t o create
a
as
as
certain
poetic
writing,
art.
Words
effect
p o e t r y , drama o r f i c t i o n ( B r i t t o n , B u r g e s s ,
Rosen, 1 9 7 5 ) .
or
written
are
mood,
Martin,
used
as i n
McLeod,
21
Direct t e a c h i n g m e t h o d : T h i s t e a c h e r - c e n t r e d
as
known
the
structure
of
command
the
method.
class,
as
equipment t o b e used
The t e a c h e r
selects
well
meaning
controls
as what and how e a c h c h i l d i s
Warrell, 1 9 8 5 ) .
The w r i t e r ' s f i r s t a t t e m p t s t o c o n s t r u c t
of h i s o r h e r i d e a s .
H o r n s b y and P a r r y ,
1985).
the
t h e t y p e of a c t i v i t y and
e x p e c t e d t o p e r f o r m ( K i r c h n e r , 1989;
Draftin&:
is a l s o
method
( C a l k i n s , 1986;
Nothing
is
personal
Graves, 1983;
permanent
at
this
s t a g e ; t h e r e f o r e , t h e f o c u s is on t h e i d e a s n o t t h e m e c h a n i c s
of w r i t i n g .
Editing:
Also
as r e v i s i o n , t h e a c t o f r e v i s i n g o n e ' s
known
writing t o tighten,
clarify or link ideas.
add o r d e l e t e words a n d / o r
Expressive_movement:
response
intended
i d e a s o r r e a r r a n g e words o r i d e a s .
Movement
to
express
includes t h e improvisation
of
which
involves
ideas
and
a
verbalizing
his
Writing
first
drafts,
journals.
which
o r her thoughts.
o r t r u s t e d people very
response
Expressive
close
log
writing
a
personal
feelings.
This
s t o r y o r t h e c r e a t i o n of a
d a n c e o r s e q u e n c e ( B l a t t a n d Cunningham,
Expressive writing:
The w r i t e r m i g h t
to
15281).
reveals
writer
I t is w r i t t e n f o r o n e s e l f
the
writer.
entries, letters,
is
the
the
matrix
It includes
diaries
from
or
which
23
L
e
a
r
This
n
a
is
personal
reflection
I t is w r i t t e n f o r
knows, h a s l e a r n e d o r would l i k e t o l e a r n .
oneself o r t r u s t e d people c l o s e t o the
log
serves
to
o f what o n e
writer.
t h e writer t h i n k and l e a r n .
help
might respond t o t h e
ideas
presented
but
learning
A
not
A teacher
address t h e
mechanics of w r i t i n g .
LearninE P r o c e s s : Within
the
movement
education
approach
c h i l d r e n d e v e l o p s k i l l s a n d g a i n a n u n d e r s t a n d i n g o f movement
through: exploration,
(Kirchner,
selection,
Cunningham,
repetition
Warrell,
1978;
and
polish
Warrell,
1985).
F i r s t , c h i l d r e n e x p l o r e a v a r i e t y o f movements i n r e s p o n s e t o
a g i v e n movement t a s k .
T h e y e x p l o r e t h e movement i n r e l a t i o n
t o t h e elements o f : time, weight, space
they
select
those
movements
c o m b i n i n g them i n t o
a
they
sequence.
Finally,
flow.
Second,
wish t o p r a c t i s e , o f t e n
Third,
individual actions repeatedly so that
smoothly.
and
they practise the
they
blend
and
flow
p r a c t i s e r e s u l t s i n a polished
repeated
movement o r s e q u e n c e .
The
Limitations-teaching-method-:
teacher provides
p r o b l e m s o r c h a l l e n g e s t h a t can b e s o l v e d
ways
but
(kirchner,
limit
lS89).
the
activity
This
or
method
in
movement
permits
a
movement
variety
in
and
some
of
way
encourages
c h i l d r e n t o work a t their own l e v e l o f a b i l i t y w i t h i n a g i v e n
framework.
I t is
a l s o known
as p r o b l e m - s o l v i n g o r
guided
discovery.
Mechanics-ofwriting:
written
language
This
refers
including:
to
the
punctuation,
spelling, poetry o r paragraph s t r u c t u r e .
mechanics
of
writing
conventions
occurs
during
of
capitalization,
Attention
the
last
to
the
stage
of
drafting.
Movement a n a l y s i s :
A d e s c r i p t i o n o f t h e movement p r i n c i p l e s ,
o r i g i n a l l y p r o p o s e d by R u d o l f L a b a n , i n c l u d i n g
the
of:
qualities
body
awareness,
space
awareness,
the
concepts
of
movement a n d t h e r e l a t i o n s h i p o f t h e b o d y t o o t h e r p e r f o r m e r s
a n d / o r a p p a r a t u s ( B l a t t a n d Cunningham, 1 9 8 1 ) .
Mini-workshop:
m i n u t e s ) of
A
short
instruction
period
offered
(usually
ten
to
fifteen
by t h e t e a c h e r r e l a t i n g t o
some e l e m e n t o f e f f e c t i v e w r i t i n g or t h e m e c h a n i c s o f w r i t i n g
(i.e. s p e l l i n g , p u n c t u a t i o n , c a p i t a l i z a t i o n , word o m i s s i o n o r
grammar) ( A t w e l l ,
1990;
C a l k i n s , 1986;
Graves, 1991).
This
m i g h t i n v o l v e a small g r o u p o f s t u d e n t s o r t h e e n t i r e c l a s s .
Motor f i t n e s s :
with:
The a b i l i t y t o move
co-ordination,
speed,
at
one's
agif ity,
power
optimum l e v e l
and
balance
25
Movement e d u c a t i o n :
The t e a c h i n g o f p h y s i c a l e d u c a t i o n b a s e d
upon L a b a n ' s a n a l y s i s
progress
at
Warrell,
1985).
their
own
their
movement
which a l l o w s c h i l d r e n t o
r a t e ( B l a t t and
Cunningham,
1981;
T h r o u g h a s t u d y o f movement p r o b l e m s w i t h i n
a g i v e n theme c e . g .
involved
of
travel,
r o l l , b a l a n c e ) , c h i l d r e n become
m e n t a l l y and p h y s i c a l l y l e a r n i n g
more
about
what
c a n d o , how t h e i r b o d i e s c a n move, w h e r e t h e i r
bodies
b o d i e s c a n move a n d t h e p o s s i b l e r e l a t i o n s h i p s w i t h p a r t n e r s ,
groups o r apparatus.
Physical education:
a child's
The l e a r n i n g p r o c e s s t h a t c o n t r i b u t e s t o
social
responsibility,
and
emotional
physical
development,
development,
development, and a e s t h e t i c and a r t i s t i c
the
t h e t e a c h i n g o f : games,
gymnastics,
intellectual
development
medium o f movement and p h y s i c a l a c t i v i t y .
social
through
This includes
dance, outdoor p u r s u i t s
and a q u a t i c s where f a c i l i t i e s p e r m i t .
Physical-fitness:
optimum
level
The a b i l i t y t o p e r f o r m p h y s i c a l l y a t o n e ' s
i n t h e areas o f :
endurance, cardiovascular
muscular s t r e n g t h , muscular
e n d u r a n c e and f l e x i b i l i t y ( W a r r e l l
1985).
Presentation:
The sharing of one's writing w i t h a n audience.
This i n v o l v e s oral r e a d i n g , a s t a t i c d i s p l a y o r drama.
-
,
.
ang:
Also
known
ideas for writing.
as r e h e a r s a l , t h e writer g e n e r a t e s
I d e a s c a n b e f o r m u l a t e d when:
engaged i n
an a c t i v i t y , t a l k i n g , brainstorming, o b s e r v i n g o r r e a d i n g .
Proof-reading:
writing.
He
The
or
writer
she
attends
checks
punctuation, capitalization,
o r word o m i s s i o n .
the
to
for
the
mechanics
correct
of
spelling,
p o e t r y and p a r a g r a p h s t r u c t u r e ,
Proof-reading occurs
when t h e f i n a l d r a f t
h a s been completed.
Published writing:
A c o p y o f t h e w r i t e r ' s b e s t work w h i c h i s
shared w i t h an audience.
students,
correct
published
spelling,
( A t w e l l , 1990;
For
l a t e primary and i n t e r m e d i a t e
writing
contains
punctuation,
the
and grammar
capitalization
Writing
which
aims
persuade o r i n s t r u c t an audience i n a c l e a r ,
et
of
Calkins, 1986).
Transactional writing:
(Britton
courtesies
al.,
1975).
This
includes:
to
inform,
concise
the
manner
w r i t i n g of
d e f i n i t i o n s o r explanations, essays, term papers, l a b r e p o r t s
o r book r e v i e w s .
Visualization:
The
teacher
combines
relaxation techniques
w i t h an o r a l n a r r a t i v e t o h e l p wr i t e r s c r e a t e m e n t a l p i c t u r e s
of real o r imaginary
experiences.
to
prior
writer
activate
Visualization
knowledge
and
helps the
strengthen
comprehension.
- -
r ~ t , n ac o n f e r e n c e :
teacher
or
peer
An
a
wants
the
writer
sincere
asking of q u e s t i o n s
t o s a y ( A t w e l l , 1990;
Conf e r e n c i n g
1991).
Graves,
listening,
of
with n
t h a t h e l p s t h e writer d i s c o v e r , c l a r i f y o r
r e f i n e what h e o r s h e
1986;
interaction
response
which
from
the
Calkins,
involves
active
l i s t e n e r and t h e
h e l p s t h e writer t o i n t e r a c t w i t h
t h e work i n p r o g r e s s .
Writing Process:
The
act
of
composing
one's
ideas
and
thoughts i n t o ~ e a n i n g . This process involves the inseparable
and blended e l e m e n t s o f :
editing
or
presenting.
revising,
prewriting o r rehearsing, drafting,
proof -reading,
publishing
and
CHAPTER I1
WHAT TYkBS OF P H Y S K A L BDUCATION
EXPERIENCES PROVIDE A CONTEXT FOR WRITING?
Teachers r e q u i r e an
u n d e r s t a n d i n g of p h y s i c a l e d u c a t i o n
beyond p h y s i c a l t r a i n i n g and t h e t r a d i t i o n a l
and
dance
game, g y m n a s t i c
s k i l l s t o provide experiences t h a t contain a r i c h
and v a r i e d c o n t e x t
for
writing.
Lessons
c h i l d ' s b o d y , mind a n d s p i r i t r e q u i r e t h e
t h a t encompass a
teacher
t o have a
f u l l u n d e r s t a n d i n g o f movement and t h e s t a g e s o f c h i l d g r o w t h
and
development.
training
and
understands
well,
As
skill
that
in
teachers
require
observation.
primary
early
The
children
considerable
teacher
tire
who
e a s i l y and
r e c o v e r q u i c k l y o r t h a t upper i n t e r m e d i a t e c h i l d r e n sometimes
experience
selects
periods
tasks
of
and
poor co-ordination
plans
with a w e l l developed
and
awkwardness
lessons accordingly.
The t e a c h e r
s e n s e o f o b s e r v a t i o n knows when a t a s k
is t o o e a s y o r t o o d i f f i c u l t f o r a c h i l d
or
when a c h i l d i s
r e a d y f o r p a r t n e r o r g r o u p work.
This
education
analysis
primarily
study
based
incorporates
upon
o f movement.
Rudolf
in
teaching
Laban's
of
principles
W h i l e L a b a n ' s work
concerned
physical
for
the
itself
with dance h i s i d e a s a i s o t r a n s i a t e e f f e c t i v e l y t o
t h e t e a c h i n g of g y m n a s t i c s
step
the
learning
and
games.
a b o u t movement is t o
d e s c r i b e body a c t i o n s
with a consistent
"An i m p o r t a n t f i r s t
understand
vocabulary"
how
to
(Blatt
and
Cunningham,
1983,
a n a l y s i s o f movement
and
the
provides
effort
a
15).
p.
h e l p s t e a c h e r s t o d e s c r i b e body a c t i o n s
elements
vocabulary
associated
their
at
teachers
with
that
children
capabilities.
of
physical
own
the
situations
rate
It
movement.
to
so
t h a t c h i l d r e n can
of d e v e l o p m e n t .
assists
It
and g u i d a n c e of movement s o
observation
learn
with
t h a t f a c i l i t a t e s t h e p r e s e n t a t i o n of
meaningful problem-solving
progress
L a b a n ' s framework f o r t h e
understand
their
full
physical
i m p o r t a ~ t l y , it a l l o w s f o r t h e p l a n n i n g
Most
education
lessons
using
a v a r i e t y of s t i m u l i
i n c l u d i n g l a n g u a g e , l i t e r a t u r e and m u s i c .
Laban's f o u r b a s i c c a t e g o r i e s include:
1.
Body A w a r e n e s s - An u n d e r s t a n d i n g o f what
t h e body c a n d o .
2.
S p a c e Awareness-An u n d e r s t a n d i n g o f
w h e r e t h e b o d y c a n move.
Q u a l i t i e s o f Movement - An u n d e r s t a n d i n g
3.
o f how t h e b o d y c a n move.
-
Relationships
4.
possible
An
partner,
understanding
group
or
of
the
work
apparatus
r e l a t e d t o t h e movement.
Body
major
awareness
goal i n
children
movements.
,
&&-
concerns
early
itself
stages
of
w i t h body a c t i o n s .
movesent
express themselves confidently
Laban
(1975)
through
is
A
help
to
their
own
recommends t h a t w e f i r s t i n t r o d u c e
c h i l d r e n t o movement t h r o u g h
g r o s s body a c t i o n s t h a t
evolve
n a t u r a i l y from t h e i r
leaping,
twisting
react
initially
movement
and t u r n i n g .
to
stimuli
teachers should guide
ask
them
movement,
losing
to
copy
"In
the
children's
or
H e observed
than
that
children
imitate;
hence
with suggestions rather than
c o n f o r m t o some
adult
standard
of
e a r l y stages t h e r e i s a l w a y s a d a n g e r o f
spontaneity
by
over-correction,
take
and
t o c r e e p i n as a r e s u l t of superCorrection
a d u l t c o n c e p t i o n s o f movement" ( p . 21).
and f o r m a l g u i d a n c e
jumping,
running,
as:
rather
children
allowing self-consciousness
imposing
such
p l a c e when c h i l d r e n f e e l s e c u r e i n
t h e i r movement and f u l l y u n d e r s t a n d t h e
s i g n i f i c a n c e o f what
is e x p e c t e d o f t h e m .
The
more
s u b t l e a s p e c t s of c o n t r o l r e l a t i n g t o t h e u s e
of space, weight, t i m e
movement.
or
a n d f l o w demand f u r t h e r r e f i n e m e n t o f
An a w a r e n e s s o f s p a c e i n v o l v e s t h e u s e o f p e r s o n a l
general
the
space;
backwards, sideways
use
c u r v e d , s t r a i g h t and z i g - z a g .
t h e use of d i f f e r e n t l e v e l s
they
require
to
plenty
-
directions
forwards,
d i a g o n a l ; and t h e u s e of pathways -
and
introducing children
of
Space awareness
- high, medium a n d l o w .
directional
of
also involves
movement
opportunity
to
Prior t o
and p a t h w a y s
use
the
space
imaginatively.
LI
,...
the
body
moves gives expression to movement,
qualities of movement
t i m e , w e i g h t and f l o w .
the
c o n t r a s t of
are
explored
through the elements of
The t i m e e l e m e n t
q u i c k and
sudden
The
reveals
movements
or
itself
slow
in
and
31.
~ o v e m e n t s . The w e i g h t or e f f o r t f a c t o r r e l a t e s t o
sustained
t h e amount of f o r c e i n v o l v e d i n an a c t i o n .
be
firm
and
explains:
strong,
strong
"Dance
movements
o r l i g h t and d e l i c a t e .
movements
direct,
quick
develop
The t e n s i o n m i g h t
should
type
of
naturally
be
evolved
effort;
later"
Zaban
from
light
the
sustained
21).
(p.
(1975)
The
final
e l e m e n t r e l a t i n g t o t h e q u a l i t y of movement c o n c e r n s t h e f l o w
o f movement. I t may b e f r e e f l o w i n g , s m o o t h a n d c o n t i n u o u s o r
bound, s t o p p i n g and j e r k y .
R e l a t i o n s h i p s i n v o l v e working w i t h a p a r t n e r , a group o r
apparatus.
Before
i n t r o d u c i n g c h i l d r e n t o p a r t n e r and group
work t h e y r e q u i r e a n
their
own
body
matching
opportunity
movements.
movements
simultaneously,
in
to
become
Later they
unison,
responding
movements,
do not develop t h e urge
work
successively
such
others'
with
together
a
following
question/answer response, mirroring each
contrasting
can
familiar
leader
as
a
actions or
Laban ( 1 9 7 5 ) e x p l a i n s t h a t c h i l d r e n
to
i m i t a t e u n t i l t h e l a t e r s t a g e of
development :
The l a t e r stage i n an i n f a n t ' s development i n c l u d e s
t h e u r g e t o i m i t a t e , s o t h a t t h e t e a c h e r c a n now
g i v e t h e c h i l d o p p o r t u n i t i e s of watching o t h e r s and
i m m e d i a t e l y p e r f o r m i n g what h a s b e e n o b s e r v e d , t h u s
d e v e l o p i n g t h e s e n s e o f movement o b s e r v a t i o n and an
i n c r e a s i n g c o n s c i o u s n e s s o f a c t i o n a t t h e same
t h e , cp.21)
Kirchner,
learning
Cunningham
process
that
and
bridges
Warrell
11978)
describe
a
L a b a n ' s work a n d a l l o w s t h e
t e a c h i n g o f p h y s i c a l e d u c a t i o n t o become a n
e x t e n s i o n of t h e
32
zfassrooa
thaughtful
where
c a r e f u l guidance.
learning
takes
place
The f o u r s t a g e s d e s c r i b e d
in
through
the solving
o f movement p r o b l e m s i n c l u d e :
1.
E x p l o r a t i o n and Discovery
2.
Selection
3,
Repetition
4.
Polish
Physical
for
each
( p . 38).
classes
education
component
of
this
should provide opportunity
learning
process.
In
the
b e g i n n i n g c h i l d r e n r e q u i r e o p p o r t u n i t i e s t o e x p l o r e t h e i r own
ideas
in
response
t o a movement p r o b l e m .
experimentation provide
the
foundation
" E x p l o r a t i o n and
for
building self-
1985,
(Warrell,
25).
confidence
and d e v e l o p i n g s k i l l "
Selection,
t h e stage f o l l o w i n g e x p e r i m e n t a t i o n , i n v o l v e s t h e
children
selecting
those
actions
most
i n t e r p r e t t h e movement p r o b l e m a n d l i n k i n g
form
movement
a
sentence,
q u e s t i o n s and s t u d e n t
learning.
blend
The
smoothly
learning p r o c e s s .
the
demonstration
with
the
the
a
them
essential
to
together t o
dance.
Through
teacher guides the
that follows.
Repeating t h e s e l e c t e d
children
single
one
third
action
Repetition or
component
of
the
a c t i o n s many t i m e s
to i m p r o v e the q u a l i t y of the movement.
Whereas w i t h y o u n g c h i l d r e n
within
the
or
appropriate
c h i l d r e n work t o make e a c h i n d i v i d u a l
p r a c t i c e comprises
helps
sequence
p.
p r a c t i c e may b e r e l a t i v e l y s h o r t
lesson, older children
l e s s o n s t o c o m p l e t e a movement
may
take
several
composition o r l e a r n a s k i l l .
33
Although
at
learning
exploration
teachers,
and
who
the
primary
level
experimentation,
the
danger
lack
and
skill
experience
focuses
upon
exists
that
with
careful
observation or a r e s o impressed with c r e a t i v i t y , w i l l n e g l e c t
to
foster
movement
either
skill,
concepts.
quality or
an
"Problem-solving,
understanding
uf
t o b e a v a l i d p a r t of
t h e t e a c h i n g l e a r n i n g e n v i r o n m e n t must l e a d s y s t e m a t i c a l l y t o
insight
movement
and
skill"
(Bean,
1985, p .
experience
should
move
Children
22).
with
confidence
with
bs
and
e x p e c t e d t o s t r i v e f o r p o l i s h e d work.
The m o s t memorable p h y s i c a l
myself
and
the
children
education
involved
the
experiences
For
interpretation
of
l i t e r a t u r e w i t h movement, w i t h o u t c u r r i c u l a r b a r r i e r s b e t w e e n
t h e reading, writing,
listening
and s p e a k i n g .
l a n g u a g e a n d movement e f f e c t i v e l y t e a c h e r s
of
the
principles
u n d e r s t a n d i n g o f how
interpretation.
movement
movement.
As
w e l l , t h e y r e q u i r e an
t o s e l e c t s t o r i e s o r poems f o r movement
or
present. vivid
The l i t e r a t u r e m u s t
i m a g e s f o r movement
p r o v i d e enough d e p t h o f
emotion o r i d e a s t o s u s t a i n e x p r e s s i o n
children
r e q u i r e knowledge
Any s t o r y o r poem s e l e c t e d m u s t i n c l u d e r i c h
vocabulary
interpretation.
of
To i n t e g r a t e
i n movement and a l l o w
t o e x p a n d t h e i r movement v o c a b u l a r y , o t h e r w i s e t h e y
w i l l quickly lose interest.
When i n t e r p r e t i n g a
simply
ask
children
story
o r poem, i t is n o t enough t o
t o "be" t h e w i t c h
results i n mere i m i t a t i v e
a c t i o n s and
or
monster.
restricted
This
movement.
Children
must
b e t a k e n beyond t h e s u p e r f i c i a l e x p e r i e n c e o f
moving l i k e a n e l e p h a n t
by
s t o m p i n g t h e i r f e e t on t h e f l o o r
w h i l e u s i n g o n e hand f o r a t r u n k and t h e
They
require
opportunities
other
for
a tail.
t o discover t h e i r f u l l range of
body movements a n d , i n t h i s e x a m p l e , t o e x p l o r e a l l d i f f e r e n t
ways o f moving w h i l e l e a r n i n g a b o u t w e i g h t
and h e a v i n e s s and
how t h i s r e l a t e s t o s t r e n g t h a n d l i g h t n e s s .
Very
young
n u r s e r y rhymes.
children
l o v e t h e rhythm and r e p e t i t i o n of
I t is n a t u r a l and v a l u a b l e , b o t h i n l a n g u a g e
and movement, a n d f o r t h i s r e a s o n p r o v i d e s a l o g i c a l p l a c e t o
start.
The
printed
c h i l d r e n h a v e had a n
word
takes
on
special
meaning
once
opportunity
to
e x p l o r e rhymes t h r o u g h
movement.
T h i s s h o r t , s i m p l e rhyme d e l i g h t e d t h e p r i m a r y c h i l d r e n ,
e l i c i t e d a r i c h movement r e s p o n s e and p r o v i d e d a n o p p o r t u n i t y
f o r t h e c h i l d r e n t o w r i t e t h e i r own r h y m e s .
F r o g s jump
C a t e r p i l l a r s hump
Worms wiggle
Bugs j i g g l e
R a b b i t s hop
Horses clop
Snakes s l i d e
Sea-gulls g l i d e
Mice c r e e p
Deer l e a p
P u p p i e s bounce
K i t t e n s pounce
35
Lions s t a l k But I walk!
From T i n y - v e r s e s - f o r
children
Evelyn Beyer
The poem s e r v e d n o t
basic
locomotor
leaping,
but
only
familiar
actions
creeping
and
a s t i m u l u s t o broaden t h e c h i l d r e n ' s
as
movement e x p e r i e n c e s
an o p p o r t u n i t y t o e x p l o r e such
as w a l k i n g , h o p p i n g ,
skills
also
as
and
have
fun
with
some
s u c h as w i g g l i n g , j i g g l i n g ,
o f t h e less
pouncing
and
stalking.
A f i r s t s t e p i n p r e s e n t i n g s t o r i e s o r poems f o r movement
i n v o l v e s f a m i l i a r i z i n g c h i l d r e n w i t h t h e theme o r mood o f t h e
piece.
p o e t r y , l i k e music, is an a u r a l a r t ,
Since
require
opportunities
it i n p r i n t .
t o l i s t e n t o it p r i o r t o encountering
poem
t o t h e c h i l d r e n and
a l l o w i n g them t o r e a c t t o i t , I p r o v i d e d
further opportunity
for
mood t h r o u g h c h o r a l
them
After
children
to
reading.
reading
explore
the
this
rhythm
F o r e s t e r and R e i n h a r t
and
explain
(1989)
r e a d i n g , l i k e e x p r e s s i v e movement, h e l p s
themselves
"Unison
and
reading
reading] has
along....
become
The
[also
all
the
deeply
known
fun
children
immersed
as
and
choral
good
that choral
t o forget
i n t h e experience.
reading
f e e l i n g s of
or
a
echo
sing-
s a f e t y of p a r t i c i p a t i n g i n r e l a t i v e a n o n y m i t y
e n g e n d e r s f e e l i n g s of
self-confidence
and e a g e r n e s s t o l e a r n
e v e n more a b o u t r e a d i n g " ( p . 4 8 ) .
F o l l o w i n g d i s c u s s i o n and s e v e r a l r e a d i n g s
the
c h i l d r e n were
ready t o analyze
it f o r o u r
of
the poem,
work i n t h e
gymnasium.
jump,
the
They
easily
hump, wiggle,
board
Questions
jiggle,
the
action
"How
as:
words (e-g.
c l o p ) w h i c h I r e c o r d e d on
hop,
t h e c a t e g o r y - "What
under
such
extracted
would
the
Body
Can
Do."
a puppy's bouncing a c t i o n
d i f f e r f r o m a k i t t e n ' s p o u n c i n g a c t i o n ? " o r "Would a f r o g u s e
the
same
pathway
generated
a s a worm?" d e l i g h t e d
spontaneous
the
children
and
a c t i v i t y a s they p h y s i c a l l y attempted
t o demonstrate t h e d i f f e r e n c e
in
meaning.
P a u l ' s comment,
frequently expressed by o t h e r children i n such s i t u a t i o n s : "I
r e a l l y e x p l a i n i t , b u t I c a n show y o u , " r e i n f o r c e s t h e
can't
s i g n i f i c a n c e of p h y s i c a l
involved
with
internalize
the
involvement.
vocabulary
meanings
and
a s s o c i a t e d w i t h a word.
Becoming
helped
understand
Perhaps
the
the
is
experiences.
from
that
To
learn
to
r a n g e of meaning
for
learn
(1970) s t a t e s :
Piaget
action.
children
children
s i n g l e most i m p o r t a n t
p r o p o s i t i o n d e r i v e d f r o m P i a g e t ' s work
classroom
the
physically
educators in the
best
from
"Knowledge
an o b j e c t is
to
act
concrete
is
derived
on
it
and
transform it" ( p . 29).
Under
the
category
c h i l d r e n s u g g e s t e d words
and
strong.
"
such
How
the
as:
Body
Can
Move," t h e
l i g h t l y , f l e x i b l e , heavy
High i n t h e a i r c o n t r a s t i n g
with
low
to
the
g r o u n d a n d s t r a i g h t p a t h w a y s v e r s u s c u r v e d p a t h w a y s w e r e some
o f p h r a s e s i d e n t i f i e d u n d e r t h e c a t e g o r y , "Where t h e Body Can
Move."
Suggested "Relationships" included p a r t n e r s , matching
s e q u e n c e s and c o n t r a s t i n g s e q u e n c e s .
37
Once
the
c h i l d r e n a n a l y z e d E v e l y n B e y e r ' s poem f o r t h e
w h a t , w h e r e , how a n d
appropriate
relationships,
t h e n r e a d y t o move i n t o t h e gymnasium.
the
thematic
quickly
content
for
demonstrated
the
they
were
Each s t a n z a p r o v i d e d
a n e n t i r e movement l e s s o n .
distinction
between
p o u n c e and l e a r n e d t h e m e a n i n g o f a n u n f a m i l i a r
They
bounce
and
word s u c h a s
"stalk. "
Exploring
the
image
d i s t i n g u i s h e d hopping
low
"Rabbits
to
hop,"
hopped
for
distance
children
t h e ground u s i n g s h o r t , q u i c k
s t e p s w i t h hopping high i n t h e a i r u s i n g
They
the
staying
long, slower s t e p s ,
low t o t h e g r o u n d , t h e n
t r i e d b o u n d i n g h i g h i n t h e a i r a n d l a n d i n g low t o t h e g r o u n d .
They l e a r n e d t o l a n d w i t h r e s i l i e n c e b y
on
the
and
balls
hips.
of t h e i r f e e t and g i v i n g i n t h e a n k l e s , k n e e s
Investigating
the
line,
e x p l o r e d a l l d i f f e r e n t ways o f
children
contacting the floor
"Horses
clop,"
galloping:
the
varying
t h e i r s t e p , s p e e d and pathway.
The
two
lines
provided
m a t c h i n g s e q u e n c e work
t o introduce
primary
s t u d e n t s and
c o n t r a s t i n g s e q u e n c e work t o t h e o l d e r
primary
students.
example
the
opportunity
early
simple
to
an
A
o f t h e l a t t e r i n v o l v e d o n e c h i l d h o p p i n g low
t o t h e g r o u n d , two f e e t t o two f e e t u s i n g a s t r a i g h t p a t h w a y ,
while t h e o t h e r c n i i d galioped nigh i n
front
of
hL-
other,
i n t e r p r e t a t i o n involved
in a
straight
pathway,
iising
one
i
;
the
air
one Toot I n
c ~ r v a d pathway.
Another
c h i l d h o p p i n g low t o t h e g r o u n d
while
the partner
contrasted
the
action
him.
by g a l l o p i n g h i g h i n t h e a i r c u r v i n g
in
and
around
I n y e t a n o t h e r e x a m p l e , t h e c o n t r a s t i n g s e q u e n c e became
a r a z e as t h e c h i l d h o p p i n g
tried
to
e s c a p e from t h e c h i l d
galloping.
Following
encouraged
to
the
physical
write
their
or
e x p e r i e n c e i n t h e gymnasium
experience.
The
prominently
displayed
experience t h e
poem
and
own
an
poems
idea
movement
throughout
children
depicting
arising
from
vocabulary
the
classroom.
were
their
the
were
Dawn, a
t h i r d y e a r p r i m a r y s t u d e n t , e s t a b l i s h e d h e r own i d e n t i t y w i t h
t h e poem:
jump i n g
humping
jiggling
b u t I a m walking
wiggling
hopping
clopping
b u t I am w a l k i n g
stalking
bouncing
pouncing
b u t I am w a l k i n g
creeping
leaping
sliding
b u t I am w a l k i n g
Louisa, a f o u r t h year primary student,
humorously i d e n t i f i e d
her favourite action i n t h i s f i r s t d r a f t :
T h i s is a s t o r y
He wiggles i n t h e
And h e wiggles i n
He wiggles i n t h e
And h e w i g g l e s on
a b o u t a worm who wiggles a l l d a y ,
dirt,
driveways,
grass,
my d e s k ,
The rest o f t h e t i m e h e j u s t s l e e p s l i k e a l o g ,
I ' m s u r e g l a d h e d o e s n ' t hop l i k e a f r o g .
While t h e c h i l d r e n ' s
with
this
scheme,
resulting
poem e x p r e s s e d s i m i l a r , s i m p l e
it
w i t h me.
writing
was
are i n v o l v e d w i t h , e x p o s e d t o , t h e more
with
ideas
o u r work
and
rhyme
f i r s t r e a d i n g and w r i t i n g e x p e r i e n c e
their
V a l e r i e Moore ( 1 9 8 1 ) e x p l a i n s :
experiment
from
"The more poems t h e y
are
they
moved
to
own r h y t h m and r h y m e s , and t h e i r own
their
creative sources" (p. 36).
A f t e r d e v o t i n g s e v e r a l c l a s s r o o m l e s s o n s t o t h e poem and
eight
l e s s o n s i n t h e gymnasium I q u e s t i o n e d
spent
too
much
whether
w i t h s u c h a s i m p l e rhyme.
time
I
had
My a n x i e t y
q u i c k l y s u b s i d e d when M a t t h e w , t h r e e d a y s f o l l o w i n g o u r f i n a l
s e q u e n c e work,
anymore?"
i n q u i r e d : " A r e n ' t we g o i n g
Others
when s u p e r v i s i n g on
quickly
the
j o i n e d him.
playground
a
to
group of f o u r t h y e a r
c h a n t e d t h e poem
They had q u i t e n a t u r a l l y memorized
t h e poem and t o o k g r e a t d e l i g h t i n r e c i t i n g i t .
this
charming
note
for
f r o g s jump
On a n o t h e r o c c a s i o n
primary children, bubbling with excitement,
a t m e from b e h i n d a t r e e .
do
me
following
our
Allison l e f t
work
in
the
c l a s s r o o m : " A rhyme o r t u n e makes l e a r n i n g more f u n . "
The
next
poem s t u d i e d w i t h a g r o u p o f f i r s t a n d s e c o n d
year p r i m a r y c h i l d r e n s e r v e d a s d e m o n s t r a t i o n l e s s o n s f o r t h e
classroom teacher.
I t r e s u l t e d i n s p o n t a n e o u s movement r i g h t
i n t h e classroom.
Like a leaf or a feather
i n t h e windy windy w e a t h e r
w e w h i r l around
and t w i r l around
a n d a l l s i n k down t o g e t h e r .
I n J . Boorman Dance a n d l a n g u a g e
experiences with children
Anonymous
When
reading
the
poem
interpreted each l i n e
to
movement.
While
f l o o r t h e y r o t a t e d from t h e i r w a i s t o r
swayed
side,
with
their
with
the children they automatically
hands
Atwood s t r e s s e s t h a t
the
fluttering
in
s e a t e d on t h e
from
side t o
Margaret
the air.
step in helping children t o
first
enjoy l i t e r a t u r e involves providing opportunity
for
them t o
words, c h a n t s o r rhymes w h i l e k e e p i n g t i m e - pounding
recite
t h e t a b l e , c l a p p i n g t h e i r hands, stamping t h e i r feet o r u s i n g
percussion instruments.
share
When p a u s i n g
for
the
children
to
t h e p i c t u r e s t h e y had f o r m e d i n t h e i r m i n d s d u r i n g t h e
I was f a s c i n a t e d t o h e a r B r i t t - L i s e a n d
r e a d i n g of t h e poem,
Matthew r e c a l l images f r o m "The N u t c r a c k e r . "
I quickly
interpret
readers
the
invited
the children t o read
actions
while
modelled t h e
followed along.
poem
while
the
emergent
readers
F i r s t we paused a f t e r each l i n e t o allow t h e
displayed the phrases
1i n e
over
action
Ce.g,
around;
and
and
s t a n d i n g u p . The more c a p a b l e
Then I
p l e n t y of o p p o r t u n i t y t o repeat t h e a c t i o n .
children
same
reading
the
in
a
p o c k e t c h a r t and w e r e c i t e d t h e
and o v e r a g a i n w h i l e t h e y
we
twirl
whirl
around,
around,
twirl
interpreted
the
w e w h i r l around, we w h i r l
around,
twirl
around).
Through t h e k i n a e s t h e t i c s e n s e t h e c h i l d r e n l e a r n e d t o
speak
41
t h e w o r d s " w h i r l " q u i c k l y and f o r c e f u l l y , " t w i r l "
smoothly,
and
"sink"
slowly
collapsed i n t h e middle
of
and
softly.
Leaving
I n t h e gymnasium t h e
next
day
the
in
air
the
buttocks.
on
poem
moved
t w i r l i n g and s i n k i n g .
their
toes
some
s i m p l y a s k e d them t o
to
an
of
the
rest
They
whirled high
a n d low t o t h e g r o u n d on t h e i r
They e x p l o r e d t w i r l i n g
caused
closer
without i n h i b i t i o n t o develop t h e
on
two f e e t ; on o n e f o o t ,
t h e n t h e o t h e r f o o t ; and from one f o o t
Twirling
c h i l d r e n worked t o
The c l a s s r o o m t e a c h e r and I w a t c h e d i n
expression.
theme o f w h i r l i n g ,
w i t h accompanying
- t h e y had worked h a r d .
b r i n g t h e l i t e r a l i n t e r p r e t a t i o n of t h e
a w e as t h e c h i l d r e n
children
classroom t h i s day I sensed a f e e l i n g
the
of s a t i s f a c t i o n from a l l t h e c h i l d r e n
artistic
The
t h e room e x h a u s t e d a f t e r r e a d i n g
and r e r e a d i n g t h e poem many d i f f e r e n t ways
actions.
l i g h t l y and
to
children
until
they
the
other
foot.
t o f e e l dizzy so I
were
ready t o s t a r t
again.
It
rates.
F o c u s s i n g on t h e s o f t , d e l i c a t e f e e l a n d l i g h t w e i g h t
w a s f a s c i n a t i n g t o observe t h e i r speedy
of a f e a t h e r helped
the
c h i l d r e n t o land "without a sound."
A s t h e y explored s i n k i n g t o t h e ground,
different
parts
of
recovery
their
bodies,
while
we
leading
with
c o n c e n t r a t e d on the
s m o o t h , c o n t i n u o u s f l o w o f movement.
The c h i l d r e n e a g e r l y
worked
their b e s t i d e a s i n t o a d a n c e .
buttocks
position
and
slowly
let
his
with
a p a r t n e r t o combine
W h i l e Matthew
head
twirled on h i s
b r i n g him t o a r e s t i n g
t h e g r o u n d , B r e n d o n t w i r l e d h i g h a b o v e him on h i s
t o e s , t h e n l e t h i s hands
Matthew.
l e a d him t o t h e g r o u n d r e s t i n g o v e r
J e n n i f e r a n d K i m b e r l y wove i n a n d o u t o f e a c h o t h e r
then j o i n e d hands t o s i n k t o t h e ground t o g e t h e r .
Returning
to
the
together we could w r i t e
gymnasium.
As
she
Britt-Lise
I
classroom
a
poem
spoke
asked
the children i f
about our experience i n t h e
as c o n f i d e n t l y a s s h e
I r e c o r d e d h e r w o r d s on t h e b o a r d .
spoke,
paused s h e r e q u i r e d o n l y t h e prompt:
danced.
When s h e
"What d i d you d o n e x t ? "
W
e w e n t a r o u n d and a r o u n d a n d a r o u n d ,
T w i r l i n g w i t h o u r hands,
T h i s way and t h a t ,
T h i s way a n d t h a t ,
S o f t e r and s o f t e r ,
W
e l a n d e d on t h e g r o u n d .
The s m i l e on t h i s s i x y e a r o l d ' s f a c e r e v e a l e d
pride
of
h e r poem.
a
true author.
and
sense of
Britt-Lise realized that t h i s w a s
The o t h e r c h i l d r e n q u i c k l y c e l e b r a t e d h e r s u c c e s s .
P r i o r t o w r i t i n g , we had d i s c u s s e d t h e
story
the
a
poem.
difference
between a
The c h i l d r e n c o m p l i m e n t e d B r i t t - L i s e on
t h e r h y t h m of h e r w o r d s
and t h e e f f e c t i v e u s e o f r e p e t i t i o n .
They a l s o a g r e e d t h a t B r i t t - L i s e ' s
poem l e f t t h e m w i t h a r e a l
p i c t u r e i n t h e i r minds.
Britt-Lise's
children t o write.
poem
provided
Brendon
inspiration
for the other
(age 6 ) e a g e r l y r e t u r n e d t o h i s
desk and d r a f t e d a poem h e c a l l e d , " C a n a d i a n L e a f . "
Arod a r o d
S a f t l e folig
Don d o n d o n
UP UP UP
Softle twirling
(Translation:
Around a r o u n d
Softly falling
Down down down
UP UP UP
Zoftly twirling)
me
A s t h e c h i l d r e n w r o t e , Graham a p p r o a c h e d
"Do
we
have
to
something e l s e ? "
write
about
this
me,
even
These c h i l d r e n were u s e d t o s e l e c t i n g t h e i r
during
our
children the f l e x i b i l i t y
realized
writing
that
from
c a n we w r i t e a b o u t
or
as
own t o p i c s f o r w r i t i n g , a n d t h i s s e r v e d
for
not
a
of
choosing
a different topic.
e v e r y c h i l d would f i n d
the
dance
experience,
stimulation
every
time.
I
for
Boorman
"force the children t o learn in
a n u n n a t u r a l way, o r t o e x p r e s s t h e m s e l v e s
(p.
good r e m i n d e r
integrated lessons, t o allow t h e
(1973) warns t e a c h e r s n o t t o
form"
and a s k e d ,
in
an
unnatural
G r a v e s (1983) e m p h a s i z e s t h e i m p o r t a n c e o f
23).
teaching children t o
own
topics for writing.
"With b e s t t o p i c , " h e w r i t e s , " t h e c h i l d
exercises strongest
control,
select
their
e s t a b l i s h e s o w n e r s h i p , and w i t h o w n e r s h i p , p r i d e i n
t h e piece" (p. 21).
I n t e r e s t i n g l y however, g i v e n t h e c h o i c e ,
t h e c h i l d r e n almost always wrote about
The
dance
experiences
which
r e s p o n s e from t h e c h i l d r e n
response.
The
movement
illicited
also
words
t h e dance experience.
illicited
a
s t r o n g movement
a
rich
e x p l o r e d i n t h e dance
written
often
came t o l i f e i n t h e c h i l d r e n ' s writing.
During
a
classroom
Stubborn b e a r t o a
study
group o f f i r s t
of
bears I read t h e story,
and second
year
primary
children.
In
the
gymnasium
we
contrasted
the
lumbering
movements o f a b i g , f a t b e a r w i t h t h e weak, l o p p i n g movements
of
the
skinny bear refusing t o e a t while stubbornly waiting
to
catch
a
fish.
Returning
to
the
e n t h u s i a s t i c a l l y asked i f he could w r i t e
suspect
the
images
and
movement i n t h e gymnasium
language
did
used
classroom
his
to
own
Kevin
story.
interpret
I
the
not translate easily into the
rhythms, r e p e t i t i o n s and p a t t e r n s of p o e t r y .
Kevin
(age 6 )
wrote:
Wans upon a t i m l i v d a b e e r .
I t w a s g e t i n g food
f o r t h e w i n t e r . H e cam upon a l a c . H e s t u k h i s
poy i n t h e w a t r .
h e wavd h i s p o y a r a w n d a n d p o l d a
f i s h o u t o f t h watr. and t h e n he thumpt d a c k t o
h e s haws And b a r e d i t un t u l sumr Agun.
then he
s a t l d and f e l a s l e p .
It
( T r a n s l a t i o n : Once upon a t i m e l i v e d a b e a r .
w a s g e t t i n g f o o d f o r t h e w i n t e r . H e came upon a
l a k e . He s t u c k h i s paw i n t h e w a t e r . H e waved h i s
paw a r o u n d a n d p u l l e d a f i s h o u t o f t h e water. And
t h e n he thumped b a c k t o h i s h o u s e a n d b a r r e d i t
u n t i l summer a g a i n .
Then h e s e t t l e d a n d f e l l
asleep. )
After
choice
two s h o r t m o n t h s i n s e c o n d y e a r p r i m a r y ,
of
words,
While
the
movement
u s e of c o n v e n t i o n a l s p e l l i n g a n d t h e
his
r i s k he w a s w i l l i n g
to
take
with
w r i t i n g were i m p r e s s i v e .
w r i t i n g d o e s n o t convey d i r e c t
experience,
Kevin's
the
rehearsal
evidence
of
the
f o r t h i s s t o r y evolved
from K e v i n ' s p a r t i c i p a t i o n i n o u r i n t e g r a t e d a c t i v i t i e s .
The t o p i c o f s h a d o w s
f a s c i n a t e d t h e f o u r t h year p r i m a r y
s t u d e n t s and p r o v i d e d wonderful o p p o r t u n i t i e s
of
movement
and
writing
activities.
The
for
a variety
poem " C o p y c a t "
evoked a v e r y playful r e s p o n s e from t h e c h i l d r e n .
Copycat, copycat,
Shadow's a c o p y c a t !
Out i n t h e sun
Whenever I r u n ,
It runs.
Whenever I t w i r l ,
It t w i r l s .
I c u r l up s m a l l .
I t c u r l s up s m a l l .
I s t a n d up t a l l .
I t s t a n d s up t a l l .
Copycat, copycat,
Shadow's a c o p y c a t .
Whenever I h i d e ,
I t hides.
I s p r e a d o u t wide.
I t s p r e a d s o u t wide.
I p a t my h e a d .
I t p a t s its head.
I f a l l down d e a d .
I t f a l l s down d e a d .
B u t when I go i n s i d e t o s t a y ,
C o p y c a t , c o p y c a t g o e s away!
From Don ' t e a t s p i d e r s
Robert Heidbreder
Outdoors t h e c h i l d r e n
gleefully
played
p a r t n e r shadow t a g .
Drew d e s c r i b e d i t i n h i s r e s p o n s e j o u r n a l :
say
with
Tom
was
"It started out,
i t , h e would h a v e t o t a g S a l l y ' s shadow b e f o r e
mirroring
and f o l l o w t h e l e a d e r a c t i v i t i e s :
running,
s t o p p i n g , t w i r l i n g and c u r l i n g . I n d o o r s t h e poem p r o v i d e d t h e
impetus f o r s t u d e n t s t o improve t h e q u a l i t y of t h e i r matching
~ a r t n e rs e q u e n c e work.
while
meeting
s h a p e s 'wide,
and
They combined t h e theme of t r a v e l l i n g
parting
with t h a t o f b a l a n c e and s t a t i c
n a r r o w , s t r e t c h e d and c u r l e d ) .
46
Following t h e f i r s t l e s s o n o u t d o o r s w e e x p e r i m e n t e d w i t h
free w r i t i n g .
on
anything
The c h i l d r e n w r o t e n o n - s t o p
f o r e i g h t minutes
to
their
relating to this
The
mood
which
came
experience o r t h e topic.
serious
had
a s I t o o p u t pen t o p a p e r .
provided
minds
o f t h e room became v e r y
The
outdoor
experience
w i t h something t o write about.
everyone
Most
s t u d e n t s c o n t i n u e d t o w r i t e a t t h e end of t h e e i g h t m i n u t e s .
Paul's free writing
led
t o t h i s poem c a p t u r i n g t h e f u n
of our experiences outdoors:
COPYCAT
Running, jumping and t w i r l i n g ,
Oh, i s n ' t i t f u n ?
F a r t n e r s are shadows,
Shadows are p a r t n e r s .
T r y i n g t o g e t t h e shadow t o move,
Cm'on shadow, move!
Run, s t o p ,
Run, twirl,
Run, jump, l a n d a n d t w i r l .
J o y c e Boorman (1973) i n d e s c r i b i n g h e r
and
language
writes:
movement,
work
with
children,
" I t a p p e a r s t h a t t h e words
w h i c h had e x c i t e d t h e c h i l d r e n a n d w h i c h had come t o l i f e f o r
them
in
the
dance
l e s s o n became i n c o r p o r a t e d
into
their
writing" (p. 3 ) .
While
Jennifer
playground l e s s o n , her
(age
8)
incorporates
imagination
Shadows,
Shadows,
Shadows.
Two of e v e r y t h i n g !
Two o f you,
Two of me.
images f r o m t h e
took her a s t e p f u r t h e r :
My shadow d o e s t h e same t h i n g s a s m e ,
My shadow c o p i e s m e .
I jump,
My shadow jumps.
I run,
My shadow r u n s .
I t h i n k m y shadow l i k e s me!
Jump, hop, r u n ,
Have f u n !
S o m e t i m e s my shadow comes t o s c h o o l w i t h m e .
B u t e a r l y i n t h e morning,
When t h e s u n is n o t u p ,
My shadow d o e s n o t g e t u p ,
Then I a m l o n e l y .
Matthew's
inspiration
led
him
beyond
the
movement
experience:
"'Hello. "
"Hello. "
"My shadow w o n ' t s t o p
"My shadow w o n ' t s t o p
" S t o p it shadow. "
" S t o p it shadow."
"Hmmm. "
" Hmmm . "
" S t o p it!"
" S t o p it!"
"That's it, I ' m going
" T h a t ' s i t , I 'm g o i n g
S o I go i n s i d e ,
And shadow g o e s away.
c o p y i n g me."
copying m e . "
inside."
inside."
Working w i t h t h e s e c h i l d r e n f o r o n l y one
I once
h o u r each d a y ,
a g a i n m i s s e d a w o n d e r f u l o p p o r t u n i t y t o c a p i t a l i z e on
t h e c u r i o s i t y a n d f a s c i n a t i o n s p a r k e d by a p a r t i c u l a r s u b j e c t
studied.
writing
Our p h y s i c a l e x p e r i e n c e s a l o n g w i t h t h e r e a d i n g and
quite
naturally
precipitated
an
interest
in the
s c i e n t i f i c t o p i c of s h a d o w s a n d l i g h t .
Once t h e c h i l d r e n had
Seen
exposed
to
writing
about
t h e i r physical e d u c a t i o n e x p e r i e n c e s a n d had o p p o r t u n i t i e s t o
share a n d listen t o others' w r i t i n g , t h e i r work i n this
area
frequently
provided
topics
for
writing
E r i k a (age 10) h i g h l i g h t s
workshop.
during
writers'
some o f h e r e x p e r i e n c e s
w i t h movement:
G y m n a s t i c s , games, d a n c i n g t o o ,
A l l are r e a l l y f u n t o d o .
T w i r l i n g , s w i r l i n g , jumping i n t h e a i r ,
Oh b o y , I w a n t a b i g g e r d a r e .
I t w i r l , I s w i r l , I jump i n t h e a i r ,
I f l i p , I t u r n a n d l a n d s o f t l y on m y f e e t .
I'm g o n n a ' sweat f r o m a l l t h i s h e a t ,
I s t r e t c h e d my b r i d g e ,
I c u r l e d my r o l l ,
And t h a t was my g o a l !
Darren ( a g e 9 ) s h a r e s h i s exuberance
for
some
of
our
a c t i v i t i e s i n a n a c r o s t i c poem:
Physical Education
P
H
Y
S
I
C
A
L
laying Games,
o p a n d jump.
o u n g and o l d k i d s y e l l i n g ,
kipping,
l i k e P. E.
an w e p l a y D r . Dodgeball?
wesome moves!
o o k a t me I c a n d o a f l i p !
E xciting,
D on't yell,
U p a n d down, h i g h and low,
C limbing,
A pparatus,
T i e i n D r . Dodgeball,
I n t e r e s t i n g footwork,
"0 h no!
I t ' s t i m e t o go!"
" N o i t ' s n o t . . .Oh! "
The
children's
g y m n a s t i c s e q u e n c e work
Matthew
(age
3)
successes
evoked
describes
gymnastics lesson:
Running, jumping ,
Oh n o ,
his
or
disappointments
with
a s t r o n g emotional response.
frustration
following
a
I had a s e q u e n c e ,
B u t i t w a s n ' t shown.
It was great,
I t w a s wonderful,
Darn! I t w a n ' t shown.
" L o u i s a , show y o u r s e q u e n c e p l e a s e . "
Matthew's
poem
a n i m p o r t a n t d i s c u s s i o n on ways we
prompted
could provide a l l children
an
opportunity
t o share without
t a k i n g away t o o much o f t h e v a l u e d a c t i v i t y t i m e .
Louisa
(age
10) c e l e b r a t e s her success
with
sequence
work:
Sequence
S - is f o r t h e S u p e r S e q u e n c e .
E - i s f o r E v e r y t i m e I made i t p e r f e c t .
&
U
E
N
- is
- is
- is
- is
C - is
E - is
a
During
f o r t h e Q u e e n would l o v e i t !
f o r t r a v e l l i n g Up, down and a r o u n d .
f o r E v e r y o n e saw me.
f o r Never d o i n g i t w r o n g .
f o r , "Can I d o i t ? " .
f o r Everyone's watching.
gymnastics
teacher, the teacher
chalkboard
primary
while
lesson f o r another
s p o n t a n e o u s l y w r o t e h i s own poem on t h e
I worked w i t h h i s s e c o n d
third
year
s t u d e n t s on t h e t h e m e o f b r i d g i n g and r o l l i n g .
This
t y p e of s h a r e d e x p e r i e n c e
students
demonstration
and
participants.
provides
stimulates
a
a
dynamic
and
wonderful
energy
model
for
for
all
He wrote:
G y m n a s t i c s is s o c h a l l e n g i n g
I remember j u m p i n g f r o m t h e v a u l t a n d g o i n g
i n t o a forward r o l l
Oh t h e e x c i t e m e n t
T h i n k i n g , r e m e m b e r i n g , t r y i n g , succeeding!
Making t h a t g r a c e f u l jump,
Holding t h a t long balance
P e r f e c t i n g t h a t forward r o l l
F r i e n d s w a t c h i n g m y e v e r y move
T h e p r i d e i n my h e a r t
The moment o f s u c c e s s
G y m n a s t i c s is t h e b e s t !
As
this
teacher
w r o t e , t h e c h i l d r e n p e r i o d i c a l l y l o o k e d up
f r o m t h e i r work t o s e e
what
he
was d o i n g .
t e a c h e r w r i t i n g enhanced t h e c h i l d r e n ' s
own
At
task.
the
s h a r e d h i s poem w i t h
completion
Observing t h e i r
attention
to
their
of t h e g y m n a s t i c s l e s s o n he
t h e c h i l d r e n a n d e x p l a i n e d how t h e y had
i n s p i r e d him t o w r i t e
I n t h e c l a s s r o o m he reviewed t h e p r o c e s s
write
his
Graves
poem.
(1988) stress t h e need f o r
their students.
everyone improves.
which
Students
to
to
composing p r o c e s s .
model
writing with
"Teachers should write
w i t h t h e i r s t u d e n t s , t h e w r i t i n g of
To l e a r n t o w r i t e o n e
requires
need
teachers
When t e a c h e r s e n g a g e i n a s s i g n m e n t s ( o r
better yet, enterprises)
writer,
M u r r z y ( 1 9 8 9 ) , and S m i t h
(1983),
Smith (1988) w r i t e s :
with t h e i r students.
h e had u s e d t o
hear
behaving
teachers
must
like
a
think
" I f they s e e u s write,
read
like a
writer" ( p . 7 4 ) .
aloud
about
the
t h e y w i l l see t h e
middle of t h e p r o c e s s , t h e hidden ground - from t h e c h o i c e
of
t o p i c t o t h e f i n a l c o m p l e t i o n o f t h e work" ( G r a v e s , 1 9 8 3 ,
p . 43).
On t h e b o a r d t h e t e a c h e r
the
brainstormed with t h e children
many f e e l i n g s t h e y a s s o c i a t e d w i t h
apparatus.
They
encountered.
story t o tell.
also
discussed
the
their
work
challenges
on
the
they
had
I t w a s n o t s u r p r i s i n g t o f i n d e v e r y c h i l d had a
Megan
(age
8 ) e x p r e s s e s c o n f i d e n c e and
pride
in
her
work:
Gymnastics
G y m n a s t i c s is e x c i t i n g ,
D o i n g my b r i d g e ,
F e e l i n g proud,
Knowing e v e r y move.
J u m p i n g t o g e t on t h e b o x ,
S e e i n g t h e box s h a k e as I jump,
Feeling relieved,
Thinking I d i d w e l l ,
G y m n a s t i c s is s o n e a t !
Lindsay
(age
8)
describes t h e f e e l i n g of s a t i s f a c t i o n
upon c o m p l e t i o n o f a d i f f i c u l t t a s k :
G y m n a s t i c s is s p e c t a c u l a r .
T r y i n g h a r d t o remember t h e s e q u e n c e ,
I t made me f e e l n e r v o u s ,
P e o p l e l o o k i n g a t m e from e v e r y e n d ,
It w a s c h a l l e n g i n g doing back bends
and v e r y hard b r i d g e s .
A s h l e y r o l l i n g o u t f r o m u n d e r me,
A b i g s i g h of r e l i e f ,
G y m n a s t i c s is f a b u l o u s .
The
children
playful
t o write.
element
of
games
Following a study
also
of
motivated
concrete
many
poetry,
C r y s t a l ( a g e 1 2 ) used t h e form t o r e v e a l h e r j o y i n p l a y i n g a
s i m p l e game o f t a g .
TAG
P --->
D
0
W
N --- A L L
u
A
R
u
N
S <---
0
D
L
I
P
P
I
N
<---
T O T H E GROUND
G
I
I
I
I
v
Z
G
I
A
Z
G
H E R E AND T H E R E
I
I
ME G E T CAUGHT?
I WOULDN 'T DARE!
Frequently
as
the
<---------children
changed
for
physical
education c l a s s e s I allowed t h e e a r l y changers f r e e p l a y with
various
pieces
of
n o n s e n s e rhymes t h e
apparatus.
early
Listening
primary
played with t h e skipping ropes led t o
children
to
w r i t e t h e i r own c h a n t s .
age 8 ) l o v e d t h e c h a l l e n g e
and
to
the
amusing
children chanted a s they
a
challenge
for
all
L i s a a n d Andrew ( b o t h ,
wrote t h e following chant t o
accompany a s k i p p i n g r o u t i n e t h e y i n v e n t e d :
1, 2 C h i c k e n Stew!
1,
3,
5,
7,
9,
2 chicken stew,
4 I want m o r e ,
6 mix i t w i t h s t i c k s ,
8 t o s s i t on a p l a t e !
10 how a b o u t a h e n .
1 f o o t , 2 f o o t , 3 f o o t hop,
4 foot, 5 foot, 6 foot, stop!
In, out,
Up, down,
L e t u s hang a l l a r o u n d .
Out, i n ,
Down, u p ,
L e t u s hang a l l a b o u t .
F r e e p l a y w i t h hoops a t t h e b e g i n n i n g of
a games l e s s o n
i n s p i r e d E r i c a (age 9 ) t o d r a f t t h e f o l l o w i n g s t o r y :
I n Gym
- Use Your I m a g i n a t i o n
F r e e p l a y w i t h t h e hoops.
I c a n ' t w a i t . Use
a b i g , r e d hoop o r a s m a l l , b l u e h o o p ,
Use y o u r
i m a g i n a t i o n . You c a n i m a g i n e b e i n g i n a c i r c u s
s e e i n g t i g e r s l e a p t h r o u g h t h e b i g , red h o o p s o r
s e a l s l e a p t h r o u g h t h e s m a l l , b l u e h o o p s . Oh n o ,
w h e r e i s t h e c i r c u s t e n t ? " E r i c a , w i l l you show
y o u r s e q u e n c e ? " Oh, I m u s t h a v e p u t u p my h a n d . I
must have been daydreaming.
Oh n o ,
I f o r g o t my
sequence.
In
required
the
following
plenty
of
p i e c e of a p p a r a t u s ,
poem,
Arthur
opportunity
to
(age
9),
who
still
work on h i s own w i t h a
r e f l e c t s h i s d e l i g h t and a b s o r p t i o n w i t h
a t a s k when h e was l e f t t o d o s o .
He w r o t e :
Playing B a l l
i can kick it,
And p u n c h it u p h i g h ,
Kick it t o t h e t o p ,
And l e t i t f a l l .
It's f a l l i n g , it's f a l l i n g , it's f a l l i n g f a s t ,
I , I , I g o t it!
1
I
54
Paul's
inspiration
involving
games
the
f o r w r i t i n g followed
theme
of
activities,
i n c l u d i n g t h e i n v e n t i o n of
class
was
work
of t h r o w i n g and c a t c h i n g .
completion
entire
the
our
individual,
partner
and
their
small
in
Upon
group
own g a m e s , t h e
r e a d y t o p l a y a game o f D o c t o r D o d g e b a l l .
D u r i n g writers' workshop
Paul
(age
9)
wrote t h e following
Oh n o ! B a l l s c o m i n g t o w a r d s m e ,
Think, P a u l , Think!
Oh! Jump, P a u l , Jump.
Jump !
Yeah . . . They m i s s e d m e .
Hey why a r e a l l my t e a m m a t e s l y i n g down?
D o n ' t t e l l m e t h e y won.
During
my
early
work
with
a
group of
grade
seven
s t u d e n t s I q u i c k l y became a c q u a i n t e d w i t h t h e i r o n l y i n t e r e s t
i n p h y s i c a l e d u c a t i o n c l a s s e s a n d t h a t w a s t o p l a y " t h e game"
and
win.
I n discussions with thesa students
I
discovered
t h e y had n o e x p e r i e n c e w i t h d a n c e o r c r e a t i v e movement, s p e n t
l i t t l e time w i t h s k i l l development and most t i m e p l a y i n g o n l y
traditional
games.
To
acquire meaningful
writing
of
an
I c a p i t a l i z e d on t h e i r i n t e r e s t i n s p o r t s
integrated
nature
and games.
Following
a s t u d y and movement i n t e r p r e t a t i o n o f
t h e poem, " T h e B a s e S t e a l e r " I i n v i t e d
t h e s t u d e n t s t o write
about
This w a s a topic with
their
own
game
experiences.
w h i c h m o s t of t h e s t u d e n t s were f a m i l i a r - t h e y w r o t e e a s i l y .
Graves (1983) e x p l a i n s : "The e a s i e s t p l a c e
f o r any writer t o
b e g i n w r i t i n g . . . i s i n w r i t i n g a b o u t s o m e t h i n g you know" ( p .
I ) .
T h e f o l l o w i n g poems
clearly reflect the
i n t e r e s t s and
a t t i t u d e s of t h i s g r a d e seven c l a s s :
T h e b a l l comes s o a r i n g t h r o u g h t h e a i r ,
T u r n i n g up t h e s l i g h t e s t h a i r ,
You s w i n g t h e b a t ,
And h e a r t h e c r a c k ,
T h e crowd s t i l l s i l e n t w i t h s u s p e n s e ,
Watches t h e b a l l d r o p s h o r t of t h e f e n c e .
A s y o u make f o r s e c o n d ,
The crowd s l o w l y b e c k o n s ,
A s you s l i d e f o r t h i r d ,
O v e r a l l e l s e , t h e u m p i r e ' s v o i c e is h e a r d ,
H e bluntly signals out,
S o y o u l e a v e , t h o u g h f i l l e d w i t h many d o u b t s .
Andrew ( a g e 1 2 )
V o l l e y b a l l is f u n ,
Spiking t h e b a l l over t h e n e t ,
I t ' s your s e r v e .
Match a p o i n t ,
S w e a t t r i c k l e s down y o u r f a c e ,
The f a c t s - Y o u ' r e gonna w i n .
R i g h t i n t o t h e open s p a c e ,
You've won t h e game.
Aaron (age 1 2 )
D u r i n g p h y s i c a l e d u c a t i o n c l a s s e s I f r e q u e n t l y teamed my
o l d e r s t u d e n t s w i t h y o u n g e r buddy c l a s s e s .
involved
the
fourth
y e a r primary s t u d e n t s working w i t h t h e
first year primary students
theme o f b o u n c i n g .
that
her
children
t h e i r older buddies
One s u c h o c c a s i o n
on
a games l e s s o n i n v o l v i n g t h e
Following t h e c l a s s t h e teacher explained
had l e a r n e d f a r more a b o u t b o u n c i n g f r o m
and
a t t e m p t e d many more c h a l l e n g e s t h a n
t h e y e v e r would have d u r i n g a l e s s o n
with
her
as
t h e only
instructor.
This
t i m e t h e p h y s i c a l education experience provided an
e x c e l l e n t o p p o r t u n i t y f o r t h e i n t r o d u c t i o n of letter w r i t i n g .
The f o u r t h
year primary
students
corresponded
with
their
f i r s t y e a r p r i m a r y b u d d i e s i n a most e n c o u r a g i n g way.
Dear Amy,
I e n j o y e d w o r k i n g w i t h y o u . You w e r e l e a r n i n g
s o q u i c k l y . I l i k e d t h e game we d i d t o g e t h e r .
It
was a l o t of f u n ! Thank you f o r b e i n g my p a r t n e r .
Sincerely,
Erica
Dear Wichael,
I r e a l l y e n j o y e d w a t c h i n g you and y o u r f r i e n d s
b o u n c i n g t h e b a l l s i n t h e gym. Boy, you a r e g o o d .
I t ' s a l o t b e t t e r t h a n I c o u l d d o when I was i n
kindergarten- I look forward t o our next c l a s s .
Yours t r u l y ,
Pau 1
The
response
log
second y e a r / t h i r d
entries
year
primary
arising
f r o m t h e work o f a
class
with a fourth year
primary / g r a d e f o u r class i n dance confirm
peer
tutoring.
The
the
dance
b e n e f i t s of
c h i l d r e n were asked t o write a b o u t t h e
t h i n g t h e y most enjoyed
about
the
and
experience.
the
thing
Writing
they
makes
l e a s t enjoyed
children's
t h o u g h t s v i s i b l e and c o n c r e t e and p r o v i d e s i m p o r t a n t f e e d b a c k
for the physical educator.
L i s a (age 8 ) wrote:
It was f u n t o work w i t h o l d e r s t u d e n t s . And I
l e r n e d new s t u f f . I l i k e d t h e way T a r y n a n d h e r
I didn't dislike
grup
styeld
there
dance.
anything.
( T r a n s l a t i o n : I t was f u n t o work w i t h o l d e r
s t u d e n t s . And I l e a r n e d new s t u f f . I l i k e d t h e
way T a r y n a n d h e r g r o u p s t y l e d t h e i r
didn't dislike anything.)
dance.
X
T a r y n ( a g e 9) e x p l a i n s :
I t f e e l s g o o d t o work w i t h a y o u n g e r k i d , 1
l i k e d t h e way I c o u l d t e a c h them how t o d o a s t e p
a n d t h e y c o u l d u n d e r s t a n d . T h e r e was n o t h i n g I
disliked.
In
summary,
the
physical
e d u c a t i o n e x p e r i e n c e s which
motivated children t o w r i t e included experiences i n a l l areas
of t h e p h y s i c a l education curriculum:
dance.
Integrating
the
language, through a
g a m e s , g y m n a s t i c s and
w o r l d of movement w i t h t h e w o r l d o f
study
dynamic f o r c e f o r w r i t i n g .
of
s t o r i e s a n d poems, p r o v i d e d a
Challenging
students
to
polish
g y m n a s t i c s e q u e n c e w o r k , w h e t h e r i n d i v i d u a l , p a r t n e r o r small
group,
and
t o share
this
with
e n t h u s i a s t i c written response.
activities
and
challenges
writing.
tutoring
The o p p o r t u n i t y f o r f r e e p l a y
many
interesting
the
written expression.
written
far
r e s p o n s e from t h e g r a d e seven
younger
A
the.peer
s t u d e n t s a l s o promoted meaningful
broad
based,
experiential physical
e d u c a t i o n p r o g r a m p r o v i d e s r i c h and v a r i e d
writing.
topics
Finally, involving the older students in
of
an
i n t e r e s t i n s p o r t s a n d t r a d i t i o n a l games
i n s p i r e d an important
students.
elicited
t h e i n d i v i d u a l , p a r t n e r and s m a l l g r o u p
triggered
strong
A
also
t h e p l a y f u l e l e m e n t o f games s u c h a s tag and
s k i p p i n g , a s w e l l as
game
others
opportunities far
CHAPTER I11
WHAT TYBBS OB WRTTIHO BVOLVE
FROM PHYSICAL EDUCATION EXPERIENCES?
I n an e f f o r t t o b e t t e r
and
define
the
abilities,
stages
James
pieces
2,122
schools
in
of
their
in
writing
first,
three
distinctive
transactional
writing
the
writing process
development
of
writing
undertook an e x t e n s i v e s t u d y
by s t u d e n t s
third,
with
a
from
sixty-five
and s e v e n t h y e a r s .
fifth
c l a s s i f i c a t i o n of w r i t i n g
categories:
expressive
writing,
and p o e t i c o r c r e a t i v e w r i t i n g .
study adapts the categories
describe
the
Tony B u r g e s s , Nancy M a r t i n , A l e x
(1975)
Their research culminated
into
the
Britton,
McLeod and H a r o l d Rosen
of
understand
writing
defined
which
by
evolved
Britton
from
our
This
al. to
et
physical
education experiences.
Expressive Writing
et
Britton
al.
(1975) d e s c r i b e e x p r e s s i v e w r i t i n g a s
" t h i n k i n g a l o u d on p a p e r "
(p.
89).
I t is w r i t i n g i n t e n d e d
f o r t h e w r i t e r ' s own u s e o r t r u s t e d p e o p l e
writer.
Often
it
reveals
does about t h e topic.
find out:
believe
or
as
very close t o the
much a b o u t t h e s p e a k e r as i t
Expressive
writing
helps writers t o
w h a t t h e y know, w h a t t h e y h a v e
l e a r n e d , what t h e y
they w i l l w r i t e .
F u l w i l e r and Yomg
even
(1982) e x p l a i n
what
that
expressive
language
serves
as
"our
53
p r i m a r y means o f p e r s o n a l i z i n g knowledge" ( p .
for
They a l s o
I n h i s essay " T h e
d e s c r i b e i t as " w r i t i n g t o l e a r n " ( p . 5 ) .
argument
4).
writing across the curriculum," Fulwiler urges
t h e u s e o f e x p r e s s i v e w r i t i n g i n a l l s u b j e c t a r e a s and a t a l l
l e v e l s ( F u l w i l e r and Young, 1986, p. 2 4 ) .
writing
comprised
only
s t u d i e d by B r i t t o n
et
5%
of
the
(1975),
al.
While
w r i t i n g samples
total
the
c l a s s e s described i n t h i s study provided
expressive
physical education
many
opportunities
I t t o o k t h e f o r m of j o u r n a l w r i t i n g ,
f o r expressive writing.
l e a r n i n g l o g r e s p o n s e s and p e r s o n a l l e t t e r s .
The
awdnst
learning
authors
contributing
distinguish
(1985)
write.
to
the
quality
h o t s in the
book
between w r i t i n g
Whereas
involves improving t h e
to
to
and
t h e g o a l of learning t o w r i t e
of
w r i t t e n work, w r i t i n g t o
l e a r n f o c u s e s on b e t t e r t h i n k i n g a n d l e a r n i n g .
Steve Pearce
t h e t e a c h e r ' s r o l e when c h i l d r e n w r i t e t o l e a r n a s
describes
in journal or learning
accepting
finished
learn
the
log
writing:
v a l u e of w r i t i n g t h a t
product,
" W r i t i n g t o l e a r n means
does
not
lead
to
a
w r i t i n g t h a t evinces thought but dues not
merit t h e c a r e f u l s c r u t i n y
which a f i n i s h e d p i e c e of w r i t i n g
d e s e r v e s " (p. 4 ) .
J o u r n a l w r i t i n g s e r v e d an i m p o r t a n t f u n c t i o n
students
I
worked
w r i t i n g and
those
w i t h i n t h e gymnasium as t h e y u s e d i t t o
express t h e i r feelings
o u r work.
for
and
opinions
o r a s k q u e s t i o n s about
S i n c e the j o u r n a l s c o n t a i n e d t h e s t u d e n t s ' p r i v a t e
explorations
with ideas
o r words,
1 read
and
60
r e s p o n d e d o n l y t o t h o s e e n t r i e s t h e y w i s h e d t o s h a r e w i t h me.
Knowing
that
enthusiastic
f
responded
response
communication
to
from
provided
a
their
writing
the
students.
natural
forum
incited
The
for
an
written
reading
and
w r i t i n g and s e r v e d a s a w o n d e r f u l v e h i c l e f o r g e t t i n g t o know
my
students
better.
A
common
frustration
for
teachers
i n v o l v e s f i n d i n g t h e t i n e t o t a l k p r i v a t e l y with s t u d e n t s and
showing
personal
a
interest
in
each
Opportunities f o r response i n students'
one
journals
of
them.
eliminated
some o f t h i s f r u s t r a t i o n f o r t h i s w r i t e r .
a
Erika,
reflecting
g r a d e f i v e , p h y s i c a l l y t a l e n t e d s t u d e n t , when
upon h e r
interests
and
needs
e d u c a t i o n c l a s s e s , c a u s e d m e t o d o my own
evaluate
the
dance u n i t .
music
I
during
physical
r e f l e c t i o n a n d re-
had c h o s e n f o r a H a l l o w e ' e n c r e a t i v e
She wrote:
O c t o b e r 2 9 , 1992
Dear M s .
Sahli,
What I l i k e i n gym i s games a n d d a n c i n g . The
l i k e a b o u t d a n c i n g is t h e M o n s t e r
thing I don't
Mash b e c a u s e I t h i n k i t is a l i t t l e b a b y i s h & i t
d o e s n ' t h a v e a n y t h i n g t o d o w i t h h a r d movements. I
l i k e c h a l l e n g i n g s t u f f ! I ' d l i k e t o s u g g e s t a game
a n d I want b e t t e r m u s i c . PLEASE!
Kimberly,
one
of
Erika's
b e s t f r i e n d s i n grade f i v e ,
e x p r e s s e d similar s e n t i m e n t s i n h e r j o u r n a l e n t r y :
O c t o b e r 29,
1992
M s . S a h l i are w e g o i n g t o p l a y v o l l e y b a l l ?
I like
p l a y i n g tag gamesCan w e get some b e t t e r m u s i c
for d a n c i n g ?
The
draft
document
of
The-intermediateqrogram:
F o u n d a t i o n s (194%) s t r e s s e s
t h e need f o r t e a c h e r s t o promote
" p e r s o n a l i n t e g r a t i o n " and t o h e l p s t u d e n t s
with t h e i r experiences.
in
only
I t suggests t h a t "involving students
some a s p e c t of c u r r i c u l u m
perceived
as
r e l e v a n c e " ( p . 98).
decision
making
Journal
writing
may
enhance
served
not
a way o f i n v o l v i n g s t u d e n t s i n some o f t h e d e c i s i o n
making r e l a t e d t o p h y s i c a l
provided
make c o n n e c t i o n s
education a c t i v i t i e s , b u t it a l s o
a n o t h e r a v e n u e f o r me t o e x p l a i n
the
reasons
for
choosing o r n o t including a p a r t i c u l a r a c t i v i t y .
I n E r i k a ' s j o u r n a l I responded:
I ' m s o r r y y o u ' r e n o t e n j o y i n g t h e m u s i c . Would you
l i k e t o h e l p m e f i n d s o m e t h i n g more s u i t a b l e a f t e r
school?
Writing
a
satisfying
response
to
Kimberly's
first
q u e s t i o n p r e s e n t e d more o f a c h a l l e n g e ; h o w e v e r , s h e a p p e a r e d
satisfied with the reply:
Kimberly,
Most s t u d e n t s , e s p e c i a l l y t h e g r a d e f o u r s , a r e
s t i l l l e a r n i n g t o throw and c a t c h a b a l l and do n o t
y e t seem r e a d y t o l e a r n how t o bump, v o l l e y o r
s e r v e . We w i l l p l a y m o d i f i e d games s u c h a s b l a n k e t
v o l l e y b a l l o r t h r o w and c a t c h v o l l e y b a l l .
I ' m glad y o u ' r e e n j o y i n g t h e tag g a m e s . You
l o o k f i t when y o u ' r e p l a y i n g .
E r i k a a l s o mentioned t h a t s h e ' d l i k e b e t t e r
m u s i c . Can t h e t h r e e o f u s m e e t a f t e r s c h o o l t o
l i s t e n t o my tape?
Mallory, a grade four
student,
a b o u t our work i n physical e d u c a t i o n ,
explores
her
feelings
S h e wrote:
October 28, 1 9 9 2
I n P . E . I m o s t l y e n j o y g y m n a s t i c s because I ' m
i n t e r e s t e d i n i t . f t h i n k g y m n a s t i c s is easy. I
d o n ' t l i k e d a n c i n g b e c a u s e i t ' s t o o h a r d . Dancing
I ' m n o t good a t .
Mallory required reassurance t h a t she could
dance.
be s u c c e s s f u l i n
U n l i k e E r i k a and Kimberly, c r e a t i v e d a n c e a p p e a r e d t o
b e a new e x p e r i e n c e f o r M a l l o r y ,
I responded:
Mallory,
You're d o i n g j u s t f i n e w i t h d a n c e .
You a r e
a b l e t o keep t i m e t o t h e music and, w i t h p r a c t i c e ,
I ' m s u r e y o u ' l l s o o n f e e l more c o m f o r t a b l e
m a k i n g u p y o u r own r o u t i n e s .
Students
evalua"
w h a t t h e y had
themselves.
following
a
utilized
When
learning
done
asked
to
log
t o r e f l e c t upon o r
o r l e a r n e d and t o s e t g o a l s f o r
explain
what
she
had l e a r n e d
a games l e s s o n on t h e theme o f b o u n c i n g , T a e v a h , a
t h i r d year primary student, wrote:
When p l a y i n g w i t h t h e b a l l s I l e a r n e d t h a t you c a n
s w i t c h hands t o steer t h e b a l l .
Jennifer,
a
f o u r t h year primary student
in
the
same
class, e x p l a i n e d :
When p l a y i n g w i t h t h e b a l l s I l e a r n e d t h a t i t i s
h a r d t o jump o v e r a r o p e a n d b o u n c e t h e b a l l a t t h e
same time.
F o r t h a t you n e e d l o t s o f s k i l l .
Upon
completion
of
t h e g y m n a s t i c s theme
of
rolling,
L a u r a , i n g r a d e f o u r , d e s c r i b e s what s h e l e a r n e d :
I h a v e l e a r n e d a l o t i n gym. I h a v e l e a r n e d
t h e f o r w a r d , backward and s i d e w a y s r o l l .
The
f o r w a r d r o l l is very e a s y . A l l you h a v e t o d o i s
p u t y o u r h e a d on t h e f l o o r , t u c k y o u r c h i n i n a n d
roll,
The s i d e w a y s r o l l is v e r y h a r d . M s . S a h l i
I t r y hard b u t I c a n ' t do
s a y s I have t o c u r l up.
i t . I j u s t c a n ' t d o i t . I a m v e r y good a t t h e
I t i s t h e same a s t h e f r o n t w a r d
backward r o l l .
r o l l o n l y you move b a c k w a r d . You r o c k f r o m y o u r
b u t t o c k s t o y o u r s h o u l d e r s and f l i p b o t h l e g s o v e r
y o u r head.
Frequently
learning
log
I
invited
entries
with
the
children
to
each
other.
Just
share
as
their
student
d e m o n s t r a t i o n s i n t h e gymnasium prompted
to
new
challenges
so
did
Following Laura's s h a r i n g
the
of
sharing
show
Laura
how
to
of t h e i r w r i t i n g .
t h i s response t h e students a l l
reviewed t h e sideways s a f e t y r o l l .
to
s t u d e n t s t o respond
Many s t u d e n t s v o l u n t e e r e d
t u c k i n h e r k n e e s , e l b o w s and c h i n .
Graves ( 1 9 9 1 ) e n c o u r a g e s t h e s h a r i n g o f " l e a r n i n g s t o r i e s " i n
t h e classroom:
" T h i s i s what I l e a r n e d and t h i s is how I l e a r n e d
it."
A s e n s e o f p o t e n t i a l i s t h e f o u n d a t i o n upon
which t e a c h e r s and c h i l d r e n can raise e x p e c t a t i o n s
f o r e a c h o t h e r . The more w e know w h a t we know, t h e
we
can c h a l l e n g e o u r s e l v e s ,
d i r e c t our
more
e n e r g i e s , a n d work w i t h renewed
intensity.
The
more w e l o o k f o r a c h i l d ' s p o t e n t i a l , t h e more we
c a n e n j o y t e a c h i n g , b e c a u s e we s e e r e a l p r o g r e s s a t
t h e v e r y p o i n t s w e have i d e n t i f i e d .
( p . 144)
Colin, i n fourth year
remember
for
baton
primary,
explains
passing during track
and
what
h e must
field
relay
activities:
When I r u n a r e l a y I must g e t i t r i g h t . P a s s i n g :
You r e c i v e t h e b a t e n w i t h y o u r r i g h t hand and you
i m i d e i t l y p a s s it w i t h y o u r l e f t h a n d .
The r e s p o n s e l o g e n t r y o f Meghann, a g r a d e f o u r
student,
became
illustrates
in
their
how
writing,
involved t h e
and
children
sometimes
how
t h e w r i t i n g helped t h e
c h i l d r e n l e a r n more a b o u t t h e m s e l v e s .
She d e s c r i b e s what s h e
l i k e d b e s t i n h e r work w i t h t h e l a r g e a p p a r a t u s
and what s h e
would s t i l l l i k e t o learn:
G y m n a s t i c s is c h a i i e n g i n g and f u n a t t h e same
t i m e , Out of t h e box, t h e r o p e s ,
the climbing
w a l l , t h e b a r s , t h e b e n c h e s , t h e mats, t h e b a l a n c e
I
beam a n d t h e l a d d e r my f a v o u r i t e is t h e b o x .
d o n ' t know why f j u s t
l i k e i t - I ' m n o t v e r y good
a t g y m n a s t i c s b u t I s t i l l l i k e i t . Some things I
w a n t t o be a b l e t o d o a r e c a r t w h e e l s , h e a d s t a n d s ,
h a n d s t a n d s and b e a b l e t o c l i m b t o t h e t o p of t h e
r o p e s . B u t I know I ' l l n e v e r b e a b l e t o d o a n y o f
t h a t s t u f f . The b e s t I ' l l b e a b l e t o d o i s c l i m b
t o t h e m i d d l e of t h e r o p e s and d o s u m m er sa u l t s
i n s t e a d o f c a r t w h e e l s and h a n d s t a n d s and s t a n d on
my f e e t i n s t e a d o f my h a n d s o r h e a d . B u t I s t i l l
l i k e gymnastics.
I t t a k e s a l o n g time t o
G y m n a s t i c s is h a r d .
I t ' s been f i v e
b u i l d t h e s t r e n g t h t o climb a rope.
y e a r s and I s t i l l c a n ' t d o i t . But I s t i l l l i k e
gymnastics .
I ' v e j u s t r e a d t h i s o v e r a n d I ' m w o n d e r i n g why
I l i k e gymnastics.
On
,he o n e h a n d , the w r i t i n g o f t h i s r e s p o n s e h e l p e d Meghann
to
reach
a better
understanding
a c c o m p l i s h w i t h what w a s r e a l i s t i c .
response
me
forced
children develop t h e
to
examine
upper
body
of
On
what
she
the
further
strength
wanted
to
o t h e r hand, h e r
t o help a l l
ways
necessary
t o be
successful with suck t a s k s .
R e t u r n i n g t o t h e c l a s s r o o m a f t e r o u r work
apparatus
at
on
t h e large
t h e b e g i n n i n g o f t h e week, m y t h i r d and f o u r t h
y e a r p r i m a r y s t u ~ e n t ss e t t h e i r own g o a l s f o r t h e r e s t o f t h e
week.
Brian,
in
fourth
year
primary,
describes
his
challenge:
g o a l is t o g e t b e t t e r a t g o i n g down t h e r o p e s
hand u n d e r h a n d .
My
Chad, a l s o i n f o u r t h year p r i m a r y , w r o t e :
I ' d l i k e t o l e a r n t o do a r o l l i n t h e middle of t h e
ropes. I w i l l l e a r n t h i s b y w a t c h i n g o t h e r s .
I n f a c t , Chad a c c o m p l i s h e d h i s g o a l b e f o r e
the
end
of
the
next p e r i o d , w i t h o u t a s s i s t a n c e f r o m m e .
Frank
Smith
(1988),
in
Joining
literary-club,
65
stresses
the
need
for
m e a n i n g f u l and r e l e v a n t r e a d i n g and
writing opportunities.
Our work i n t h e gymnasium w i t h buddy
c l a s s e s r e s u l t e d i n many w o n d e r f u l o p p o r t u n i t i e s
communication
between
combined
classes
students
to
buddies.
The
I
write
encouraged
to
Following
one of o u r
the
fourth
year
primary
their
first
year
primary
s t u d e n t s quickly learned t h e proper format f o r
(1988) e n c o u r a g e s
letter
this
"Learning
and
in
Stephen
this
natural context.
t y p e of " i n c i d e n t a l "
about
b u t r a t h e r t h e by-product
Louise
classes.
letters
writing a friendly
explains:
two
for written
Smith
learning.
He
l a n g u a g e is n o t t h e p r i m a r y aim,
o f some o t h e r a c t i v i t y " ( p . 7 ) .
wrote
delightful
letters
of
encouragement t o t h e i r b u d d i e s .
May 1 7 , 1 9 9 0
Dear K i n d e r g a r t e n S t u d e n t s ,
I w a s r e a l l y i m p r e s s e d b y t h e way you w e r e
bouncing t h e b a l l s .
The t r i c k s you l e a r n e d w i t h
t h e b a l l s l i k e b o u n c i n g t h e b a l l and t u r n i n g
a r o u n d , p u t t i n g y o u r leg o v e r t h e b a l l , r o l l i n g t h e
b a l l down y o u r b a c k a n d b o u n c i n g it were r e a l l y
I h o p e t o work w i t h you a g a i n i n gym.
neat.
Sincerely,
Louise
May 1 7 , 1990
Dear K i n d e r g a r t e n C l a s s ,
I w a s amazed a t how y o u l e a r n e d s o E a s t . You
w e r e d o i n g t r i c k s b e f o r e I knew i t . I t h i n k t h a t
very, v e r y ,
v e r y s o o n a l l o f you w i l l b e d o i n g
t r i c k s with t h e balls.
Sincerely,
Stephen
66
S t e p h e n S m i t h (1991)
the
about
children
teaching
on
the
e n c o u r a g e s e d u c a t o r s t o l e a r n more
phyaical
af
playground
language t h e y u s e (pp.
education
Further t o t h i s , t h i s study
indicates t h a t the physical educator a l s o
students
perceived
their
Smith e x p l a i n s t h a t
by
buddies
listening
the
"tricks".
as
to
come t o a p p r e c i a t e , f o r i n s t a n c e , t h e
become
and
how
t h e c h i l d r e n , "we may
tricks
that
of
a
included
that children often
He c o n t i n u e s :
(p.
47).
Much o f
i n t h i s study supports Smith's notion
learn
physical s k i l l s i n n a t u r a l "play-
l i k e " s e t t i n g s by o b s e r v i n g and c h a l l e n g i n g
"tricks.
We s e e
a more c h i l d - o r i e n t e d c o n c e p t u a l i z a t i o n
o f how p h y s i c a l c o m p e t e n c e c a n b e t a u g h t "
writing
to
t e c h n i c a l language of s k i l l developnent, I
t h i n k we c a n d e v e l o p
the
tend
t h e y i m p i n g e upon a c h i l d ' s
own s e n s e o f p h y s i c a l a c c o m p l i s h m e n t " ( p . 4 7 ) .
place
Neither
l e a r n i n g new s k i l l s .
f o c a l p o i n t o f a young c h i l d ' s a c t i v i t y .
how t r i c k s a r e l e a r n e d
"In
much t o l e a r n
B o t h L o u i s e and S t e p h e n
t h e i r b u d d i e s a s l e a r n i n g new
to
has
W r i t i n g p r o v i d e s a permanent r e c o r d
o f c h i l d r e n ' s t h o u g h t s and l a n g u a g e .
refer
observing
and c a r e f u l l y l i s t e n i n g t o t h e
46, 4 7 ) .
from c h i l d r e n ' s w r i t i n g .
by
each o t h e r t o do
"'
Transactional Writing
The
s e c o n d f u n c t i o n of l a n g u a g e d e s c r i b e d by B r i t t o n e t
al. (1975)
involves
transactional
w r i t i n g used t o : inform,
67
a d v i s e , p e r s u a d e o r i n s t r u c t an a u d i e n c e .
(1982) d e s c r i b e
schools"
transactional
4).
(p.
They
F u l w i l e r and Young
w r i t i n g as " t h e
lament
language
of
the fact that "the further
along i n school children go, t h e l e s s expressive writing they
are a s k e d t o p e r f o r m " ( p . 5 ) .
64%
of
the
writing
transactional
speculative
in
The
this
writing
study revealed t h a t
collected
researchers
figure:
certainly
aims
reason. curricular
writing
samples
mode.
implications
Britton's
did
"The
found
small
suggests
not
involved
the
serious
amount
of
t h a t , f o r whatever
include
t h e f o s t e r i n g of
t h a t r e f l e c t s independent thinking"
(p.
In
197).
t h i s study purposeful opportunities f o r transactional writing
appeared l e s s f r e q u e n t l y than o p p o r t u n i t i e s f o r expressive o r
poetic writing.
and
hold
While t h e need t o a s s e s s c h i l d r e n ' s l e a r n i n g
them
accountable
for
their
arose
learning
f r e q u e n t l y , w r i t i n g o f a s e l f - e v a l u a t i v e n a t u r e , as d e s c r i b e d
i n t h e e x p r e s s i v e mode, s e r v e d a more u s e f u l f u n c t i o n .
In
his
I n t e R r a t i o n o f p h y s i c a l educaf;lnn
book,
the
e l e m e n t a r y s c h o o l c u r r i c u l u m , J a m e s Humphrey ( 1 9 9 0 ) d e s c r i b e s
the
need
for
opportunities
writes:
"purposeful
for
c h i l d r e n ( p . 126).
and i n t e r e s t i n g p r a c t i c e
regulations
for
display
such
reading, the
mean i n g f u 1"
In
one
writing
example
he
t e a c h e r s h a v e f o u n d t h c t i t is v e r y d e s i r a b l e
"Some
of
and
to
have
children
various a c t i v i t i e s " (p.
written
copying
of
copy
126).
r u l e s and
While
the
m a t e r i a l might promote purpossful
materials
suggests
a
mechanical
operation.
The f o l l o w i n g e x a m p l e s a t t e m p t t o d e s c r i b e a more
v a l u a b l e a p p r o a c h t o w r i t i n g i n t h e t r a n s a c t i o n a l mode.
The b u i l d i n g o f a s t r o n g f o u n d a t i o n f o r
apparatus,
when
working
p l a y g r o u n d , s e r v e s as
rules
the
gymnasium
I n an e f f o r t
the
t o investigate the
introduction
to
the large apparatus,
t h e c h i l d r e n were asked t o i l l u s t r a t e w i t h
a
p i c t u r e and/or
o n e s a f e t y r u l e t h e y had p r a c t i s e d when w o r k i n g on t h e
equipment.
work
on
t h e f i r s t and s e c o n d y e a r p r i m a r y s t u d e n t s had
l e a r n e d , f o l l o w i n g an
words
or
an i m p o r t a n t g o a l of t h e e a r l y p r i m a r y
p h y s i c a l e d u c a t i o n program.
safety
in
t h e s a f e u s e of
I
Samples
A f t e r a d i s p l a y and
felt
c l a s s review of each c h i l d ' s
s a t i s f i e d t h a t they understood
the
routines.
of t h e w r i t i n g from t h e second y e a r p r i m a r y c h i l d r e n
follow:
Wate f o r t h e u t h r p e o p l e
on.
to
g e t o o f b e f o r you g e t
( T r a n s l a t i o n : Wait f o r t h e o t h e r p e o p l e t o g e t o f f
b e f o r e you g e t o n . )
I n t h e gym I wus on t h e r o p s . I w e n t t o t h e t o p ,
a n d K a m down hand u n d e r hand a n d wen you g e t down
you d o a s a f t y r o l l .
I
( T r a n s l a t i o n : I n t h e gym I w a s on t h e r o p e s .
w e n t t o t h e t o p a n d came down hand u n d e r h a n d . And
when you g e t down you d o a s a f e t y r o l l . )
Jennifer (age 6)
Woch o u t f o u r u t h e r p e o p l e jump l a n d a n d r o l .
( T r a n s l a t i o n : Watch
l a n d and r o l l . )
out for other
people.
S a r a h (age 6 )
Jump,
69
A n o t h e r e x p e r i e n c e r e s u l t i n g i n t h e u s e of t r a n s a c t i o n a l
writing
occurred
following
c a t c h i n g games b y m y
the
invention
f o u r t h year primary / grade four c l a s s .
Their t a s k involved w r i t i n g a description
had
invented
so
of t h r o w i n g and
the
of
game t h e y
t h a t o t h e r groups might be a b l e t o t r y i t .
Laura wrote:
My g r o u p a n d I p l a y e d
a game c a l l e d p a s s t h e
b e a n b a g . T h i s is how you p l a y i t . You a l l s t a n d
i n a c i r c l e . You g e t o n e b e a n b a g and p r e t e n d i t
is a h o t p a t a t o .
You p a s s i t a r o u n d i n t h e c i r c l e
from one p e r s o n t o t h e n e x t .
I f you g e t c a u g h t
h o l d i n g t h e b e a n b a g t o o l o n g , you w i l l g e t b u r n e d .
T h a t ' s how you k e e p t h e b e a n b a g m o v i n g .
Once t h e c h i l d r e n had
written
up
their
small groups t o share t h e i r writing.
least
one
games
t h e y met i n
group s e l e c t e d at
Each
o f t h e games, d e s c r i b e d b y a n o t h e r g r o u p , t o p l a y
the following period.
I
On a n o t h e r o c c a s i o n
describe
enjoyed
it.
for
t h i s group of students t o
asked
m e and t h e i r c l a s s m a t e s
playing
the
they
game
most
d u r i n g t h e s e c o n d term a n d why t h e y e n j o y e d
During a mini w r i t i n g
workshop
the
ways t o s e q u e n c e t h e i r i d e a s a n d i n c l u d e
children
examined
all d e t a i l s so that
t h e i r c l a s s m a t e s c o u l d a c t u a l l y r e a d t h e e x p l a n a t i o n and play
t h e game, w i t h o u t a n y
further verbal instructions.
grade
chose
four
sequential
student,
to
use
numbers
Jenny, a
rather
than
w o r d s (e-g. f i r s t , s e c o n d , t h i r d ) t o d e s c r i b e t h e
game s h e m o s t e n j o y e d .
She wrote:
I l i k e games w h e r e you h a v e f u n s o I w i l l t e l l
you a b o u t o n e . One o f my f a v o u r i t e games is D r .
D o d g e b a l l b e c a u s e you can work i n groups. I l i k e
i t when you d o d g e t h e b a l l . I l i k e t a p l a y i t
b e c a u s e i t ' s n o t o n l y f u n i t ' s a n e x c i t i n g game.
Now I w i l l t e l l you how t o p l a y :
1) You s p l i t up i n two t e a m s .
2 ) G e t s i x b a l l s and g i v e t h r e e b a l l s t o e a c h team.
3 ) You h a v e t o h i t t h e o t h e r t e a m p l a y e r s b e l o w t h e
waist.
4 ) When y o u ' r e h i t you h a v e t o d r o p t o t h e f l o o r .
5 ) T h e d o c t o r h a s t o d r a g you t o t h e m e d i c a l room
corner.
6 ) Then you a r e f r e e .
7 ) T h e f i r s t team t o g e t a l l p l a y e r s t o t h e g r o u n d
wins.
Now you know how t o p l a y .
When c h i l d r e n w r o t e
their
or
peers
writing
or
to
inform
o r explain something t o
t h e t e a c h e r , t h e y seldom
a
served
more
h e l p i n g them t o u n d e r s t a n d t h e p h y s i c a l
development.
summarize
and
transactional
writing
function
themselves
or
involved
the
in
the
While
report
satisfying
writing
the
took r i s k s ; consequently w r i t i n g f o r themselves,
i n t h e e x p r e s s i v e node,
physical
personalized
children
this
need
to
or their
learn
accurately,
study
served
in
to
the
least
the
i n h e l p i n g c h i l d r e n t o l e a r n more a b o u t
education.
transactional
mode
The
most
found
in
o f t h e i n v e n t e d games.
sharing
sharing provided
purpose
experience
information
in
physical
the
useful
a
genuine
purpose
for
meaningful
this
study
I n t h i s case,
writing
and
reading.
Poetic or Creative Writing
Contrary
to
t h e study of B r i t t o n e t al.
w r i t i n g c o m p r i s e d o n l y 18% of t h e t o t a l w r i t i n g
where
poetic
samples, t h e
71
d o m i n a n t mode o f e x p r e s s i o n i d e n t i f i e d i n t h i s s t u d y i n v o l v e s
poetic or creative writing.
" P o e t i c w r i t i n g u s e s l a n g u a g e as
Words a r e u s e d
a n a r t medium" ( B r i t t o n e t a l . , 1 9 7 5 , p . 9 0 ) .
aesthetically
c r e a t e a c e r t a i n mood o r e f f e c t s u c h as i n
to
p o e t r y , drama o r f i c t i o n .
Poetic
o n e ' s own p l e a s u r e a n d t h e p l e a s u r e o f
means
to
some
other end.
e x p e r i e n c e s promoted
response,
and
for
n o t as a
and
Sometimes t h e p h y s i c a l e d u c a t i o n
poetic
still
written
others
writing
of
a t o t h e r times t h e e x p e r i e n c e s
nature,
is
writing
other
times
a highly emotional
inspired
the
a
sensory
experiences incited
w r i t i n g o f a humorous n a t u r e .
t h e b e g i n n i n g of
At
children
education
to
tell
classes
their
stories,
new
stories
and e x p e r i e n c e s
a s most d r e a d e d t i m e s .
these
each
year
about
-
encourage
I
previous
physical
t h e i r favourite a s well
F o l l o w i n g t h e o r a l s h a r i n g o f some o f
Adrijana,
a
fourth
year
primary,
s t u d e n t , new t o o u r s c h o o l , w r o t e h e r own s t o r y .
her excitement f o r our
the
E.S.L.
It captures
a d v e n t u r e playground equipment and, I
s u s p e c t , o u r d a i l y p h y s i c a l e d u c a t i o n program.
I Love R u n n i n g a n d J u m p i n g
Once upon a t i m e t h e r e w a s a l i t t l e g i r l who
l i k e d t o r u n and jump. One d a y t h e l i t t l e g i r l had
t o go t o s c h o o l b u t s h e was n o t a l l o w e d t o r u n and
jump.
She begged t h e p r i n c i p a l s o s h e c o u l d r u n
a n d jump b u t h e s a i d n o . T h e g i r l h a t e d e v e r y o n e .
A t t h e e n d o f t h e y e a r t h e g i r l g o t a new s c h o o l .
T h e new s c h o o l h a s a p l a y g r o u n d and l o t s of
equipment t o p l a y ,
r u n a n d jump.
The g i r l l i k e s
everyone i n t h e s c h o o l , even t h e p r i n c i p a l .
When t h e c h i l d r e n h e a r d s t o r i e s a b o u t p h y s i c a l e d u c a t i o n
experiences o r read
they
often
children
wrote
worked
stories
stories.
t h e n i n t e r p r e t e d t h e movements,
On t h e o t h e r
when
the
i n t h e gymnasium u s i n g word p i c t u r e s o r t h e
r i c h movement i m a g e s
or
vocabulary
writing often resulted in poetry.
patterns
hand,
involved
of p o e t r y , t h e c r e a t i v e
The r h y t h m , r e p e t i t i o n and
i n c r e a t i n g movement s e q u e n c e s t r a n s l a t e d
w e l l i n t o t h e language of p o e t r y .
The
use
presented
resulted
voice.
an
in
Soon
of
large
the
exciting
poetic
apparatus
challenge
writing
for
revealing
(grade 4) describes
her
in
most
the
gymnasium
students
and
a very strong inner
initial
apprehension
t h e n c o u r a g e i n jumping o v e r t h e box:
A Box 1s C h a s i n g Me
A b o x is c h a s i n g m e ,
I can't stop,
So I w i l l c l o s e m y e y e s ,
Rats!
H e ran over me,
I w i l l d o it a g a i n ,
The b o x i s chasing m e a g a i n ,
What c a n I d o ?
Oh no!
He's g e t t i n g f a s t e r .
I know,
I w i l l jump o v e r him.
Did I d o it?
Yes, I d i d it!
K o r r a y f o r me!
The b o x s u r e g o t a l e s s o n .
overcome
her
sense
of
fear
apparatus.
Climbing t h e w a l l ,
Feeling s o small,
when
working
on
the
large
Trembling, frightened t h a t I w i l l f a l l ,
D a r i n g l y d o i n g a s e q u e n c e a c r o s s t h e beam,
It i s n ' t a s b a d a s i t r e a l l y s e e m s .
The w r i t i n g o f T r i s t a n e a n d R a t i e r e v e a l s a s t r o n g s e n s e
o f p r i d e i n t h e s u c c e s s f u l h a n d l i n g of r i s k - t a k i n g a c t i v i t i e s
on the a p p a r a t u s
Climb up t h e c l i m b i n g w a l l ,
Then d o a s w i f t t u r n on t h e b o x ,
D o an i n t e r e s t i n g r o l l on a m a t ,
F l i p and t w i r l o v e r t h e b a r s ,
Even t h o u g h I ' m s c a r e d ,
I d a r e t o do a f l i p !
T h e w o r l d is t u r n i n g u p s i d e down,
And t h e n I l a n d p e r f e c t l y !
I c l i m b up t h e r o p e s ,
I put hand over h a n d ,
I a m b e i n g d a r i n g and r i s k y ,
B u t I d o i t anyway.
Tristane (grade 4)
Gymnastics
Risky, d a r i n g ,
Outrageous fun,
I h a v e now a c c o m p l i s h e d i t a n d I'm d o n e .
The d a n g e r o u s jumps, t h e f r e a k y f l i p s ,
I never gave u p ,
I t r i e d my b e s t .
Practise, Practise,
I t makes m e f e e l p r o u d ,
T h a t since I p r a c t i s e d ,
I d i d it w e l l .
I f e e l great,
I f e e l secure.
d
Katie (grade 4)
During
children
models
of
with a broader b a s e
as
their
the
d i f f e r e n t w r i t i n g f o r m s to p r o v i d e them
to
express
their
own ideas.
i n v i t e c h i l d r e n t o choose t h e i r form, v o i c e
well
with
m i n i w r i t i n g workshops I o f t e n s h a r e d
subject,
we
give
them
and
a*
*,
2
w h e n we
audience as
ownership
and
74
responsibility
for
their
from a n a s s i g n e d t a s k
p.
6).
during
writing.
This transforms writing
t o a p e r s o n a l p r o j e c t " ( C a l k i z s , 1986,
A s t h e c h i l d r e n experimented w i t h
writers'
workshop
they
the
frequently
w r i t i n g forms
d r e w upon t h e i r
p h y s i c a l e d u c a t i o n e x p e r i e n c e s f o r t h e i r c h o i c e of t o p i c .
Brian, f o u r t h year primary,
uses
the
t o p i c "Dance" t o
w r i t e h i s own s i m i l e :
Dance is l i k e a magic h a n d ,
I t p u l l s you on y o u r f e e t ,
And makes you move t o t h e b e a t .
Taevah,
t h i r d year primary,
i n s p i r e d by
Brian's
poem,
w r o t e h e r " c o m p a r i s o n " poem on t h e same t o p i c :
Dance is l i k e a f l y i n g b i r d ,
I t makes m e f e e l f r e e .
When I h e a r t h e m u s i c b e a t ,
I w a n t t o d a n c e a n d move my f e e t .
Carly,
fourth
y e a r p r i m a r y , u s e s h e r e x p e r i e n c e on t h e
t r e s t l e t o w r i t e a c i n q u a i n poem:
Trestle
S u p e r , Awesome,
Flipping, Twirling, Spinning,
The t r e s t l e is r e a l l y f u n ,
The Bars
Jennifer,
fourth year
primary,
chooses
the
cinquain
s t r u c t u r e t o s h a r e h e r e n t h u s i a s m and comaitment f o r l e a r n i n g
t h e "Long Jump":
Long Jump
Superb, t h r i l l i n g
Running, f l y i n g , j u m p i n g
T r y your v e r y b e s t t o win
Swanguard
S u s i e , g r a d e f o u r , u s e s t h e h a i k u f o r m t o w r i t e h e r poem
.:r-r i s b e e s "
f o l l o w i n g o u r work o u t d o o r s :
Flying, spinning through t h e air
Watch them s o a r h i g h a b o v e
Colourful saucers.
M i c h a e l , g r a d e s e v e n , u s e s rhyming c o u p l e t s t o w r i t e h i s
humorous, y e t s e r i o u s ,
i n t e r p r e t a t i o n of " F i t n e s s R u l e s . "
If y o u want more m u s c l e ,
D o n ' t s i t down - g e t up and h u s t l e .
Don't sit still l i k e a log,
G e t r i g h t up and r u n o r j o g .
Don't relax i n your s h o r t s ,
H u r r y u p a n d j o i n some s p o r t s .
Don't j u s t sit around with your d a t e ,
B r i n g him o r h e r a r o u n d t o l i f t some w e i g h t s ,
Don't l i e around t o f r y i n t h e sun,
G e t u p and g e t a t a n on t h e r u n .
If t h e w e a t h e r ' s n o t n i c e , d o n ' t r e f r a i n ,
Get o u t a n d d a n c e i n t h e r a i n .
If i t ' s f l e x i b i l i t y you w a n t t o c a t c h ,
D o n ' t j u s t yawn, g e t down a n d s t r e t c h .
If y o u e a t j u n k f o o d , y o u ' l l h a v e w e i g h t t o f i g h t ,
Y o u ' l l f e e l b e t t e r i f you e a t r i g h t .
Follow these r u l e s accordingly,
And l i v e y o u r l i f e mo-.: h a p p i l y !
Whether
or
t h e c h i l d r e n w r o t e t o l e a r n as i n t h e i r j o u r n a l
learning
log
responses
or
learned
developing t h e i r poetic responses, t h e
naturally
from
their
physical
o r a s s e s s e d what t h e y
wanted
to
while
physical education experiences.
feelings
still
write
w r i t i n g evolved q u i t e
they explored t h e i r
edz-ation
to
learn,
or
When
o p i n i o n s a b o u t o u r work i n
had
learned
t h e y used e x p r e s s i v e lznguage.
and
It
d e v e l o p e d a s a n e x t e n s i o n o f t h e i r s p e e c h and a l l o w e d f o r t h e
unstructured,
expressive
themselves.
journal
free
flow
of
thoughts.
The
children's
w r i t i n g r e v e a l e d s i n c e r i t y and a g e n u i n e s e n s e of
Often
responses
I responded t o
prompting
e x p r e s s i v e w r i t i n g promoted
an
their
ongoing
learning
log
dialogue.
t h i n k i n g and l e a r n i n g
and
The
abuut the
76
physical
experience.
The p o e t i c w r i t i n g , on t h e o t h e r h a n d ,
f o c u s s e d on t h e e f f e c t i v e u s e o f l a n g u a g e .
the
movement
v o c a b u l a r y f o r i t s own s a k e
audience
rather
teacher.
They worked h a r d a r r a n g i n g
than
entertain
an
the
movement i d e a s and
Often
they
revised
w r i t i n g s e v e r a l times t o a c h i e v e a s u c c e s s f u l o u t c o m e .
Here, t h e p h y s i c a l e x p e r i e n c e
about writing.
p r o m o t e d t h i n k i n g and l e a r n i n g
The m o s t commonly e x p r e s s e d
conveyed t h e i r s t r o n g
emotional
or
invented
patterns,
p a t t e r n s t o create f r e e
prose.
repeated
flowing
poetic
world
the
practised
the
create t h e r e p e t i t i v e
p h r a s e s , p a t t e r n s and r h y t h m s o f p o e t r y .
the
and
as
Just
movement s e q u e n c e s , s o t h e y
t r a n s l a t e d t h e l a n g u a g e of movement t o
o f w r i t i n g and
of
sensory response t o t h e
rnovgment e x p e r i e n c e i n p o e t r y t h a n i n
children
form
I t a p p e a r s t h e c h i l d r e n more e a s i l y
writing involved poetry.
world
to
t o communicate w i t h t h e m s e l v e s o r t h e
vocabulary t o c r e a t e a formal p a t t e r n .
their
The c h i l d r e n u s e d
of
became i n t e r d e p e n d e n t a n d i n t e r r e l a t e d .
The t w o w o r l d s , t h e
physical
experiences,
CHAPTER I V
HOW DOES WRPTfNO HELP CHfLDRBN TO REINFORCE,
CLARIFY OR ZXTEND THE PHYSICAL EXPERIENCE?
Considerable research
t h e curriculum,
in
exists
supporting writing across
however t h i s r e l a t e s p r e d o m i n a n t l y t o w r i t i n g
t h e Language A r t s and E n g l i s h c u r r i c u l a o r w r i t i n g i n t h e
content
a r e a s of S o c i a l
Studies,
Mathematics
1 9 8 7 ; C a l k i n s , 1986; G r a v e s ,
(Atwell,
1985;
and
Science
Graves,
1991;
H a n s e n , Newkirk a n d G r a v e s , 1 9 8 5 ; A p p l e b e e and L a n g e r , 1 9 8 7 ) .
Limited research e x i s t s
Physical Education.
(1981) d e s c r i b e
describing
writing
Boorman ( 1 9 7 6 ) a n d
the
integration
pictures with expressive
in
B l a t t and Cunningham
o f s t o r i e s , poems and word
movement, b u t t h i s r e l a t e s e n t i r e l y
t o c r e a t i v e dance a n d c r e a t i v e w r i t i n g .
While
explain
used
that
the
movement
experiences frequently
[e.g. " I t
children
appears
and
the
had
physical
in
the
words
into
their
and
about
the
the
an
(Boorman,
extension
of t h e
The
c h i l d r e n ' s w r i t i n g i n a l l t h r e e areas
demonstrates
e x p r e s s i v e and t r a n s a c t i o n a l
more
excited
writing"
of t h e p h y s i c a l e d u c a t i o n c u r r i e u l u m (i.e.
dance)
t h e dance
p r i m a r i l y i n an a e s t h e t i c c o n t e x t .
present study presents
and
in
authors
children's writing
w h i c h had
t h e w r i t i n g is v i e w e d a s
experience
the
come t o l i f e f o r them i n t h e d a n c e
l e s s o n s became i n c o r p o r a t e d
1 9 7 6 , p . 311,
vocabulary
appeared
that
which
t h e a r e a of
physical
not
mode
games, g y m n a s t i c s
only
how w r i t i n g i n t h e
helped
children t o learn
experience,
but
also
how
the
78
children's poetic writing contributed t o t h i s .
Langer
designed
primary
and Applebee (1987) d e s c r i b e w r i t i n g
teachers
by
functions:
in
t h e c o n t e n t areas, t o s e r v e t h r e e
to
"(1)
activities,
gain
relevant
knowledge
and
e x p e r i e n c e i n p r e p a r i n g f o r new a c t i v i t i e s ; ( 2 ) t o r e v i e w and
consolidate
what
reformulate
and extend
known
is
o r h a s been l e a r n e d ; and ( 3 ) t o
ideas
and
(p .
experiences"
136).
S t u d i e s of w r i t i n g i n +he c o n t e n t areas (Applebee and L a n g e r ,
1987;
Britton
al.,
et
F u l w i l e r and Young,
occurs
most
1975;
1986)
frequently
transactional
Fulwiler
indicate
that
in the context
writing.
This
poetic or creative writing
and
writing
of
of
the
teacher.
1982;
t o learn
expressive
and
s t u d y , however, a l s o i n c l u d e s
which,
some cases, d e v e l o p e d
in
n a t u r a l l y d u r i n g writers' workshop, w i t h o u t
plan
Young,
a
predetermined
T h i s c h a p t e r c o n s i d e r s t h e ways t h e
t h r e e forms of w r i t i n g s e r v e d t o r e i n f o r c e , c l a r i f y o r extend
movement e x p e r i e n c e s f o r c h i l d r e n .
Reinforcing t h e Physical Experience
The
effective
teaching
and
learning
of
physical
e d u c a t i o n c o n c e p t s a n d s k i l l s when u s i n g a movement e d u c a t i o n
approach
involves t h e
vocabulary
for
vocabulary
provides
explore
building
both
movement
the
a
of
t e a c h e r and
framework
problems
an
in
a
for
extensive
the
students.
helping
variety
movement
of
The
students t o
ways.
In
describing effective
increasing
ability
to
students'
select
movement
Murray
vocabularies
appropriate
cha1lenge.s s e t
"
how
writing
poetic
practices,
,nd
"Our a i m is t o e n c o u r a g e v e r s a t i l e
(1989) e x p l a i n :
by
teaching
(p.
71).
motor
Wall
movement
and
responses
their
to
the
The f o l l o w i n g e x a m p l e s d e m o n s t r a t e
helps
to
reinforce
the
movement
vocabularies introduced during physical education c l a s s e s .
To a v o i d t h e n a r r o w
i n t e r p r e t a t i o n o f t r a v e l l i n g on t h e
large apparatus using t h e limited space
and
down,
words
"through"
stimulate
to
children
preliminary
of
the
use
as
such
"over,
imaginative
all
body
parts
"
words
"under,
"
movement
when
of up, a l o n g ,
" a r o u n d , " and
and
travelling.
The
d i s c u s s i o n , w r i t i n g , t h e n p u b l i s h i n g and s h a r i n g
following
two
poems
during
writers'
reinforced
t h e gymnastics vocabulary introduced,
two
writers
young
encourage
as
well
as
their
third
classmates.
Going over,
Going under,
Going w a y up t o t h e t o p ,
Going through t o o .
I d o n ' t know a b o u t y o u ,
But I l i k e t r a v e l l i n g .
Do y o u ?
I l i k e P. E . .
Don ' t you?
G o i n g all a r o u n d ,
G o i n g t h r o u g h t h e bars,
S l i t h e r i n g up t h e ropes l i k e a snake,
We c l i m b t h e r o p e s s o high.
I hope you l i k e c l i m b i n g ,
Because I d o .
I jumped way u p i n t h e a i r ,
So might you, t o o .
workshop
for
these
year primary
I hope t h a t when you g e t t h e r e ,
Nobody g e t s h u r t .
Ryan ( t h i r d y e a r p r i m a r y )
W
e climbed a v e r boxes,
We s l i p p e d t h r o u g h t h e b a r s ,
W
e t w i r l e d on t h e r o p e s ,
And s l i d down t h e b e n c h e s .
I love t r a v e l l i n g over, under,
Running a r o u n d t h e gym.
T r a v e l l i n g is f u n .
Darren ( t h i r d y e a r primary)
The
following
writing
samples
demonstrate
e v i d e n c e o f t h e novement v o c a b u l a r y i n t r o d u c e d
teaching
points
that
B r a n d o n ' s poem "To B e
guided
the
but
children's
not
only
also the
learning.
Gymnast" e m p h a s i z e s two s u c h p o i n t s
A
when working on t h e r o p e s :
Climb, c l i m b , c l i m b ,
Hand o v e r hand,
H i g h e r and h i g h e r ,
Do a b a l a n c e at t h e t o p ,
Jump down low,
Land on t h e b a l l s of y o u r f e e t
Brandox? ( g r a d e 4 )
I n t h e n e x t poem, K a t e c o n s o l i d a t e s h e r
in
the
physical
and
intellectual
domain;
learning,
as
well,
celebrates her success.
Super Sequences
Gym, gym, gym, wow,
It's so m c h fun.
I push off m y f e e t
Then l a n d on t h e balls of my f e e t and r o l l !
I s t a r t a g a i n and I p u t m y w e i g h t on my h a n d s
and d o a backward r o l l !
Again I jump and d o a f o r w a r d r o l l !
Again w e do our sequence,
Again w e d o i t -
both
she
But f i n a l l y w e d o n ' t
because . . .
I t ' s POLISHED!
have
to
practice
anymore
D r e w ' s poem seems t o r e v e a l t h e s e l f - t a l k t h a t c h i l d r e n
u s e when p r a c t i s i n g a s p e c i f i c s k i l l o r
sequence.
In
composing
u s e d t o make h i s s e q u e n c e
his
p o l i s h i n g s movement
poem, he r e t h i n k s e a c h s t e p h e
"perfect."
Through
Drew makes s e n s e of t h e g y m n a s t i c s e x p e r i e n c e
and
the writing
he,
too,
celebrates h i s success.
Well Done
And s t o p . F r e e z e p l e a s e .
D r e w w i l l you show y o u r s e q u e n c e ?
Oh no!
Do I have t o show my s e q u e n c e ?
I a l m o s t f o r g o t t h e whole t h i n g ,
I ' v e j u s t g o t t o t r y my b e s t ,
I 'm ready.
Running q u i c k l y , b e n d i n g my k n e e s
and u s i n g s t r e n g t h t o l a n d s o f t l y ,
So f a r , s o g o o d .
Now I have t o jump,
Pushing o f f my t o e s ,
Using m y hands t o g e t h e i g h t ,
I succeeded t h a t time.
0 - K . t h i s is t h e l a s t easy one,
Landing ,
Smoothly, c a r e f u l l y , s o f t l y ,
T h a t was p e r f e c t .
O h no, I ' m i n t r o u b l e ,
I have t o r o l l ,
I t ' s d o u b t f u l I'm g o i n g t o make i t .
First, 1'11 t u c k i n my chin,
I ' v e g o t t o d o t h i s smooth now,
1 Did I t ! I Did I t !
I n t e r p r e t i n g h i s e x p e r i e n c e i n w r i t i n g a l l o w s D r e w t o advance
h i s understanding of
and r o l l i n g .
the
s k i l l s r e f a t e d t o jumping,
L a n g e r and Appfebee ( 1 9 8 7 )
assists t h e l e a r n i n g p r o c e s s :
landing
e x p l a i n how w r i t i n g
"As new l e a r n i n g s m a t u r e , they
become i n t e r n a l i z e d as p a r t of t h e s t u d e n t ' s own
repertoire.
82
They move f r o m t h e i n t e r p e r s o n a l
setting
of
instruction t o
t h e i n n e r w o r l d o f knowing a n d r e m e m b e r i n g " ( p . 1 4 4 ) .
Clarifying t h e Phvsical Experience
we
Sometimes
movement
actions
and
experiences i n t h e
story
used
writing
prepare
to
help
for
gymnasium.
An
our
my
reading
c h i l d r e n experimented
of
the
with
chanted:
clop;
clop,
clip,
clop,
clip,
movement
clop.
clip,
While
vocabulary.
Do,"
.,I
They
w i t h t h e i r f e e t as
clip; c l i p , clop, c l i p ,
discussing
p o s s i b i l i t i e s f o r each B i l l y Goat, I recorded
ideas
this.
i n t h e classroom, t h e
p i c k e d up t h e n a t u r a l rhythm of t h e words
they
the
s t u d y of t h e
illustrates
story
the
clarify
physical education
integrated
The t h r e e b i l l v a o a t s g r u f f
Following
us
the
movement
the children's
t h e b o a r d u n d e r t h e c a t e g o r i e s - "What t h e Body Can
" H o w t h e Body Can Move," and "Where t h e Body Can Move."
I t h e n i n v i t e d t h e c h i l d r e n t o c l o s e t h e i r e y e s and v i s u a l i z e
the
gym.
Billy
Goat
t h e y would m o s t l i k e t o c h a r a c t e r i z e i n t h e
( e . g . Would t h e y p o r t r a y t h e o l d e s t B i l l y G o a t s t o m p i n g
on t h e b r i d g e w i t h h u g e p o w e r f u l s t e p s ,
or
the
smallest
Billy
stopping, with lighter
skipping
steps?
cautiously
interpret
like
the
movement
of
the
would
Goat,
t h e y move
starting
and
P e r h a p s t h e y would
middie-sized
Billy
Goat
s t e p p i n g w i t h a more even p a c e a t a m o d e r a t e s p e e d ? )
Subsequent t o t h e
visualization
activity the
children
83
responded i n t h e i r l e a r n i n g l o g s .
a lense
to
help
interpretation.
the
The w r i t i n g s e r v e d a s
children
preview
their
movement
Meghann w r o t e :
I want t o b e t h e l i t t l e b i l l y g o a t g r u f f .
I w i l l g o s o f t on my f e e t and s k i p .
J e n n i f e r d e s c r i b e d t h e same c h a r a c t e r b u t a n t i c i p a t e d
t h e movement d i f f e r e n t l y :
I'm a t e e n y , t i n y B i l l y G o a t .
I l i k e t o r u n a n d jump.
I move l i g h t l y on my f e e t .
Keil wrote:
I w i l l b e t h e o l d e s t B i l l y Goat
G r u f f . I w i l l b e s t r o n g and
u s e l o t s o f w e i g h t t o move.
I w i l l move s l o w l y .
Working i n s m a l l g r o u p s
shared
each
three,
I t r i e d t o ensure
their writing.
Billy
of
the
representation
gymnasium
patterns
for
then
of
i n t h e g r o u p s , b u t t h e r e were few c h i l d r e n
Goat
i n t e r e s t e d i n c h a r a c t e r i z i n g t h e medium-sized
the
children
the
children
each
possible
In
movement
Goat, then p o l i s h e d a sequence t o
Billy
i n t e r p r e t t h e movement
explored
B i l l y Goat.
of
their
character.
Finally
they
worked i n g r o u p s o f t h r e e t o d r a m a t i z e t h e s c e n e o f t h e B i l l y
Goats
crossing
the
bridge.
The v i s u a l i z a t i o n , w r i t i n g and
d i s c u s s i o n p r e p a r e d t h e c h i l d r e n f o r t h e movement a c t i v i t i e s ,
r e s u l t i n g i n a s t r o n g commitment t o t h e i r t a s k t h i s d a y .
Sometimes we u s e d w r i t i n g t o k e l p u s c l a r i f y t h e q u a l i t y
of
movement.
A
study
r e s u l t e d i n wonderful
of
the
interpretive
poem,
"The
Biack Snake,"
r e a d i n g i n t h e classroam
but d i s a p p o i n t i n g sequence
work i n t h e gymnasium.
Initially
t h e c h i l d r e n seemed more i n t e r e s t e d i n p r o d u c i n g a c c o m p a n y i n g
s o u n d e f f e c t s t h a n f o c u s i n g on t h e q u a l i t y o f movement.
The B l a c k S n a k e
Black snake! Black snake!
C u r l i n g on t h e g r o u n d ,
Rolled l i k e a rubber t i r e ,
R i b b e d and r o u n d .
Black snake!
B l a c k Snake!
Looped i n a t r e e ,
Limp as a l i c o r i c e whip
Flung free.
Black snake! Black snake!
C u r v i n g down t h e l a w n ,
G l i d e s l i k e a wave
With its s i l v e r g o n e .
Black snake! Black snake!
Come a n d l i v e w i t h me!
1'11 f e e d you a n d I ' l l p e t you
And t h e n 1'11 s e t you f r e e
From P i ~ i down
n ~ t h e valleys wild
P a t r i c i a Hubbell
In
used
preparation
for
a visualization
and
t h e s e c o n d movement l e s s o n I a g a i n
writing
activity.
seemed t o h e l p T a e v a h ( t h i r d year p r i m a r y )
p i c t u r e f o r h e r work i n t h e gymnasium.
The
writing
develop a clearer
She w r o t e :
I an g o i n g t o t u c k m y t o e s t o my b a c k w i t h my h a n d s
W i t h them on my b a c k I ' l l t h e n
touching my toes.
r o l l around. I ' m g o i n g t o push b o t h hands o u t f o r
s e t vou f r e e .
Chad ( f o u r t h y e a r p r i m a r y ) w r o t e :
I a m going t o t r y rolling, carving,
g l i d i n g and f l i n g i n g w i t h my g r o u p .
I ' m g o i n g t o move s l o w l y .
Concerned
t h a t Chad s i m p l y c o p i e d t h e w o r d s f r o m t h e poem, I
asked him how he
action:
would
f l i n g h i s body.
Chad
clarified the
65
I w i l l r u n a n d jump.
I d i d n o t d o c u m e n t t h e c h i l d r e n ' s novement
in
fact,
they
learning
logs;
used
movement i d e a s p r e s e n t e d i n t h e i r
the
however
the
seriousness
a p p r o a c h e d t h e i r work i n t h e gymnasium,
quality
of
their
determine i f ,
to
sequence
work
with
which
they
and c o n s e q u e n t l y t h e
d u r i n g t h e second l e s s o n ,
g r e a t l y improved from t h e i r f i r s t a t t e m p t .
Along w i t h t h e w r i t i n g a c t i v i t i e s p r e p a r i n g s t u d e n t s f o r
work i n t h e gymnasium, s t u d e n t w r i t i n g s e r v e d o t h e r i m p o r t a n t
It
functions.
became
r e f l e c t i o n and making
Following
a
an i d e a l v e h i c l e f o r s e l f - e v a l u a t i o n ,
meaning
of
the
physical experience.
gymnastics sequence presentation
for
parents,
Jenny, grade four, wrote t h i s r e f l e c t i o n :
Gymnastic Routines
I f y o u ' v e made a m i s t a k e b e f o r e you p o l i s h ,
its s o hard t o s t o p doing t h e mistake.
It takes
I was a f r a i d t h a t i f I
a b o u t a week t o p o l i s h .
made a m i s t a k e t h e a u d i e n c e would l a u g h a t me.
Here is a s a y i n g t h a t I remember: C o n t i n u e i f you
make a m i s t a k e o r g e t h u r t , a n d don ' t l e t t h e
a u d i e n c e know.
A permanent
record
a l l o w e d them t o l o o k
development.
At
the
of
the
children's
thoughts
also
b a c k a n d r e f l e c t upon t h e i r p r o g r e s s o r
beginning
of
the
first term, Brian,
f o u r t h year primary, set t h e s e goals:
I n e e d t o work on c h a n g i n g f a s t e r .
I- n e e d t o work on f r e e z i n g f a s t e r .
1 n e e d t o work on p l a y i n g f a i r .
A conference
he:
(1)
w i t h B r i a n a t t h e e n d o f t h e term r e v e a l e d t h a t
c o u l d s t i l l b e f a s t e r a t c h a n g i n g w i t h " n o t s o much
86
(2)
talking";
was
now d o i n g " p r e t t y g o o d " when t h e t e a c h e r
was
asked t h e c l a s s t o f r e e z e ; and ( 3 )
He
p l a y i n g much f a i r e r .
say t h e b a l l d i d n ' t
hit
me
when i t d i d .
e n a b l e d B r i a n t o assess h i s p r o g r e s s a n d
Graves
I don't
"I d o n ' t a r g u e w i t h t h e r u l e maker.
explained :
(1985)
states:
knowledge, s k i f l s a n d
"Writing
revise
preserves
his
an
goals.
author's
it g i v e s children a
thought processes,
new p e r s p e c t i v e as t i m e p a s s e s .
The l e a r n i n g l o g
"
A t t h e end of t h e y e a r , t h e y
a r e o f t e n amused t o l o o k b a c k a t t h e i r more p r i m i t i v e e f f o r t s
and p r o u d t o see how f a r t h e y h a v e come" ( p . 111).
Both
attitude
Derek
and I c e l e b r a t e d
his
positive
t o w a r d d a n c e when r e v i e w i n g h i s
change
in
response
writing.
don't
dance t o o
I n February he wrote:
I felt
much.
uncomfortable
because
I
I n March h i s r e s p o n s e l o g e n t r y r e a d :
I n gym w e d o f o l k d a n c i n g and f o l k d a n c i n g i s f u n .
F o l k d a n c i n g is s o much f u n t h a t I d o i t a t home.
W
e a r e l e a r n i n g a new d a n c e t o d a y .
Often
t h e learning l o g responses helped t h e children t o
a n a l y z e and c l a r i f y
the
s k i f l s t h e y were p r a c t i s i n g . B r i a n ,
f o u r t h year p r i m a r y , d e s c r i b e s h i s a c c o m p l i s h m e n t
w o r k i n g on
t h e theme o f r o l l i n g i n g y m n a s t i c s :
I can d o a backwards r o l l b e t t e r .
h a n d s by m y e a r s .
I ' m p u t t i n g my
L i s a ' s response, t h i r d year p r i m a r y , r e q u i r e d f u r t h e r
clarification.
She w r o t e :
I n g y m n a s t i c s I l e a r n e d t o d o a backward s h o l d e r
rof 1 and f t h i n k I ' m g e t t i n g b e t t e r a t i t .
I responded:
Great t o h e a r L i s a !
What a r e you d o i n g t o make i t b e t t e r ?
Lisa then c l a r i f i e d :
1'm p u s h i n g a s h a r d a s I c a n .
L i s a had b e e n w o r k i n g h a r d t o g a i n e n o u g h
to
momentum
roll
o v e r when r o c k i n g f r o m h e r b u t t o z k s t o h e r s h o u l d e r s .
The
i n t h i s section highlights learning in the
writing
p h y s i c a l as w e l l as
transactional
writing t o clarify the
interpretation
practising.
t h e a f f e c t i v e domain.
in
the
gymnasium
They u s e d e x p r e s s i v e
The c h i l d r e n u s e d
movement
or
the
writing
actions
for
s k i l l s t h e y were
to
clarify their
g o a l s and a s s e s s t h e i r p r o g r e s s .
E x t e n d i n g t h e Phvs ic a l E h p e r l e n c a
O f t e n o u r work i n c r e a t i v e d a n c e , u s i n g
or
word
poems
p i c t u r e s , p r o v i d e d t h e s c i m u l u s f ~r t h e c h i l d r e n t o
in
extend t h e i r thinking
the
c r e a t i v e o r a e s t h e t i c domain.
The w o r d s w h i ~ hhad come t o l i f e f o r t h e
often
stories,
translated
into
explored with poetry
poetic
forms
to
children
in
dsnoe
writing.
As
interpret
t h e i r movement o r
the
ci,ilbren
s e n s o r y images they l e a r n e d more & b o u t w r i t i n g .
The
poetic
w r i t i n g t h a t E o l l o w c d t h e movement
f o r o u r s t u d y ~f t h e poem,
t h e p h y s i c a l experience,
t h i s t o capture
their
le~sons
"Black S n a k e " i n c l u d e s e v i d e n c e of
but
sense
the
c h i l d r e n moved Ear b e y u n d
o f wonder and
curiosity
with
snakes.
Jennifer's
poem
emerged i n t h e f o r m o f
questions.
She wrote
Snake !
How d o you move s n a k e ?
Is i t h a r d t o b e a s n a k e ?
How d o y o u g l i d e l i k e you d o ?
How d s you s l i t h e r l i k e a n S
on t h e s o f t , s i l k y g r a s s ?
How d o you g o s s s t h w i t h your t o n g u e ?
I want t o b e a s n a k e .
The
question
t h a t J e n n i f e r c h o s e f o r t h e w r i t i n g of
format
h e r poem e x c i t e d m e .
W h i l e r e a d i n g h e r poem t o t h e class a s
a n e x a m p l e o f a new f o r m a t , I s e n s e d a
pride
from
best
writing
surprises
H e r f a c i a l e x p r e s s i o n seemed t o s a y
Jennifer.
"Did I r e a l l y w r i t e
the
that?"
always
t r e m e n d o u s f e e l i n g of
Murray
surprises.
editor,
(1989)
explains:
It surprises
surprises
the
"The
writer,
t h e r e a d e r . An i n d i v i d u a l
v o i c e r i s e s o f f t h e p a g e and s p e a k s " ( p . 1 1 4 ) .
Meghan, f o u r t h y e a r
question technique.
primary, a l s o experimented with t h e
She w r o t e :
How d o you move s o q u i c k l y and q u i e t l y ?
How come you s l i t h e r and n o t w a l k ?
You a l w a y s l o o k s o c u r i o u s .
A r e you c u r i o u s ?
Please tell m e snake.
Please tell me.
F o l l o w i n g t h e i n . e r p r e t a t i o r t o f a movement
the
story
using
s t i m u l u s o f b a l l o o n s , Amy, i n s z c o n d y e a r p r i m a r y , w r o t e
h e r f i r s t poem.
M , f Blon! Gos w i t h t h e
t r e e it s e l l s w i t t h e w i d ,
it s e l l s , w i t h t h e b r e s e !
{Translation:
My b a l l o o n g o e s w i t h t h e t r e e ,
I t s a i l s w i t h t h e wind,
It s a i l s w i t h t h e b r e e z e . )
Erika, a grade 4 student,
i n s p i r e d by a movement l e s s o n
u s i n g t h e sane s t i m u l u s w r o t e t h i s poem:
The Balloon
H i g h Low,
Low H i g h ,
I t t w i r l e d and it f l u t t e r e d and it s a i l e d b y .
I n t h e s k y i t b a l a n c e d and bumped,
I t w e n t h i g h e r , a n d H I G H E R AND
HIGHER AND POP!
I t swayed
Down a n d
Down a n d
Down and
DGWD.
I t l a n d e d s o f t f y on t h e g r o u n d .
The w r i t i n g o f t h e c h i l d r e n was a s i m p o r t a n t
as
read
it
w a s f o r them t o w r i t e .
about themselves, t h e
physical
W h i l e t h e y l e a r n e d more
experience
or
p r o c e s s , I l e a r n e d more a b o u t t h e i r a t t i t u d e s ,
abilities.
Often
the
i n s t r u c t i o n which i n
writing
me to
for
me
helped
the
writing
k n o w l e d g e and
to
improve
my
t u r n improved t h e c h i l d r e n ' s q u a l i t y o f
movement.
The
poetic
Their
following
writing
writing
poems
extended
reflects
of
L o u i s e and K a t i e
learning
the
in
reveal
how
t h e p h y s i c a l domain.
feelings
of
many
of
their
classmates a t that t i m e .
Many s t i l l f o u n d
difficult
The w r i t i n g i n d i c a t e d a n e e d a n d / o r
to
perform.
d e s i r e t o become more
t h e backward r o l l
p r o f i c i e n t w i t h t h e backward r o l l .
w a s a r o l l L o u i s e and K a t i e c o u l d e a s i l y
ready f o r some d i r e c t i n s t r u c t i o n .
It
master s o t h e y w e r e
Louise,
f o u r t h year p r i m a r y , w r o t e :
Backwards R o l l
Frontwards,
Sideways,
Oh n o , h e r e comes t h e t o u g h y ,
Sackwzrd .
"And s t o p . . .
Please freeze.
L o u i s e , w i l l you s h o w y o u r s e q u e n c e . "
Shucks,
Here comes t h e b a c k w a r d r o l l ,
I d i d it,
Yea!
K a t i e , f o u r t h y e a r p r i m ~ r y ,w r o t e :
I t was a r a c e i n gym,
We h a v e t o r u n ,
S o f t l y and s m o o t h l y .
T h e race s t a r t e d ,
I a m r u n n i n g t h e way we a r e
"Freeze ple3se."
Oh n o ,
W
e h a v e t o d o a backward p o l l ,
I l i k e running b e t t e r .
Besides informing m e
of
me o f h e r l o v e f o r
a n d t h e n e e d t o i n c o r p o r a t e some e l e m e n t o f t h i s
i n t h e program.
opening
t o run.
apprehension t o perform a
her
b a c k w a r d r o l l , K a t i e ' s pcem a l s o r e m i n d e d
competition
supposed
I
activity
wondered
with
Katie
how
racing.
could c o r r e l a t e our
Interestingly,
Katie
i n c o r p o r a t e d t h e t e a c h i n g p o i n t s " s o f t l y and s m o o t h l y " i n h s r
writing.
Children write b e s t
tell.
strong
when
they
have
a "real" story to
W r i t i n g i n v o l v i n g a r i c h , p e r s o n a l experience evokes a
voice
from
chiidren.
g r o u p o f g r a d e 6/7 s t u d e n t s
to
It was not u n t i l I invited a
write
about t h e i r f a v o u r i t e
s p o r t s t h a t t h e boys p r e s e n t e d an a u t h e n t i c v o i c e
related to
a physical expzrience.
Jeremy, g r a d e 6 , wrote:
Soccer
The w h i s t l e s o u n d s ,
The game g e t s u n d e r way,
W h a t ' s t h i s , a b r e a k away?
So s o o n ,
A shot,
A save,
Everything is O . K . !
Jeremy conveys a compelling s e n s e of h i m s e l f
When
I
in
this
poem.
t h e poem I h e a r J e r e m y t a l k i n g a n d I v i s u a l i z e
read
him i n a c t i o n on t h e s o c c e r f i e l d .
The c o n n e c t i o n b e t w e e n
physical
and c h i l d r e n ' s w r i t i n g is p e r h a p s b e s t
described
experiences
by E r i k a ' s
of h e r f a v o u r i t e p i e c e o f w r i t i n g d u r i n g t h e
self-evaluation
f a l l term.
education
Erika, grade 4, wrote:
My f a v o u r i t e p i e c e o f w r i t i n g t h i s t e r m w a s
"Gym."
My poem had a g r e a t r h y t h m a n d i t is v e r y
I t kind
i n t e r e s t i n g t o r e a d b e c a u s e of t h e rhythm.
I g u e s s my r h y t h m
o f makes you move t o t h e b e a t .
is p r e t t y c a t c h y .
I included a fun
ending.
Erika's
self-evzluation
highlights
t h e c o r r e l a t i o n between
t h e l a n g u a g e o f movement
and
describes
o f h e r poem
rhythm"
the
strength
and " b e a t . "
t h e language of p o e t r y .
in
terms
of
Erika
"catchy
C o n f i d e n t movement a l s o c o n v e y s a s e n s e
of rhythm and b e a t .
The
writing
involved
in
extending
the
physical
e x p e r i e n c e predominantly t o o k t h e form of p o e t i c w r i t i n g .
allowed
the
It
c h i l d r e n t o t r a n s l a t e t h e i r movement e x p e r i e n c e
o r t h e s e n s o r y images
a e s t h e t i c expression.
related
t o the physical activity into
The s t r o n g
emotions
revealed in the
32
p o e t i c w r i t i n g allowed u s t o d i s c u s s t h e
relating
to
physical
as
education
p h y s i c a l components
w e l l as t h e c h i l d r e n ' s
a t t i t u d e s and f e e l i n g s .
Conclusion
The c h i l d r e n w r o t e o f t e n
with
successful
found
outcomes.
significant
enjoyment
evidence
in
their
writing
o f improved t h i n k i n g ,
experience
and
1
increased
more
effective
The w r i t i n g e x p e r i e n c e s i n which t h e c h i l d r e n
communication.
engaged,
In evaluating
the physical
of
f o r a v a r i e t y of p u r p o s e s
and
c o l l a b o r a t i o n w i t h m y s e l f and t h e i r c l a s s m a t e s ,
h e l p e d them t o become
more
self-directed
and
critical
t h e i r work and B o r e w i l l i c g t o t a k e r i s k s
in
and
transactional
physical
endeavors.
expressive writing
helped
While
the
the
children
to
iheir
set
of
writing
and
g o a l s and
c l a r i f y t h e i r movement i n t e r p r e t a t i o n s , f e e l i n g s o r a t t i t u d e s
about
physical
activity;
the
poetic
writing
served
to
r e i n f o r c e t h e movement v o c a b u l a r y and c o n c e p t s t a u g h t a s w e l l
as
extend
their
thinking into the aesthetic
predominant
use
of
connection
between
experiences-
The
in
about
learning
poetic
movement
p a t t e r n s and r e p e t i t i o n
integration
of
writing
used
and
The
w r i t i n g r e i n f o r c e s t h e powerful
writing
rhythmsi
domain.
experiences
and
movement
p a t t e r n s and r e p e t i t i o n involved
translate
into
the
rhythms,
i n t h e w r i t i n g o f poetry.
physical
education
c h i l d r e n w i t h a n i n t r i n s i c link t o l e a r n i n g .
The
provides
CHAPTER V
HOM P6BS THB IITBOBATIOB OF PHYSICAL EDUCATIOH
M D WRITIIQ REFLECT THB WALS OF THE PRIMARY
AND I#TBWBDIIATB PROGWS?
This
study
demonstrates
that
writing
e d u c a t i o n s u p p o r t and e n h a n c e e a c h o t h e r
total
education
children
to
of
the
learn
child.
more
The
about
while
physical
education
expression
helping
children
to
about
writing process.
the
physical
contributing t o the
writing
themselves
education,
and
helped
the
and
physical
promoted
written
communicate and l e a r n more
More
importantly,
the
study
d e m o n s t r a t e s how w r i t i n g i n t h e e x p r e s s i v e , t r a n s a c t i o n a l and
poetic
mode h e l p e d c h i l d r e n t o r e i n f o r c e , c l a r i f y and e x t e n d
t h e i r learning i n both curricular areas.
A f o c u s on t h e g o a l s
Programs
articulates
of
the
the
Primary
and I n t e r m e d i a t e
educational
significance
integrating w r i t i n g with physical education.
t h e powerful connection
The
children's
experiences,
between
writing,
reflects
I n t e r m e d i a t e Programs.
all
The
the
two
of
It also defines
curricular areas.
integrating
goals
of
their
the
new
physical
P r i m a r y and
g o a l s of t h e Physical Education
and Language A r t s E n g l i s h C u r r i c u l u m work
hand
i n hand w i t h
t h e overall goals of t h e frinary and I n t e r m e d i a t e P r o g r a m s t o
p r o v i d e a framework which allows c h i l d r e n t o r e a c h t h e i r f u l l
potential.
W i t h i n t h e f r a n e w o r k , j u s t as t h e g o a l s
to
gymnastics
games,
and
dance
are
relating
interdependent
and
94
interrelated,
listening
Primary
and
and
emotional
s o are t h e g o a l s r e l a t i n g t o r e a d i n g , w r i t i n g ,
speaking.
Furthermore,
Intermediate
development,
a r t i s t i c development,
Programs
the
goals
including
of
the
social
and
s o c i a l r e s p o n s i b i l i t y , a e s t h e t i c and
physical
and i n t e l l e c t u a l development
are i n t e r w o v e n .
Perhaps
the
demonstrating
best
the
inseparable
areas a n d t h e p r o g r a m
Hallowe'en
Wizardy
poem,
and
example,
goals
"The
Death
within
this
study,
n a t u r e o f t h e two c u r r i c u l a r
was o u r i n t e g r a t e d s t u d y o f t h e
Dance o f
the
Whirly
Gums."
t h e s u p e r n a t u r a l p r o v i d e an a p p e a l i n g t o p i c f o r
i n t e g r a t i o n f o r most
children
at
Hallowe'en,
and t h i s poem
caused g r e a t e x c i t e m e n t f o r t h i s group of f o u r t h y e a r primary
c h i l d r e n , b o t h i n t h e c l e s s r o o m and t h e gymnasium.
The D e a t h Dance o f t h e W h i r l y Gums
The w h i r l y gums came o u t t h a t n i g h t ,
T h e y came t o d a n c e i n t h e g r e e n moon's l i g h t ,
T h e y r u n a n d jump a n d t w i s t a n d t u r n ,
T h e i r b i g r e d f e e t t r a m p dawn t h e f e r n .
And t h e n as t h e m i d n i g h t h o u r d r a w s n e a r ,
T h e f e m a l e w h i r l y gums a p p e a r ,
W i t h t o o t h l e s s g r i n s and p o i n t e d c h i n s
T h e y s t r i k e u p a t u n e on t h e i r h a m m e r s h i n s .
And h a r k e n now t o t h e i r d r e a d f u l c r y
The r a t t l e o f b o n e s a s t h e y s l o w l y die.
And now t h e m u s i c q u i c k becomes
T h e i r f e e t s t e p t o t h e b e a t i n g drums.
With h a i r a l l w i l d , and b e a t i n g h e a r t s
T h e y j e r k and t w i s t i n f i t f u l s t a r t s ,
Their t e e t h fall out, t h e i r n a i l s crack
A s s t r e n g t h t o dance t h e dancers lack.
Their tongues l o l l out, the tamples t h r o b
And o n e by o n e t h e d y i n g mob
S i n k down t o d e a t h
They danced t o d e a t h .
I n E . Warreil Movement e d u c a t i o n
a t h r e e art w o r k s h o ~f o r e a r l y
c h i l d h o o d and p r i m a r y t e a c h e r s
E l i z a b e t h Powell
Prior t o sharing the
the
title,
"The
chalkboard.
of
poem w i t h t h e c h i l d r e n I d i s p l a y e d
D e a t h Dance o f t h e W h i r l y
Gums,"
on
the
The c h i l d r e n s p e c u l a t e d p o s s i b l e i n t e r p r e t a t i o n s
t h e poem, t h e n
illustrated
with
a
t h o u g h t a w h i r l y gum m i g h t l o o k l i k e .
picture
Within
the
what
they
artistic
realm t h e c h i l d r e n e x p e r i m e n t e d w i t h t h e c o l o u r s a n d t e x t u r e s
that
best interpreted
then
ghost-like,
often
grotesque,
We d i s p l a y e d t h e p i c t u r e s t h r o u g h o u t t h e
s h a p e s and f i g u r e s .
classroom,
their
compared
these
to
their
interpretations
f o l l o w i n g a r e a d i n g o f t h e poem.
A discussion
of
t h e poem
led
c h o r a l r e a d i n g by t h e c h i l d r e n .
six
natural
each group.
parts
allowing
Straight
to
an
interpretative,
They d i v i d e d
the
poem i n t o
one p a r t f o r i n t e r p r e t a t i o n by
away t h e y s u g g e s t e d dimming t h e l i g h t s
and i n c o r p o r a t i n g s o u n d e f f e c t s .
The c h i l d r e n
shook, tapped
o r pounded t h e t a m b o u r i n e t o a c c e n t w o r d s s u c h as: r u n , jump,
t w i s t , t u r n o r s t a m p a n d s c r a p e d t h e i r n a i l s on t h e hand drum
to
interpret
"their
phrases
nails
s u c h as " t h e i r t e e t h
crack.
"
Culminating
fall
out"
and
artistic
the
representation, the reading, w r i t i n g , l i s t e n i n g , s p e a k i n g a n d
viewing
activities,
the
defined
the
r u n n i n g , jumping,
theme:
children
analyzed
the
poem
and
t w i s t i n g , t u r n i n g and
s t a m p i n g f o r o u r f i r s t l e s s o n i n t h e gymnasium.
Charged w i t h
energy, t h e c h i l d r e n
t h e i r movement.
twisting,
e x p e r i e n c e d some d i f f i c u l t y c o n t r o l l i n g
A s t h e y raced about t h e
gymnasium
jumping,
t u r n i n g and s t a m p i n g , a t one p o i n t t h e y s h o u t e d a t
m e t o turn off the lights.
While t h i s s e r v e d a s a t e m p t a t i o n
t o h a l t t h e a c t i v i t y , i n s t e a d I c u r t a i l e d t h e e x c i t e m e n t more
g e n t l y by r e c a l l i n g t h e l a s t t h r e e l i n e s o f t h e poem:
And o n e by one t h e d y i n g mob
S i n k down t o d e a t h
They d a n c e d t o d e a t h .
M
y
head s p u n as w e e x i t e d t h e gymnasium t h i s d a y , b u t i t was
c l e a r t h a t t h e c h i l d r e n l o v e d t h e poem and we had e x p e r i e n c e d
l e g i t i m a t e pandemonium.
"lived"
the
poem.
e x p r e s s i v e movement
Through t h e movement,
the
children
B l a t t and Cunningham (1981) e x p l a i n t h a t
helps
children turn "vicarious l i t e r a r y
experiences i n t o l i v i n g ones" ( p . 8 ) .
A s e c o n d l e s s o n i n t h e gymnasiua a l l o w e d t h e c h i l d r e n t o
refine
first
and
day.
encouraged
strong
child
p o l i s h t h e movement v o c a b u l a r y i n t r o d u c e d on t h e
Following
write
to
physical
seemed
response.
channelled
the
about
involvement
to free
the
lesson,
the
t h e movement
children
were
experience.
The
evoked
by
t h e poem from e a c h
children
to
write
a
personal
L a u r a ' s poem c o n f i r m e d f o r me t h a t w e s u c c e s s f u 1 l y
t h e e n e r g y t o w a r d s p o s i t i v e outcomes.
In gym y e s t e r d a y ,
W
e t w i s t e d and t u r n e d ,
The way W h i r l y Gums d o .
I l i k e them.
Don 't you?
We jumped up h i g h ,
She w r o t e :
And t u r n e d i n t h e a i r ,
The w a y W h i r l y Gums d o .
I t is v e r y h a r d ,
To t u r n i n t h e a i r .
Would you l i k e t o t r y i t t o o ?
Why d o n ' t y o u ?
I would l i k e t o s e e y o u .
Don't f o r g e t ,
P r a c t i c e makes p e r f e c t .
When
engage
engaged i n p o e t i c
in
selected,
thinking.
developed
r e v e a l t h e movement
self.
Laura
rhythm
of
For
and
writing
this
poem
organized
experience
children
Laura
her
movement.
brainstormed,
words and i d e a s t o
a s w e l l as a s t r c n g s e n s e o f
used t h e rhythm of t h e language t o
the
automatically
convey
the
B e r t h o f f i n The m a k i n g o f m e a n i n g
(l98l) e x p l a i n s :
T h e c o m p o s e r d e v e l o p s and o r g a n i z e s i d e a s , makes
images b y
way
of
statements,
and
creates
d i s c o v e r i n g t h e p a r t s he o r s h e w a n t s t o a s s e m b l e ,
a n d , i n t h e p r o c e s s i n v e n t s and o r d e r s a n a s s e m b l y
to
s u i t p u r p o s e and a u d i e n c e .
If we
teach
c o m p o s i n g as a mode o f l e a r n i n g , a way o f t h i n k i n g ,
t h e n w e w i l l b e t e a c h i n g it as a p r o c e s s ( p . 2 0 ) .
Further
to
the cognitive
component
involved
in
the
w r i t i n g o f t h e poem a n d t h e a e s t h e t i c a r r a n g e m e n t o f w o r d s t o
c o n v e y m e a n i n g , L a u r a i n t e r p r e t e d t h e p h y s i c a l domain t h r o u g h
t h e movement v o c a b u l a r y
(i-e.
run,
jump,
d e l i v e r e d a n i m p o r t a n t message, o f a m o r a l
Her
poem
demonstrates
m a s t e r y o f movement
in
"P+r ysical:
an
appreciation
and b e a u t y of e f f o r t .
coapeteiics
ss
ari
t w i s t , t u r n ) aad
nature, t o peers.
f o r h a r d work, t h e
N e t t i e t o n (138Oj,
ebacational.
objective, "
d e s c r i b e s e x p e r i e n c e s w h i c h p r o m o t e s u c h a t t i t u d e s as a m a j o r
goal of t h e p h y s i c a l e d u c a t i o n p r o g r a m ( p . 4 6 ) .
98
W h i l e t h e g o a l s of t h e P r i m a r y a n d I n t e r m e d i a t e P r o g r a m s
are interwoven, t h e n e x t s e c t i o n a t t e m p t s
individual
goals
most
involved
in
the children
thinking
a b i l i t i e s each t i m e they wrote,
goal
in
poetic
were
or
writing
Instead,
that
this
developing
their
particularly
when
separately
for
each
piece
g o a l w i l l be a d d r e s s e d t h r o u g h
demonstrates
about t h e physical
the
expressive writing, the intellectual
w i l l n o t be addressed
writing.
highlight
prominent i n t h e c h i l d r e n P s w r i t i n g .
Although
engaged
to
reflective
experience
or
of
the
o r creative thinking
writing
t h a t extends t h e
p h y s i c a l e x p e r i e n c e i n t o a n o t h e r domain s u c h a s t h e a e s t h e t i c
or artistic.
S o c i a l and Emotional D e v e l o ~ m e n t
Essential
to
children's
t h e Primary and I n t e r m e d i a t e
g r o w t h and development w i t h i n
Programs a r e t h e g o a l s r e l a t i n g
t o s o c i a l and e m o t i o n a l development.
well-being
one's
These
and
g o a l s concern themselves with p o s i t i v e
and
They
the
compassion f o r o t h e r s .
express
social
a r e a l i s t i c s e n s e of i d e n t i t y , and c o n f i d e n c e i n
abilities.
differences
and
d e t e r m i n e t h e way w e f e e l , t h i n k , a n d a c t " ( B . C . ,
1990c, p. 5 5 ) .
self-esteem,
"Emotional
a l s o concern respect f o r individual
ability
to
denonstrate
Helping children
to
empathy
and
understand
and
t h e i r f e e l i n g s p l a y s an important r o l e i n t h e s o c i a l
emotional
development
of c h i l d r e n .
Writing provided a
v a l u a b l e v e h i c l e f o r h e l p i n g c h i l d r e n t o r e f l e c t , d i s c u s s and
share
This
their
study
f e e l i n g s about physical education
experiences.
many s a m p l e s o f c h i l d r e n ' s w r i t i n g , i n
includes
t h e e x p r e s s i v e and p o e t i c
mode,
which
reflect the positive
d e v e l o p m e n t o f c h i l d r e n ' s s o c i a l and e m o t i o n a l w e l l - b e i n g .
Colin,
attitude
fourth
toward
year
primary,
competition.
describes
a
positive
I n h i s r e s p o n s e l o g he w r o t e :
When I s p r i n t I f e e l c o n f i d e n t .
Whether I win o r
n o t I w i l l know t h a t I t r i e d my b e s t .
E r i k a , g r a d e 4, d i s p l a y s a similar, p o s i t i v e a t t i t u d e i n
h e r response:
I d o n ' t l i k e t o c o m p e t e v e r y much, I j u s t w a n t
I t d o e s n ' t matter i f I d o n ' t come
t o d o my b e s t .
I d i d my b e s t t h a t ' s w h a t m a t t e r s f o r
f i r s t . If
me.
Mallory,
favourite
grade
who
4,
physical
described
education
confidence p o e t i c a l l y .
gymnastics
activity,
as
expresses
her
her
She wrote:
I s t r e t c h my b a c k ,
I make a n a r c h ,
My h a n d s are s t r e t c h e d ,
My b r i d g e is s t r o n g .
T h e e f f e c t o f t h e p o e t i c l a n g u a g e w a s g e n e r a l l y more p o w e r f u l
and
more
sharply
felt
by t h e c h i l d r e n as an audience t h a n
expressive language.
Brian,
fourth
year
primary?
uses
p a t t e r n s of p o e t r y t o i n v o l v e t h e r e a d e r
H e wrote:
the
rhythms
and
i n h i s game o f tag.
Running ,
Running ,
Can't catch me.
I go f a s t e r but it's too late,
I g o t tagged,
Now I'm i t .
F i r s t I c h a s e him,
Then I c h a s e h e r ,
I tagged Peter,
Now I ' v e g o t t o g e t away.
Brian
w i l l i n g l y worked w i t h b o y s a n d g i r l s i n t h e gymnasium.
I applauded
Children
in
his
efforts
for
showing
this
in
his
t h i s age g r o u p s o m e t i m e s s e g r e g a t e d
poem.
themselves
i n t o b o y s a n d g i r l s when d i v i d i n g i n t o p a r t n e r s o r g r o u p s .
Darren,
grade
l e a r n s more a b o u t h i s
when
4,
responding i n h i s learning log
predisposition
s h a r i n g h i s w r i t i n g w i t h classmates h e
a better
sense
of
their
own
risk-taking.
for
In
h e l p s them t o d e v e l o p
potential
in t h i s area.
He
wrote:
The m o s t c h a l l e n g i n g t h i n g I d i d w a s jump o n e
I was
f o o t t o t h e o t h e r from box t o box.
s u c c e s s f u l . When I d i d i t f i r s t it w a s f r e a k y b u t
I p u s h e d t h a t o u t o f m y mind a n d d i d i t a g a i n .
In another learning
l o g response Darren i l l u s t r a t e s t h e
impact of a s u p p o r t i v e l e a r n i n g environment.
This
time
he
wrote:
I l i k e t h e r a p dance because m y group g o t l o t s of
c o m p l i ~ e n t s - I feel more c o n f i d e n c e ,
Stephanie's
dynamics
of
story,
"Gym
Poetry"
also
a p o s i t i v e classroom environment.
reveals
Her
the
story,
w r i t t e n about t n o classmates, u n f o l d e d following a g y m n a s t i c s
p r e s e n t a t i o n a t t h e nalf.
Gym P o e t r y
Shannon's over t h e r e .
C a n ' t you s e e h e r ?
Perfecto!
Good
Wow!
Amazing!
Look a t h e r .
I
l a n d i n g , Shannon.
Now l o o k a t C a r l y . G r e a t !
l o v e that s e q u e n c e .
F a n t a s t i c - a backward r o l l !
Oh, oh, S h a n n o n ' s g o i n g t o l a u g h . D o n ' t
laugh,
please don't,
I t w i l l wreck y o u r s e q u e n c e . You
s p e n t a l o t ~f t i m e on i t . Good!
She d i d n ' t l a u g h .
C a r l y , y o u r t u r n a g a i n . Oh heaven h e l p me, I ' m t o o
young t o d i e .
She made i t t h r o u g h t h o u g h . Good
going C a r ly and Shannon!
The c h i l d r e n ' s p o e t i c
c e l e b r a t e d t h e i r l o v e f o r , and p o s i t i v e
else,
in,
and e x p r e s s i v e w r i t i n g , above a l l
physical
education
motor d e v e l o p m e n t .
that,
role
of
"success"
" E x p e r i e n c e and r e s e a r c h
in
...
a child's
do s u g g e s t
t o p r o m o t e motor d e v e l o p m e n t , t h e movement e n v i r o n m e n t
must have a n a t m o s p h e r e
of
n e e d s t o be f u n " (p. 82).
that
Logsdon e t a l . (1984)
activities.
emphasize t h e s i g n i f i c a n t
participation
success
and
The c h i l d r e n ' s
satisfaction.
writing
It
indicates
P h y s i c a l E d u c a t i o n is o n e a r e a o f t h e e l e m e n t a r y s c h o o l
curriculum
positive
where
children
attitudes
about
can
meet
success
t h e n s e l v e s and
their
and
develop
work
with
others.
Social Res~ansibilitv
The
g o a l of s o c i a l r e s p o n s i b i l i t y moves c h i l d r e n beyond
the establishment of
a personal i d e n t i t y t o an understanding
and a p p r e c i a t i o n o f t h e n e e d s of o t h e r s (B.C., 1990c, p , 8 6 ) .
The
Primary
and
Intermediate
P r o g r a m s stress t h e n e e d f o r
c h i l d r e n t o learn skills o f c o - o p e r a t i o n arzd c o l l a b o r a t i o n as
102
w e l l a s t o appreciate
the
contributions
of
others.
v a l u e " c u l t u r a l i d e n t i t y and d i v e r s i t y " ( B . C . ,
Expressive
w r i ting
most
commonly
helped
They
1992, p . 2 9 ) .
the
children t o
r e f l e c t and assess t h e i r p r o g r e s s o r s e t g o a l s i n t h i s area.
Meghan, f o u r t h y e a r
p r i m a r y , s e t t h i s g o a l f o r h e r work
i n p h y s i c a l e d u c a t i o n a t t h e b e g i n n i n g of t h e y e a r :
I n gym I need t o work on g o i n g w i t h o t h e r
n o t j u s t t h e same p a r t n e r e v e r y t i m e .
When
partners
C o l i n , f o u r t h year primary, d r a f t e d t h i s lead t o a
story,
I automatically
peers.
He w r o t e :
invited
him
to
share
it w i t h h i s
I wonder who I ' l l g o w i t h ?
What? No p a r t n e r s l e f t !
I h a v e t o g o by m y s e l f .
His
writing
children
to
be
to
left
brainstorm
Indeed
many
provided
an
important
opportunity
for
the
e x p l o r e t h e i r f e e l i n g s a b o u t what i t f e e l s l i k e
out in
possible
partner
or
solutions
children's
group
to
behaviour
situations
eliminate
changed
the
to
and
problem.
positively as a
r e s u l t o f o u r s h a r e d r e a d i n g , w r i t i n g and d i s c u s s i o n s i n t h i s
area.
From a w r i t i n g p e r s p e c t i v e , we a l l a g r e e d C o l i n used a
s u c c e s s f u l l e a d as he i m m e d i a t e l y c a p t u r e d my i n t e r e s t .
Darren,
grade
four,
responsibility of working
gymnasium.
copes
with
a
very
younger
well
with
the
in
the
student
H e confirmed t h i s i n h i s l e a r n i n g l o g response:
I l i k e working w i t h t h e younger s t u d e n t s because i t
g i v e s m e the o p p o r t u n i t y t o b e t h e t e a c h e r . I
sometimes get nervous b u t I g e t over i t .
S t e p h a n i e , g r a d e f o u r , d e s c r i b e s some o f the f r u s t r a t i o n
103
involved i n working
introduction
drawbacks.
with
younger
a
student;
indicates that the benefits
far
however, h e r
outweigh
the
Stephanie wrote:
I f e e l g r e a t h e l p i n g N i c h o l a s t o l e a r n some s t e p s
i n d a n c e . I l i k e Row t h e y o u n g e r s t u d e n t s l i s t e n
e l o s e t o what you have t o s a y . I d i s l i k e d t h e way
we had t o r e d o o u r s e q u e n c e b e c a u s e t h e y o u n g e r
s t u d e n t s could n o t do t h e s t e p s .
Laura's
letter
to
her
primary
buddy
perhaps
c a p t u r e s t h e essence of t h e s o c i a l r e s p o n s i b i l i t y
goal.
best
She
wrote:
J a n u a r y 2 9 , 1990
Dear A s h l e y ,
Thank-you
v e r y much f o r i n v i t i n g m e t o s e e
y o u r d r a g o n d a n c e . I was r e a l l y i m p r e s s e d how f a s t
you l e a r n e d t h e r i g h t movements w i t h y o u r h a n d s and
f e e t . How d i d you d o i t ? Thank-you f o r l e t t i n g me
t r y it t o o . I t w a s g r e a t f u n . I t l o o k s e a s y b u t
it i s v e r y ' h a r d . I r e a l l y l i k e d y o u r e n d i n g .
I
hope w e w i l l b e abbe t o work t o g e t h e r a g a i n s o o n .
GUNG H A 1 FAT CHOY!
Sincerely,
Laura
F i r s t l y , L a u r a d e s c r i b e s a n a p p r e c i a t i o n f o r t h e h a r d work o f
her
buddy.
Secondly,
she
demonstrates
a t t i t u d e f o r t h e i r work t o g e t h e r .
And
an
finally,
enthusiastic
the writing
r e v e a l s an a p p r e c i a t i o n f o r t h e d a n c e of a n o t h e r c u l t u r e .
A e s t h e t i c and A r t i s t i c D e v e l o ~ m e n t
Both
the
Primary
and
I n t e r m e d i a t e Programs encourage
l e a r n i n g o p p o r t u n i t i e s t h a t engage c h i l d r e n i n a e s t h e t i c
and
The P n t e r m e a a t e Dropram:
artistic expression.
Fou&tiom
document s t a t e s :
Students'
a e s t h e t i c and a r t i s t i c d e v e l o p m e n t is
f u r t h e r e d by p r o v i d i n g l e a r n i n g o p p o r t u n i t i e s t h a t
e n a b l e them t o
. d i s c o v e r and respond t o c r e a t i v e and
imaginative expression
- create
. e x p e r i e n c e a s e n s e o f wonder
. e x p l o r e a n d e x p r e s s t h e i r human s p i r i t
. v a l u e t h e e x p r e s s i o n s of c u l t u r e s
. b e aware o f and a p p r e c i a t e d e s i g n . ( p . 35)
W h i l e many movement
o p p o r t u n i t i e s a r o s e i n t h e gymnasium f o r
e x p r e s s i v e o r c r e a t i v e movement, w r i t i n g p r o v i d e d y e t a n o t h e r
vehicle
to
response.
extend
In
specifically
the
this
poetry,
physical experience i n t o a creative
study
only
served
to
the
enhance
poetic
the
writing,
children's
a e s t h e t i c and a r t i s t i c development.
Chad,
fourth
year p r i m a r y , n o t o n l y c h o s e t h e movement
vocabulary c a r e f u l l y ,
b u t he a l s o a r r a n g e d t h e words s o t h a t
t h e r e a d e r becomes i n v o l v e d i n t h e d y n a m i c s o f a game o f t a g .
C h a d ' s poem r e a d :
CROWS AND CRANES
A T N
D R I G
G
N
I
D
V R W E E
E E Y H R
1
L
S
0 G N
D D I G
TO PLACES UNRNOUN
A
R
0
u
N
D
M
U N N
R N I G
I
N
V R
E E Y
I E T O
D R C I N
OH DARN I GOT CAUGHT!
NOW I ' M CRANE.
Erica,
fourth
year
primary,
s u c c e s s f u l l y transformed
t h i s n e x t p i e c e of w r i t i n g , i n t e n d e d t o serve a t r a n s a c t i o n a l
function
interpret
(i.e.
the
describe
the
movements
While
she
c l a r i f y t h e movement a c t i o n s , E r i c a u s e s
words
movement.
will
use
to
poem " B l a c k S n a k e " ) , i n t o c r e a t i v e e x p r e s s i o n
s e r v i n g t h e same p u r p o s e .
of
you
does
not necessarily
a careful selection
a n d t h e r h y t h m o f t h e l a n g u a g e t o c o n v e y images o f
She wrote:
I n gym w e are g o i n g t o move l i k e s n a k e s .
I d o n ' t mean b e s n a k e s ,
I mean move l i k e s n a k e s ,
C u r v i n g a n d c u r l i n g w i t h o u r arms a n d Pegs.
My mom t o l d m e t h a t s n a k e s , e s p e c i a l l y b l a c k o n e s ,
are p o i s o n o u s .
Well, I'd r a t h e r n o t meet o n e ,
So I w i l l g l i d e a n d s l i t h e r e v e r y w h e r e ,
Up a n d down.
I ' d r a t h e r move l i k e a s n a k e t h a n b e o n e .
106
D a r r e n , grade 4 , a r t i s t i c a l l y a r r a n g e d t h e words i n t h i s
acrostic
poem
to
describe
apparatus i n gysnastics:
his
enthusiasm
for
the large
He w r o t e :
A p p a r a t u s i n gym
The P e r f e c t t h i n g f o r g y m n a s t i c s
C a p t a i n of t h e box
Awesome!
Run u p and jump
" C a R e f u l up t h e r e , " s a y s t h e t e a c h e r .
T o t a l l y unbeatable!
Utterly t h e best!
Super.
The
children
frequently
expressed
experiences poetically, often arousing
curiosity
in
their
a c r e a t i v e mind.
with
poetic
movement
a s e n s e o f wonder and
Transforming t h e p h y s i c a l
classmates.
e x p e r i e n c e i n t o an a e s t h e t i c
their
e x p r e s s i o n r e q u i r e d t h e work of
I n t e r p r e t i n g physical education experiences
writing
helped
the
c h i l d r e n t o broaden t h e i r
a e s t h e t i c and a r t i s t i c a b i l i t i e s .
Phvsical Develo~ment
"Physical well-being
is an i n t e g r a l p a r t o f t o t a l w e l l -
I t is e s s e n t i a l f o r l i v i n g and l e a r n i n g " ( B . C .
being.
p . 82).
The
writing
childrec
engaged
in
in
this
study
activities
indicates
that
promoted
1990c,
that
physical
f i t n e s s , helped t o develop physical s k i l l s
and
understanding
game skiiis.
of
movement
t h r e e modes o f w r i t i n g
goal.
concepts
demonstrate
Expressive writing,
and
the
provided
an
A22
t h e p h y s i c a l development
t h e most p r e v a l e n t ,
reveals
the
107
children's personal
physical
domain,
reflections
the
poetic
about t h e i r progress i n t h e
writing
demonstrates
the
i n t e r n a l i z a t i o n of aovement v o c a b u l a r y arid movement c o n c e p t s ,
and
the
transactional
writing
involves
the
recall
of
information t o inform t h e t e a c h e r about t h e l e a r n i n g .
A regard
essential
for
and
appreciation s f s a f e t y
measures
t o t h e p h y s i c a l w e l l - b e i n g of c h i l d r e n .
seccnd year primary,
explains
one
is
Hichelle,
s a f e t y r u l e she learned.
She w r o t e :
One i v t h e safte w o l s is t o t i c k y o u r had
chest
T r a n s l a t i o n : One o f t h e
y o u r head i n y o u r c h e s t .
Accompanying h e r p i c t u r e
of
a
in
your
s a f e t y r u l e s is t o t u c k
c h i l d on a r o p e , C a r l y ,
s e c o n d y e a r p r i m a r y , e x p l a i n e d s a f e t y when w o r k i n g on a
rope :
You s h d n a v r s l i d d a n kum d a n had B y had
T r a n s l a t i o n : You s h o u l d
down hand b y h a n d ,
While
the
children's
stage and t h e w o r d i n g
clear.
rolling
never
slide
w r i t i n g is s t i l l i n t h e e m e r g e n t
awkward t h e i n t e n t o f t h e i r w r i t i n g i s
M i c h e l l e l e a r n e d t o t u c k h e r c h i n on h e r
and
Carly
down, come
chest
when
l e a r n e d t o come down t h e r o p e hand u n d e r
hand.
A s h l e y , f o u r t h year
p r i m a r y , seems t o b e l e a r n i n g a b o u t
t h e need f o r v i g o r o u s p h y s i c a l a c t i v i t y .
h i s l e a r n i n g l o g read:
The
f i n a l l i n e of
I h a v e l e a r n e d t h a t when you b r e a t h e h a r d you h a v e
d o n e a good j o b .
Stephanie,
fourth
year
primary,
u n d e r s t a n d i n g o f o u r work w i t h f r i s b e e s .
personalizes
She
hsr
describes her
learning related t o catching:
S o m e t h i n g I l e a r n e d i n my work w i t h f r i s b e e s was
y o u r u n t o c a t c h . You c a n n o t w a l k o r s t a n d s t i l l
o r you m i g h t get h i t o r n o t c a t c h i t .
As
early
as t h i r d year p r i m a r y C r a i g
demonstrates
an
understanding of t h e importance f o r p a r t i c i p a t i o n in physical
H e a l s o personalizes h i s understanding:
activity.
I l i k e gym b e c a u s e i t ' s
f e e l b e t t e r a f t e r gym.
Erika,
grade
f u n and h e l p s m e t h i n k .
4, e x p l a i n s one t h i n g s h e
learned
I
about
t r a c k and f i e l d :
One t h i n g I l e a r n e d was how t o p a s s a b a t o n .
You a c c e p t t h e b a t o n i n y o u r r i g h t hand t h e n p a s s
t o y o u r l e f t h a n d . Then you p a s s t h e b a t o n t o t h e
o t h e r p e r s o n ' s v s h a p e d hand.
Jennifer,
fourth
year
primary, d e s c r i b e s t h e physical
c h a l l e n g e s h e accomplished d u r i n g a gymnastics l e s s o n :
The most c h a l l e n g i n g
t h e b a l a n c e beam.
In
t h i n g I d i d was a c a t l e a p on
a n a l y z i n g h e r greatest p h y s i c a l c h a l l e n g e
gymastics
lesson,
p o i n t t h a t h e l p e d her
Erika,
grade
4,
during
a
identifies a teaching
t o i m p r o v e a h a n d s t a n d off t h e l a d d e r .
She w r o t e :
most chaiienging thing I d i d t o d a y was a
h a n d s t a n d o f f t h e l a d d e r b e c a u s e t h e f i r s t time I
d i d it I d i d n ' t t u c k m y f e e t a n d I a l m o s t f e l l .
The
Following my collaboration
w i t h a g r a d e 8/7
teacher in
109
the
school,
the
teacher
initiated
the
students'
self-
e v a l u a t i o n i n a l l g o a l a r e a s o f t h e I n t e r m e d i a t e Program.
Laui-a ' s
poem
internalization
performing
"The
of
an
a forward
Sequence"
important
roll.
Laura,
illustrates
teaching
fourth
point
year
the
when
primary,
wrote:
Running, jumping, l a n d i n g , r o l l i n g ,
No g o o d ,
I didn't tuck in.
H e r e I go a g a i n Running , jumping ,
"And s t o p .
And f r e e z e , p l e a s e .
L a u r a , w i l l you show y o u r s e q u e n c e . "
Oh n o ,
Here I go!
~ u n n i n g ; jumping, l a n d i n g , r o l l i n g ,
I d i d it!
I tucked in!
C o r y ' s r e f l e c t i o n i n t h e a r e a of " P h y s i c a l
reveals a healthy, r e a l i s t i c attitude.
Development"
Cory, g r a d e 6, wrote:
I've
learned t o accept t h a t I ' m not g r e a t i n
v o l l e y b a l l . I t h i n k I ' v e improved my s e r v e t h o u g h .
I ' m n o t t h r o w i n g t h e b a l l i n t h e a i r and h i t t i n g
i t . I c a n now h i t b e t t e r . I ' m p r e t t y much g e t t i n g
t h e r i g h t k i n d of n u t r i t i o n .
I g o t o t h e gym s o I
c a r e a b o u t my body.
The
writing
s e l f -evaluat ion
in
provides
the
a w a r e n e s s of t h e need
physical
evidence of t h e
domain.
children's
I t i n d i c a t e s an
f o r p h y s i c a l a c t i v i t y and f i t n e s s .
It
i n c l u d e s d e s c r i p t i o n s o r an a n a l y s i s o f t h o s e b e h a v i o u r s t h a t
helped
As
the
well,
children
the
writing
improve p e r f o r m a n c e o r a c q u i r e s k i l l s .
demonstrates
that
the
p a r t i c i p a t e d i n a v a r i e t y of physical a c t i v i t i e s .
children
110
I n t e i l e c t u a i Development
" f n t e l l e c t u a l d e v e l o p m e n t may b e d e f i n e d
deriving
of
meaning
from
experience
through
s t r u c t u r i n g a n d r e s t r u c t u r i n g knowledge ( B . C . ,
As
mentioned
study
earlier, a l l t h e c h i l d r e n e s
demonstrates
expressing
the
use
of
feeling
about
communicating
thoughts
and
thinking.
the
a
On
movement v o c a b u l a r y
higher
level,
extended
it
writing
which
in
cognitive s k i l l s .
physical
a
ideas,
the
experience
writing
this
Whether
or
involved
and safety r u l e s i n t h e i r w r i t i n g .
into
creative
transpired
the
their
expression.
work
This
On a
and
section
which involved p e r s o n a l r e f l e c t i o n o r
o r poetic writing.
required
1990c, p , 57).
writing
t h e y a n a l y z e d and e v a l u a t e d
thinking
acquiring,
simplest level, the children recalled the
addressing t h e writing
creative
as t h e p r o c e s s
in
the
form
of
expressivs
Meaningful t r a n s a c t i o n a l w r i t i n g
children
to
think
deeply
physical experience o r extend t h e i r thinking
did
about
the
not appear
i n this s t u d y .
In
t h i s f i r s t p i e c e o f e x p r e s s i v e w r i t i n g , Dawn, f o u r t h
year primary, c r i t i c a l l y
and dance.
examines
her
p r e f e r e n c e Par music
She w r o t e :
I really love t o d a n c e I just don't
B a l l e t is m y b e s t t y p e o f d a n c e .
Elusiz.
B r i t t o n e t al. (1975)
describe
use o f expressive language:
like t h e m u s i c .
I l i k e t h e soft
their interest i n children's
Expressive language i n t e r e s t e d u s p a r t i c u l a r l y ,
b o t h b e c a u s e i t r e p r e s e n t e d some o v e r l a p b e t w e e n
s p e e c h and w r i t i n g ,
and
because
looked
at
d e v e l o p m e n t a l l y , i t seemed t o b e t h e mode i n w h i c h
young c h i l d r e n c h i e f l y w r o t e . Its r e l a t i o n s h i p t o
t h i n k i n g , moreover, seems p a r t i c u l a r l y d i r e c t and
t h i s s u g g e s t s i t s i m p o r t a n c e a s a mode o f l e a r n i n g
a t a n y stage ( p . 1 1 ) .
While t h e n e x t p i e c e o f w r i t i n g a p p e a r s s i m p l y t o p r e s e n t
a l i s t o f i d e a s , Dawn
thought
learned i n t h i s u n i t .
She i n c l u d e s b o t h t h e psycho-motor
affective
domains.
Her
carefully
learning
a b o u t w h a t s h e had
and
l o g response appeared i n
point-form:
Things I Learned
1.
2.
3.
4.
5.
Backward S u m e r s a u l t
Foward S u m e r s a u l t
Safety Roll
Have Fun
P o l i s h e d Sequence
J e n n i f e r ' s writing, f o u r t h year primary,
o u r work i n p h y s i c a l e d u c a t i o n e x t e n d e d
l e d t o an e v a l u a t i o n of w r i t i n g .
the
i l l u s t r a t e s how
experience
and
J e n n i f e r wrote:
My f a v o u r i t e p i e c e of w r i t i n g d u r i n g t h e f i r s t
t e r m w a s "My T r i c k y Shadow." I t h i n k I h a v e r e a l l y
e x p l a i n e d w e l l how m y shadow d o e s t h e same t h i n g as
me. My poem h a s t e r r i f i c r h y t h m . I h a v e u s e d a
good e n d i n g .
Following an i n t e r p r e t i v e
Snake"
reading
of
the
poem " B l a c k
M i c h a e l , f o u r t h year p r i m a r y , e x p e r i m e n t e d
mvement images f r m t h e poem.
They
They
They
They
with
the
He d r a f t e d :
s l i t h e r l i k e spaghetti
r o l l like a tire
curve l i k e t h e l e t t e r S
g l i d e l i k e a wave on water
I s u s p e c t t h e word p i c t u r e s h e l p e d M i c h a e l w i t h t h e
movement
i n t e r p r e t a t i o n i n t h e gymnasium.
Colin,
thinking
fourth year
about
primary,
creatively
extended
He
b a s i c locomotor s k i l l s .
drafted
his
these
v i v i d images :
When I jump I f e e l l i k e an a s t r o n a u t i n s p a c e ,
When I r u n I f e e l l i k e a r a c e c a r d r i v e r ,
When I s k i p I f e e l i k e a b o x e r . . .
Kathryn,
grade
translated
4,
her
creative
e x p e r i e n c e i n t o t h i s c r e a t i v e p i e c e of w r i t i n g .
dance
She w r o t e :
ME AND MY BALLOON
Round and r o u n d ,
I go a r o u n d .
H i g h , low,
Side t o side,
I c a n d o it i n a row.
Twirling, whirling,
I s p i n around.
I y e l l , "I'm getting dizzy."
I 'a i n a p o i s e ,
What d o I d o ?
I hold it t h e r e ,
1 c o u n t : 1-1000, 2-1000, 3-1000,
Then I g e t u p ,
I f l u t t e r i n t o my e n d i n g p o i s e ,
I say good-bye t o m y b a l l o o n .
the
While
of
following
a highly sophisticated
most
poem
of
his
a g g r e s s i v e s p o r t , Rob
is
of
peers
movement
as i l l u s t r a t e d i n
Rob's c o n c e p t u a l i z a t i o n
viewed
football
as
nature.
a
tough,
a p p r e c i a t e s t h e s i g n i f i c a n c e of moving
w i t h o u t making c o n t a c t - " l i k e a g r a c e f u l d a n c e r . "
He runs w i t h t h e b a l l ,
Like a graceful dancer.
H e throws t h e b a l l ,
The p a s s is i n t e r c e p t e d ,
The d e f e n c e r u n s i t b a c k .
H e dodges w i t h such s k i l l ,
He w r o t e :
He's t a c k l e d ,
He f a l l s i n t h e end z o n e .
TOUCH DOWN!
Rob ( g r a d e 7 )
Berthoff
seeing
(1981)
"The work o f
writes:
relationships,
the
active
mind
f i n d i n g f o r m s , making m e a n i n g s :
w e w r i t e , w e are d o i n g
in
a
particular
way
what
is
when
are
we
a l r e a d y d o i n g when w e make s e n s e o f t h e w o r l d " ( p . 12).
Whether t h e c h i l d r e n w r o t e e x p r e s s i v e l y
to
guide
t h e i r first-hand,
their
poetically,
t h e i r l e a r n i n g o r t o e n t e r t a i n , t h e y used language
t o f a c i l i t a t e thinking,
from
or
physical
In
all
cases
t h e w r i t i n g evolved
physical experience.
experiences
allowed
Writing
about
t h e c h i l d r e n t o expand
t h e i r r e p e r t o i r e of t h i n k i n g s t r a t e g i e s .
I n summary, as t h e
children
reinforced,
extended t h e p h y s i c a l experience through
made
or
t h e i r writing, they
many p e r s o n a l c o n n e c t i o n s w i t h p h y s i c a l e d u c a t i o n which
demonstrate p o s i t i v e
development
in
all
In
development,
served
the
movement v o c a b u l a r y
poetic
writing
and
movement
g o a l a r e a s of t h e
t h e area o f c o g n i t i v e
P r i m a r y and I n t e r m e d i a t e P r o g r a m s .
to
aesthetic
expression.
reinforce the
concepts taught.
helped t h e c h i l d r e n t o extend t h e i r p h y s i c a l
It also
experience i n t o
I n t h e a r e a of p h y s i c a l development,
the transactional writing
h e l p e d t h e c h i l d r e n t o a n a l y z e and
c l a r i f y t h e movement c o n c e p t s and game
the
clarified
skills
taught
while
e x p r e s s i v e w r i t i n g a l l o w e d t h e c h i l d r e n t o s e t g o a l s and
assess
their
progress.
In
the
areas
of
social
11.4
r e s p o n s i b i l i t y , social
and
expressive
interpersonal
writing
action.
promoted
It
relationships.
p r o b l e m - s o l v i n g and
articulate
and e m o t i o n a l development, t h e p o e t i c
discussion,
healthy
provided
allowing
t h e i r f e e l i n g s and d e v i s e
The
writing
personal
vehicle
a
the
children
appropriate
plans
and
for
to
of
a l s o allowed t h e c h i l d r e n t o c e l e b r a t e
t h e i r successes in physical
education.
Finally,
extending
t h e p h y s i c a l e x p e r i e n c e i n t o a e s t h e t i c e x p r e s s i o n allowed t h e
children
to
appreciate
movement a n d e f f e c t
the
beauty
o f h a r d work.
of
e f f o r t , mastery of
S i m i l a r l y , i t h e l p e d them
t o a p p r e c i a t e t h e b e a u t y of p o e t i c e x p r e s s i o n
and
them
They
worked h a r d t o
convey
meaning a b o u t
to
learn
more
about
a r r a n g e words and d e v i s e
their
writing.
patterns
physical experiences-
to
Writing
about
motivated
their
physical
experiences helped t h e c h i l d r e n t o l e a r n about t h e connection
between p h y s i c a l e d u c a t i o n
that
writing
education
helped
writing.
them
experiences,
education provided
and
to
they
interesting
writing.
While t h e y l e a r n e d
understand
also
and
learned
their
physical
that
physical
meaningful
topics
for
This
study
education
for
reinforcing
demonstrates
writing
of
each
child
allowed
which
the
education.
education.
successful,
fed
children
potential
and t h e i m p a c t
physical
experiences provided
the
of
the
on
the
physical
personal opportunities f o r
t o purposeful writing,
the
writing
t o c l a r i f y t h e i r learning in physical
The i n t e g r a t i o n o f p h y s i c a l e d u c a t i o n and w r i t i n g
areas
of
the
helped t h e c h i l d r e n
Primary
to
and
learning.
relating
to all
I n t e r m e d i a t e Program.
It
make c o n n e c t i o n s w i t h i n t h e s e p a r a t e
s u b j e c t a r e a s and a c r o s s t h e two c u r r i c u l a r
their
physical
writing
While
promoted l e g i t i m a t e e d u c a t i o n a l e x p e r i e n c e s
goal
of
The
following
areas
t o extend
examples p r o v i d e e v i d e n c e .
c c r ~ v e r s a t i o nt o t e l l a s t o r y a b o u t an
When t h e c h i l d r e n u s e d
experience
i n t h e gymnasium, t h i s was
challenged
intellectually
to
learn
the
the
time
use
they
of q u o t a t i o n
m a r k s , n o t a t some p r e d e t e r m i n e d t i m e o f a p r o g r a m .
the
were
When t h e
study
of
snakes
i n c r e a t i v e dance aroused
children's
sense
of
wonder
and c u r i o s i t y , t h i s w a s t h e t i m e t h e y were
e n c o u r a g e d t o a s k q u e s t i o n s and l e a r n more a b o u t r e s e a r c h i n g .
L i k e w i s e i n p h y s i c a l e d u c a t i o n , when t h e
leg
children's learning
r e s p o n s e s indicated a keen d e s i r e t o climb t o the top of
t h e r o p e s , t h i s was
physically
to
focus
the
time
the
c h i l d r e n were c h a l l e n g e d
on s t r e n g t h b u i l d i n g
would h e l p them t o a c ~ o m p l i s ht h e g o a l .
activities
When t h e
that
children's
116
writing
indicated
a
positive
t h i s w a s t h e time w e
When
the
change i n a t t i t u d e i n dance,
celebrated
their
social
development.
c h i l d r e n t r i e d t o c a p t u r e an i n t e r e s t i n g
experience
in
poetic
physical
t h i s w a s t h e t i m e t h e y were
writing,
m o t i v a t e d t o l e a r n more a b o u t p o e t r y f o r m s and t h e rhythm and
patterns
and
of poetry.
writing
The i n t e g r a t i o n of
allowed
physical
education
c h i l d r e n t o l e a r n i n a meaningful
the
context.
The m e a n i n g f u l i n t e g r a t i o n
language
experiences
physical
education
of
presents
physical
a strong
many
alone
allow
Unfortunately,
time
due
to
for
With
the
an e v e r
s c h o o l s i n B r i t i s h Columbia d o n o t
childrsn's d a i l y physical a c t i v i t y
yet
argument
of t h e c l a s s r o o m t e a c h e r .
demanding t i m e t a b l e
meet
education with
for
time
time
requirements,
integrated
constraints,
activities.
the
physical
e d u c a t i o n s p e c i a l i s t is o f t e n f o r c e d t o s e l e c t a c t i v i t i e s and
a n a l y z e s t o r i e s and poems f o r movement i n d e p e n d e n t of s t u d e n t
input.
Involving t h e students
greatly
contributes
experience of l e a r n i n g a s a meaningful
importance
of
daily
s p e c i a l i s t does not
activity,
have
the
on
the
other
hand,
e d u c a t i o n and t h e d i r e c t
gymnasium
or
on
the
lack
the
time
physical experiences with writing.
the
integrated writing opportunities.
Due
physical
the
to
the
education
t o integrate children's
Most
classroom t e a c h e r s ,
knowledge
involvement
playground
whole.
to
to
with
about
children
promote
physical
i n the
meaningful,
117
And
y e t , who is i n a b e t t e r p o s i t i o n t h a n t h e c l a s s r o o m
teacher t o integrate
teacher
the
It
curriculum?
who b e s t knows t h e c h i l d r e n ' s
physical,
social,
artistic needs.
responsibility
reading,
emotional,
It
and
.writing,
the
is
interests
intellectual,
classroom
curriculum
listening
is t h e c l a s s r o o m
their
aesthetic
teacher
time t o
and
and
who h a s t h e
present
meaningful
and s p e a k i n g o p p o r t u n i t i e s f o r
children.
The p h y s i c a l e d u c a t i o n
o f c l a s s r o o m t e a c h e r s may n o t b e
a s d i f f i c u l t t o a c h i e v e a s one might t h i n k .
An a t t e n t i v e n e s s
t o t h e p h y s i c a l i t y o f l a n g u a g e and a r u d i m e n t a r y k n o w l e d g e o f
movement
education
methodology
a
provides
If t e a c h e r s
teaching physical education.
can
move,
can d e s i g n meaningful problem
at
a l l o w c h i l d r e n t o work
emphasis
on
t h e m s e l v e s and from
-
It
peers.
solving situations that
through
allows
discovery,
s e l e c t i o n and r e p e t i t i o n .
t o become k e e n o b s e r v e r s
too
-
c h i l d r e n l e a r n i n g and d i s c o v e r i n g f o r
competent
so
groups o r apparatus
Movement e d u c a t i o n p l a c e s
physically
other,
w h a t t h e body
t h e i r own l e v e l a n d t o e x p a n d a n d
i m p r o v e t h e i r q u a l i t y o f movement.
a strong
-
w h e r e t h e body c a n move a n d
its p o s s i b l e r e l a t i o n s h i p t o p a r t n e r s ,
they
for
understand Laban's
b a s i c c a t e g o r i e s f o r t h e a n a l y s i s o f movement
c a n d o , how t h e body
framework
classroom
children
the process
of
t o become
exploration,
J u s t as c h i l d r e n l e a r n
o f movement a s t h e y l e a r n f r o m e a c h
teachers
p r o f i c i e n t o b s e r v e r s and a n a l y z e r s
can
learn
o f movement.
to
become
The r o l e o f
118
teachers
in
the
educators
in
learning.
The
education
moves
classroom
the
gymnasium:
classroom
they
teacher
t h e r o l e of p h y s i c a l
guide
and
trained
facilitate
in
movement
f r o m t h e c l a s s r o o m t o t h e gymnasium w i t h o u t
disruptions, eliminating
areas.
parallels
the
teaching
of
i s o l a t e d subject
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