April

25

- May

31,

2019

enrichment guide

Performance sponsor:

2

SETTING THE STAGEpreparing for the play

Synopsis . . . . . . . . . . . . . . . . . . . 3–5About the Author . . . . . . . . . . . . . . . 6About the Playwright . . . . . . . . . . . . 6Recommended Reading . . . . . . . . . 7Pre-Show Questions . . . . . . . . . . . . 7

FOR TEACHERSCurriculum connectionsbefore or after the play

SCIENCEShadow Puppet Science Theatre . .8–9

SOCIAL/ EMOTIONAL WELLBEINGA Trip to Neverland . . . . . . . . . . . . 10Positive Conflict Resolution Practice . . . . . . . . . . . . 14Fighting the Urge to Fight . . . . . . . 15Puppets in the Classroom . . . . .16–17The Benefits of Imaginary Play . . 18–19

MATHTinkering With Math . . . . . . . . . . . . .11

HISTORYPirate Ship Exploration . . . . . . . . 12–13

CURTAIN CALL

Post-Show Questions . . . . . . . . . . 20Who Said It? . . . . . . . . . . . . . . . . . 20Who Said it? (ANSWERS) . . . . . . . 20

First Stage Policies• The use of recording equipment and cameras are not permitted during

the performance .• Food, drink, candy and gum are not permitted during the performance .• Electronic devices are not permitted in the theater space .• Should a student become ill, suffer an injury or have another problem,

please escort him or her out of the theater space .• In the unlikely event of a general emergency, the theater lights will go on

and the stage manager will come on stage to inform the audience of the problem . Remain in your seats, visually locate the nearest exit and wait for the stage manager to guide your group from the theater .

Seating for people with special needs: If you have special seating needs for any student(s) and did not indicate your need when you ordered your tickets, please call our Assistant Patron Services Manager at (414) 267-2962 . Our knowledge of your needs will enable us to serve you better upon your arrival to the theater .

I N S I D E T H E G U I D E A NOTE TO TEACHERS AND PARENTS

TINKER BELL

Dear Educators and Parents,

Come explore Neverland through the eyes of Tinker Bell, a very small fairy with very big emotions . Life on the magical island with her friend Peter Pan is peaceful until one day, Peter brings home a new friend: Wendy . Will Tinker Bell’s jealousy cost them their friendship? First Stage is honored to present a new take on a clas-sic tale in Patrick Flynn’s TINKER BELL .

Enclosed in this enrichment guide is a range of materials and activities intended to help you discover connections within the play through the curricula . It is our hope that you will use the experience of attending the theater and seeing TINKER BELL with your students as a teaching tool . As educators and parents, you know best the needs and abilities of your students . Use this guide to best serve your children— pick and choose, or adapt, any of these suggestions for discussions or activities . We encourage you to take advantage or the enclosed student worksheets— please feel free to photocopy the sheets for your students, or the entire guide for the ben-efit of other teachers .

Enjoy the show!

Julia MagnascoEducation Director(414) 267-2971Julia@firststage .org

3

The play begins with Tinker Bell, seen as a small, darting, green light, traveling around the stage and exploring the sights . Wendy and Smee enter and address the audience, welcoming them to the theater and telling them that they ought to believe in fairies, because fairies “believe in you .” We then meet Tinker Bell in person, who welcomes the audience and explains the history of fairies, who we are told began with the first laugh of the first baby ever born . However, she explains, many children around the world have begun denying the existence of fairies which has cost many fairies their lives . The dwindling number of fairies has led Tinker Bell to a life of loneliness, leaving her to explore the world attempting to make friends . Tinker Bell recalls arriving at a pond in the middle of Kensington Gardens, London and attempting to make friends with the ducks of the pond, when suddenly a boy in a nightgown appeared and greeted her .

Tinker Bell behaves in a standoffish way at first, but soon their conversation evolves when he reveals that he can see, hear, and understand Tinker Bell—something most humans cannot do . The boy explains that he has run away from home and has no intention of returning back, revolting against his parents’ planning of his future . The boy expresses a desire to live on the island and remain young forever, an idea which Tinker Bell rejects . Tinker Bell’s tone changes when the boy offers to be her friend . Tinker Bell then invites the boy to her island, he introduces himself as Peter Pan, and they fly away together .

Wendy and Smee reappear, apologize for their interruption, and explain that due to their “miniscule” size that fairies are unable to handle more than one emotion at a time and cannot comprehend or experience mixed feelings . Tinker Bell and Peter arrive on the island and Peter marvels at the beautiful birds and flowers . One day, the two spot something on the water: a pirate ship approaching the island . Tinker Bell, horrified, looks to run and hide, but Peter insists that they stay put and fight . Peter argues that friends must look out for one another and protect each other, and that Tinker Bell must stay with him .

Two pirates, Captain Hook and Smee, enter and surprise Tinker Bell, who in the midst of her disagreement with Peter has not noticed their arrival . The pirates cannot understand Tinker Bell and only see her as a ball of light with tinkling bells for a voice . The pirates ask Peter the name of the island and through a misunderstanding the island is inadvertently named Neverland . Hook motions to claim the island for himself, but Peter refuses . Hook is appalled at Peter’s insolence and exclaims “didn’t your mother teach you any manners, boy!”, which affects Peter . Infuriated, Hook draws his sword to attack, but Peter

evades him by flying around and dodging his swings . Upon an order from Hook, Smee moves to attack Tinker Bell who dodges his twisted sword with ease . The fight evolves and Hook, desperate, calls for Smee to retrieve a net . Tinker Bell’s fairy dust helps Peter avoid capture as Smee releases Peter and captures Hook in his net by mistake . Peter swings at Hook with his own sword, cutting of his hand which flies into the lagoon . Hook demands that Smee retrieve it, but he is prevented by a crocodile who emerges from the waters . This causes Smee in an act of desperation to toss a clock into the crocodile’s mouth, and run for safety with Hook .

SETTING THE STAGE SYNOPSIS

4

Tinker Bell celebrates her strong act of friendship, but her elation soon comes to an end when Peter expresses that he wants to return home to see his mother . Hook’s words have affected Peter, who explains that he never had the chance to learn manners from his mother, and feels that he must be missing out on other important, human lessons . Peter takes off with Tinker Bell in pursuit, begging him not to leave her . Peter searches desperately for his former home, arriving at a house with barred windows . Peter peers between the bars and sees his mother with a small child . He resolves to remain a child forever, and sets off in search of a new mother . Tinker Bell refuses the title, explaining that her role as his friend makes being his mother an impossible task .

Peter flies away to Kensington Gardens, where the two of them initially met and they argue about his plans to find and bring a new mother back to Neverland . Suddenly, they encounter a lost boy who claims he fell from his baby carriage and became separated from his nanny . Peter, identifying with the boy’s predicament, invites him back to the island against Tinker Bell’s wishes and sprinkles fairy dust on him . The two boys take off, leaving Tinker Bell behind who, exasperated, resolves to never return to London .

Smee appears addressing the audience and explains that they returned to London multiple times . Peter continued his search for his mother and found six other lost children whom he also invited to live in Neverland . Tinker Bell, angry at Smee inaccurately naming the Lost Boys, kicks him off of the stage . However, he is abruptly invited back after explaining that he will appear in the upcoming scene .

Captain Hook shows off his new hook hand, boasting to his pirate crew of its versatility . Hook then sets them on a hunt for Peter and Tinker Bell, seeking to avenge the loss of his hand . Meanwhile, Peter, the Lost Boys, and Tinker Bell are hiding in the trees, preparing to attack the pirates . The friends hop out of their hiding place and confront the pirates, with Hook swearing retribution . Hook’s offhand mention of the word “mother” strikes a chord with Peter . Hook, cuddling a teddy bear for comfort then reminisces about his own mother . An argument breaks out between the Lost Boys and the pirates about whose mother was best, and Hook calls to postpone the skirmish, his mother’s memory overwhelming him . Peter resolves to find his new mother for he and the Lost Boys within the week .

Later, on the rooftops of London, Tinker Bell questions Peter’s desire to find a mother, arguing that her friendship makes having one unnecessary . Peter explains that mothers do important things like telling bedtime stories .

He then spies a young girl telling her brothers the story of Cinderella through a nearby window . Peter is entranced and moves in closely to get a better look when he accidentally startles a dog inside the house . He hears the voice of a woman, the children’s grandmother, who spots him as Peter and Tinker Bell quickly take off . Peter, believing his shadow was accidently left inside of the room, makes plans to return to the house, hear the end of the story, and retrieve his shadow the following night .

Peter and Tinker Bell arrive back at the house, carefully enter the nursery, and begin their search . Peter retrieves his shadow, but in the process accidentally locks Tinker Bell in the drawer that he discovered it in . The noise alerts the young girl from the previous night who enters the room and encounters Peter . She introduces herself as Wendy Moira Angela Darling . Tinker Bell addresses the audience, expressing her distaste for Wendy who makes her feel very strong negative emotions . It becomes clear that Tinker Bell is extremely jealous of Wendy, which is exacerbated when Wendy offers Peter a kiss . Tinker Bell panics, worried that Wendy will replace her as Peter’s friend . Wendy gives Peter a thimble, and Peter, under the impression that he is kissing her, returns the favor by gifting Wendy an acorn shaped button which Wendy promises to keep and wear on a chain .

Peter explains his background to Wendy, who is fascinated to hear of Neverland and his fairy friend, Tinker Bell . The sound of tinkling bells catches Wendy’s ear and the pair begins to look for Tinker Bell who is still trapped inside of the drawer . They find her and Tinker Bell, now very upset, launches into a tirade against Wendy who cannot understand her . Peter, ignoring Tinker Bell’s pleas to leave the nursery, tells Wendy of the Lost Boys and his search for a mother . Wendy offers to be mother to Peter and the Lost Boys and with her brothers John and Michael in tow, Peter covers them in fairy dust and they all fly off to Neverland .

Tinker Bell beats the others back to the island and instructs the Lost Boys to shoot the “Wendy Bird” flying above them in the sky, claiming that Peter wants them to do so . They shoot several arrows and hit Wendy who drifts down to the ground . The Lost Boys, now disbelieving Tinker Bell, realize that they shot a person instead of a bird . They hear Peter arrive, panic, and cover up Wendy’s body just as he lands to greet them . Peter announces the arrival of their new mother and the Lost Boys, aware of what has happened, step aside to reveal Wendy lying on the ground . Wendy’s brothers and see the body of their sister as John tries his best to console Michael . Peter discovers who shot the arrow, and furious,

SETTING THE STAGE SYNOPSIS (CONT.)

5

raises it like a dagger to kill the Lost Boy responsible, but Wendy awakens and stops him mid-blow . They discover that the “kiss” that Peter gave Wendy has stopped the arrow and saved her life . The Lost Boys reveal Tinker Bell’s directions when Michael asks them about the shooting . Peter, devastated, ends their friendship immediately and banishes Tinker Bell .

Tinker Bell flies away and encounters Smee mending Captain Hook’s socks . Wendy laments how life has changed on the island since the arrival of Peter, the Darlings, and the pirates—claiming that her existence was better when she only knew fairies . When she asks Smee why he remains supportive of Captain Hook despite their arguments and differences of character, he replies that he must because Captain Hook is his friend and needs him . He explains that while friends might become upset with one another, that they always come back together in the end . Smee, reverting to his devotion to Hook realizes that with Tinker Bell out of the picture, Peter has no one protecting him from a pirate attack . Apologetically, he informs Tinker Bell of his intention to inform the pirates which greatly upsets her . She quickly realizes that she is no longer angry at Peter and that she still cares deeply for him . However, Smee quickly captures Tinker Bell to prevent her from warning Peter and the others of the impending attack . He leaves to inform Captain Hook of the news .

Hook, Smee, and the pirates arrive at Peter’s hideout, with Tinker Bell in tow . They reveal that they have known of the hideout’s location and have been waiting for an opportunity to strike . Peter is preparing for bed as the Darlings and Lost Boys prepare to leave and Wendy

reminds him to take his medicine . Sensing an opportunity, the pirates ambush the group as they leave the hideout and capture them all in bags . Hook, taking advantage of Wendy’s reminder, creeps inside and poisons Peter’s medicine . Smee, disappointed at the lack of a Peter- Hook sword fight, agrees to secretly allow Tinker Bell to save her friend .

Tinker Bell enters the underground hideout and alerts Peter of the situation at hand . Peter springs into action as Tinker Bell warns Peter about the poisoned medicine . Distrusting Tinker Bell, he motions to drink the medicine, but Tinker Bell intercepts it and downs it in one large gulp . Peter realizes that Tinker Bell was telling the truth and that she has saved his life, calling her “dear Tink” . He calls upon the audience to save Tinker Bell by expressing their belief in fairies and leads them in a round of applause to revive his friend . The power of the applause restores Tinker Bell's health and the two of them fly off to rescue their friends .

Aboard Hook’s ship, the children are nearly forced to walk the plank, but Peter and Tinker Bell sneak on board and intervene in the nick of time . A dramatic sword fight breaks out between Peter and Hook as Tinker Bell attacks Smee which forces him to release Wendy, who then frees the others . The children overwhelm the pirates and force them overboard as the duel rages on . Hook overwhelms and is about to slay Peter when suddenly the sound of a ticking clock is heard . The crocodile reappears and chases Hook overboard and into the water below .

After the battle, Tinker Bell invites the Darlings and the Lost Boys to stay in Neverland, but they politely decline . When Peter is offered a chance to return to London, he expresses that he will have plenty of company in Neverland from his best friend: Tinker Bell . The friends set course from London in Hook’s ship as Tinker Bell addresses the audience, saying: “Do you believe in fairies? You should . I believe in you .” Tinker Bell blows her fairy dust as the play ends .

SETTING THE STAGE SYNOPSIS (CONT.)

6

Patrick Flynn is an award-winning filmmaker, playwright, and web series creator based in Washington, D .C . His series “I Live With This” won Outstanding Series and Outstanding Writing at the 2012 L .A . Webfest . His series “Long Distance Relationship” took home Bronze at the 2016 TIVA-DC Peer Awards . His plays have been part of the DC Source Festival, the Kennedy Center's Page-to-Stage Festival, Bethesda Play-in-a-Day, DC One-Minute Play Festival, and New York Fringe . He is a 10-year veteran of the 48 Hour Film Project and has received several awards including Best Film for his short “For Whom the Whistle Blows” . His first book "Visual Literacy: A Practical Text on the Analysis, History, and Creation of Visual Media" (co-authored with Kyle Brannon) is available from Kendall-Hunt . He is a professor at American University’s School of Communication and host of a podcast about original cast albums called "The Original Cast" available on iTunes .

ABOUT THE PLAYWRIGHT: PATRICK FLYNN Taken directly from: https://www.american.edu/soc/faculty/pflynn.cfm

Taken directly from: “J.M Barrie Biography.” The Biography Channel website. © 2009 A&E Television Networks. All rights reserved. http://www.biography.com/articles/J.M.-Barrie-9200058

Writer and playwright J .M . Barrie was born on May 9, 1860, in Kirriemuir, Forfarshire, Scotland . After graduating from Edinburgh University in 1882, Barrie worked as a journalist . He published his first novel, Better Dead, in 1887 . Barrie soon had a string of popular novels set in Scotland, including A Window in Thrums (1889) .

After having some success with fiction, Barrie began writing plays in 1890s . In the late 1890s, Barrie met the five Llewelyn Davies brothers in London’s Kensington Gardens, where he took long walks . He found inspiration for his best-known work—Peter Pan—in his friendship with the Davies family . Barrie would later become the boys’ guardian after the death of their parents .

The famous character of Peter Pan first appeared in the 1902 book The Little White Bird .

Two years later, his play PETER PAN premiered on the London stage and became a great success . Audiences were drawn in the fantastical tale of the flying boy who never grew up and his adventures in Neverland with the Darling children . Barrie also wrote a book based on the play called PETER AND WENDY, which was published in 1911 .

After PETER PAN, Barrie continued writing, mostly plays aimed at adults . His last major play, MARY ROSE, was produced in 1920 and centered on a son visited by his mother’s ghost .

J .M . Barrie died on June 19, 1937, in London, England . As a part of his will, he gave the copyright to PETER PAN to a children’s hospital in London . After his death, Barrie’s beloved characters were transformed into animated figures in the Disney classic Peter Pan (1953) . The story was also the basis for the 1991 film Hook . And a live-action version of the story, Peter Pan, was released in 2003 .

Through the years, numerous stage productions of PETER PAN have produced and have starred such actresses Mary Martin and Kathy Rigby . Barrie’s most famous play continues to be a favorite with young and old alike .

ABOUT THE AUTHOR: J.M. BARRIE

7

RECOMMENDED READING

PRE-SHOW QUESTIONS

The Little White Bird by J . M . Barrie

Peter Pan in Kensington Gardens and Peter and Wendy by J . M . Barrie

Peter Pan in Scarlet by Geraldine McCaughrean

Peter and the Starcatchers by Dave Barry

Escape from the Carnivale: A Never Land Book by Ridley Pearson

Capt. Hook: The Adventures of a Notorious Youth by J . V . Hart

Treasure Island by Robert Louis Stevenson

The Jungle Books by Rudyard Kipling

The Lion, the Witch and the Wardrobe by C . S . Lewis

Alice's Adventures in Wonderland and Through the Looking-Glass by Lewis Carroll

1 . TINKER BELL is one of many adaptations of the original play PETER PAN by J .M . Barrie . What other Peter Pan movies, books, or plays have you seen or read? What differences do you think there will be between this play and other Peter Pan stories?

2 . Neverland is an enchanted place filled with pirates, mermaids, and fairies . Imagine your own magical land . What would it look like, who would inhabit this place, and what mystical qualities would it possess?

3 . Peter Pan wants to live as a child forever and never grow up . What do you think would be fun about living like this? What would you miss if you never grew up?

4 . Tinker Bell and many other characters in the original PETER PAN story fly . How might First Stage make these characters fly onstage?

8

MATERIALS AND PREPARATIONFor Large Shadow Theater:• desk lamp with a 100-watt bulb (or a slide projector)• a large white sheet• 2 chairs• 4 large binder clips or tape

For Shadow Puppets:• art supplies: crayons, markers, scissors, tape, Popsicle sticks or straws• camera or video recorder• timer (optional)

Prepare large shadow theater ahead of time:Set up the large shadow theater by draping a sheet across two chairs that are a few feet apart . Use binder clips or tape to attach the corners of the sheet to the top and bottom of each chair and make sure that the sheet is stretched tightly . Place the lamp behind the theater so that it shines through the sheet .

Key Science Concepts• You can make shadows with your body and other objects .• A shadow shows the shape of an object, but it doesn’t show colors or many other details .• You can change the shape of a shadow by moving and turning your body or the object making the shadow or by

moving the light source .

VocabularyEncourage children to use vocabulary related to shadows like light, shine, outline, shape, solid, dark, performance, audience, and shadow puppet . Emphasize science process words like describe, compare, notice, and observe .

Taken directly from: http://peepandthebigwideworld.com/en/educators/curriculum/center-based-educators/shadows/activity/stand-alone/534/shadow-puppet-show/

SHADOW PUPPET SCIENCE THEATRE Classroom Ar t /Science Activit y

9

DIRECTIONSTell children that they will make shadow puppets, which they’ll use to put on a play . 1 . Decide whether you want children to work together or individually in putting on a play—some may prefer to put on their

own play while others may want to work together as a group .

2 . Tell children to think of a story they’d like to create in the large shadow theater and which puppets they will need to tell their story .

3 . Have children make puppets, adding a handle and testing out the puppets to make sure the shadows look the way they want them to look .

Tell children to get ready to put on a puppet show! (You may want to invite parents to attend the show . If they can’t make your show time, encourage their child to put on a little show for them at pick-up .)4 . Have the performers (either individual children or groupings of children) put on their puppet shows .

5 . To make sure everyone has a chance to perform, you might set a timer that goes off after two or three minutes, a signal to encourage children to wrap up their plays .

6 . Document the children’s shadow puppet shows by videotaping them .

REFLECT AND SHAREGather children to reflect on their shadow puppet shows . Ask,• How did you use the shadow puppets to tell a story?

What things could you make your puppet’s shadow do?• What do you wish your shadow puppet could do that it couldn’t? • What’s the difference between using shadow puppets and regular

puppets? What can you do with shadow puppets that you can’t do with regular puppets? What can you do with regular puppets that you can’t do with shadow puppets?

Taken directly from: http://peepandthebigwideworld.com/en/educators/curriculum/center-based-educators/shadows/activity/stand-alone/534/shadow-puppet-show/

SHADOW PUPPET SCIENCE THEATRE (CONT.) Classroom Ar t /Science Activit y

10

1 . Begin by asking your students to build a picture in their minds of Neverland – a wonderful and fantastical place, with forests and a river, amazing beasts and a lagoon where mermaids play!

a . Allow students to share their ideas and images with the class . Some may have seen film versions and others may need encouraging to listen to descriptions of the setting and to use their imaginations .

2 . Place students into small groups . In these groups, students must share their image ideas of Neverland with their partners and collectively decide what their Neverland looks like and includes .

3 . After brainstorming with their partners, the small groups must first design a poster advertising Neverland as a holiday destination .

a . You may wish to bring in examples of holiday brochures or travel posters to help students choose their style and gain a clear understanding of what information should be included in their poster .

4 . After completing the travel posters, have the small groups use these posters to work together to create a commercial for vacationing in Neverland . The commercial must include everyone in their group, and must showcase the main attractions in Neverland, and tell the audience why they should make Neverland their vacation destination .

a . Allow students to be creative, and include props and costumes and music, if desired . b . Before beginning this activity, you may wish to brainstorm with students the components of a

successful commercial . Students should understand the purpose of a commercial—to sell the product in an informative and entertaining manner .

c . Share these commercials with the class . Afterwards, discuss with students which commercials best grabbed their attention, and why .

5 . Once the students have seen the commercials, it is time to pack for their Neverland vacation . Next, the small groups must come up with a ‘kit list’ of things that they will need to pack for their trip to Neverland . For example, real food, a dagger to fight off the pirates, a fairy lingo dictionary so they can understand Tinker Bell – and so on!

a . Imagination is key to this activity, so encourage them to be as creative as possible . b . Share the lists with the class, if time allows .

6 . Finally, the students are in Neverland . Have students individually write postcards home to their families based on their thoughts and experiences, imagining themselves in this mystical setting, and using the correct punctuation (capital letters, commas, full stops etc .) in their writing .

a . Hang these postcards around the classroom for all the students to read .

Taken from: http://www.gosh.org/peterpan/schools-and-youth-groups/educational-resources/

A TRIP TO NEVERLANDClassroom Social Studies Activit y

a Trip to NeverlandSoCIal STudIeS ClaSSroom aCTIvITy

Taken from: http://www.gosh.org/peterpan/schools-and-youth-groups/educational-resources/

activity

1. Begin by asking your students to build a picture in their minds of Neverland – a wonderful and fantastical place, with forests and a river, amazing beasts and a lagoon where mermaids play! a. Allow students to share their ideas and images with the class. Some may have seen film versions and others may need encouraging to listen to descriptions of the setting and to use their imaginations.

2. Place students into small groups. In these groups, students must share their image ideas of Neverland with their partners and collectively decide what their Neverland looks like and includes.

3. After brainstorming with their partners, the small groups must first design a poster advertising Neverland as a holiday destination. a. You may wish to bring in examples of holiday brochures or travel posters to help students choosetheir style and gain a clear understanding of what information should be included in their poster.

4. After completing the travel posters, have the small groups use these posters to work together to create a commercial for vacationing in Neverland. The commercial must include every- one in their group, and must showcase the main attractions in Neverland, and tell the audience why they should make Neverland their vacation destination. a. Allow students to be creative, and include props and costumes and music, if desired. b. Before beginning this activity, you may wish to brainstorm with students the components of a successful commercial. Students should understand the purpose of a commercial—to sell the product in an informative and entertaining manner. c. Share these commercials with the class. Afterwards, discuss with students which commercials best grabbed their attention, and why.

5. Once the students have seen the commercials, it is time to pack for their Neverland vacation. Next, the small groups must come up with a ‘kit list’ of things that they will need to pack for their trip to Neverland. For example, real food, a dagger to fight off the pirates, a fairy lingo dictionary so they can understand Tinker Bell – and so on! a. Imagination is key to this activity, so encourage them to be as creative as possible. b. Share the lists with the class, if time allows.

6. Finally, the students are in Neverland. Have students individually write postcards home to their families based on their thoughts and experiences, imagining themselves in this mystical setting, and using the correct punctuation (capital letters, commas, full stops etc.) in their writing. a. Hang these postcards around the classroom for all the students to read.

21

11

Solve the math problems on the worksheet below. Then, using the key at the bottom, color the boxes to create a picture of Tinker Bell!

Taken directly from: https://www.coloringsquared.com/worksheet/tinkerbell-practice-addition/

TINKERING WITH MATH Classroom Math/Ar t Activit y

Name: Date:

Tinkerbell8+10 9+10 10+6 8+9 8+9 10+7 6+10 10+8 10+6 10+8 10+8 9+10 10+7 9+8

9+7 9+10 6+10 9+9 8+9 10+9 7+9 10+6 0+0 0+0 10+7 10+8 9+7

9+9 9+8 7+9 8+10 9+9 0+0 0+0 0+0 0+0 0+0 7+9 10+8

8+8 10+10 9+8 0+0 3+8 0+0 0+0 0+0 10+9 10+9

8+88+019+70+001+37+75+901+018+9

8+901+97+017+019+97+46+88+48+01

6+018+018+97+42+99+56+89+28+8

3+1 3+8 1+4 1+0 9+4 8+7 5+8 9+6 8+10 9+7 9+8 9+10 10+9

7+9 10+6 3+4 4+5 5+5 3+1 5+0 9+4 6+9 8+10 8+10 10+10 8+10 10+7

9+9 10+10 6+10 10+9 9+6 0+8 5+4 0+1 8+9 10+9 8+8 10+9 8+9 10+8 10+6

01+018+0101+88+97+92+16+29+46+019+97+017+98+9

9+89+017+99+95+04+15+46+98+37+801+019+87+01

8+9 8+9 10+7 8+8 10+9 8+10 3+6 5+1 0+2 2+2 1+4 10+10 10+9 10+9 10+9

10+8 7+9 9+7 8+8 9+9 7+0 2+4 3+6 1+4 0+5 2+1 9+10 9+10 10+10 8+9

9+8 9+7 7+9 10+9 10+9 6+3 9+5 6+4 9+3 3+1 9+7 9+8 10+8 8+9 8+9

9+8 8+10 6+10 7+9 8+10 9+5 9+3 6+8 6+8 5+10 10+6 10+6 9+8 10+10 10+10 7+9 10+7

8+10 8+8 9+9 9+7 10+6 10+10 8+9 6+9 10+2 8+7 9+3 4+7 8+9 10+7 8+8 10+9 10+6 6+10 8+8

6+10 9+7 8+8 7+9 9+9 9+7 9+10 4+7 7+8 10+2 7+4 7+9 8+10 10+10 7+9 6+10 8+10 10+9 10+10

8+10 7+9 10+8 10+9 9+10 9+9 9+8 9+8 7+5 9+2 10+1 10+8 10+10 9+7 9+9 8+10 8+10 8+10 9+8

9+7 9+10 10+9 8+8 10+10 10+6 10+8 9+7 10+4 10+1 1+10 8+8 10+8 10+9 10+10 9+7 9+8 10+9 6+10

Key:0 Yellow1-5 Light Green6-10 Dark Green11-15 Skin Tone16-20 Blue *Blank squares are white

www.coloringsquared.com

Name: Date:

Tinkerbell8+10 9+10 10+6 8+9 8+9 10+7 6+10 10+8 10+6 10+8 10+8 9+10 10+7 9+8

9+7 9+10 6+10 9+9 8+9 10+9 7+9 10+6 0+0 0+0 10+7 10+8 9+7

9+9 9+8 7+9 8+10 9+9 0+0 0+0 0+0 0+0 0+0 7+9 10+8

8+8 10+10 9+8 0+0 3+8 0+0 0+0 0+0 10+9 10+9

8+88+019+70+001+37+75+901+018+9

8+901+97+017+019+97+46+88+48+01

6+018+018+97+42+99+56+89+28+8

3+1 3+8 1+4 1+0 9+4 8+7 5+8 9+6 8+10 9+7 9+8 9+10 10+9

7+9 10+6 3+4 4+5 5+5 3+1 5+0 9+4 6+9 8+10 8+10 10+10 8+10 10+7

9+9 10+10 6+10 10+9 9+6 0+8 5+4 0+1 8+9 10+9 8+8 10+9 8+9 10+8 10+6

01+018+0101+88+97+92+16+29+46+019+97+017+98+9

9+89+017+99+95+04+15+46+98+37+801+019+87+01

8+9 8+9 10+7 8+8 10+9 8+10 3+6 5+1 0+2 2+2 1+4 10+10 10+9 10+9 10+9

10+8 7+9 9+7 8+8 9+9 7+0 2+4 3+6 1+4 0+5 2+1 9+10 9+10 10+10 8+9

9+8 9+7 7+9 10+9 10+9 6+3 9+5 6+4 9+3 3+1 9+7 9+8 10+8 8+9 8+9

9+8 8+10 6+10 7+9 8+10 9+5 9+3 6+8 6+8 5+10 10+6 10+6 9+8 10+10 10+10 7+9 10+7

8+10 8+8 9+9 9+7 10+6 10+10 8+9 6+9 10+2 8+7 9+3 4+7 8+9 10+7 8+8 10+9 10+6 6+10 8+8

6+10 9+7 8+8 7+9 9+9 9+7 9+10 4+7 7+8 10+2 7+4 7+9 8+10 10+10 7+9 6+10 8+10 10+9 10+10

8+10 7+9 10+8 10+9 9+10 9+9 9+8 9+8 7+5 9+2 10+1 10+8 10+10 9+7 9+9 8+10 8+10 8+10 9+8

9+7 9+10 10+9 8+8 10+10 10+6 10+8 9+7 10+4 10+1 1+10 8+8 10+8 10+9 10+10 9+7 9+8 10+9 6+10

Key:0 Yellow1-5 Light Green6-10 Dark Green11-15 Skin Tone16-20 Blue *Blank squares are white

www.coloringsquared.com

12

PIRATE SHIP EXPLORATION Classroom Histor y Information

Taken from: http://www.geocities.com/captcutlass/Ship.html, http://atozkidsestore.com/dazesample_3.pdf

Pirates of old used many types of ships, anywhere from a small sloop to a large warship . But generally they gave preference to those with the greatest speed, as it would do no good to spot a potential target only to have it out-sail you . Also, pirates wanted a quick escape if needed . The pirates kept their ships in good order, careening them regularly to keep the hulls smooth and clear of seaweed and other marine life . This work was essential in order to maintain their speed advantage . Two of the pirates’ favorite types of ships were the sloop and the schooner . The speed and shallow draft of these ships enabled the pirates to hide in relative safety in shallower coastal waters where larger warships could not enter .

The Sloop: This relatively small vessel could carry around 75 pirates and 14 cannons . The sloop was often the ship of choice for hunting in the shallower channels and sounds . It was used mainly in the Caribbean and Atlantic . Today’s sailing Yacht is essentially a sloop .

The Schooner: This ship came into widespread use around the last half of the eighteenth . The Schooner was very fast and large enough to carry a plentiful crew—it could reach 11 knots in a good wind . The schooner had a shallow draft, which allowed her to remain in shallow coves waiting for her prey . The Schooner was a favorite among both pirates and smugglers of the North American coast and the Caribbean .

THE CREWCaptain: Most pirate Captains were democratically elected by the ships crew and could be replaced at any time by a majority vote of the crewmen . For example, some captains were voted out and removed for not being as aggressive in the pursuit of prizes as the crew would have liked; and others were abandoned by their crews for being a little too bloodthirsty and brutal . The Captain was expected to be bold and decisive in battle and also have skill in navigation and seamanship . Above all, the Captain had to have the force of personality necessary to hold together such an unruly bunch of seamen .

Quartermaster: During the Golden Age of Piracy, most pirates delegated an amount of authority to the Quartermaster, who became almost the Captain’s equal . The Quartermaster was elected by the crew to represent their interests, and he received an extra share of the booty when it was divided . Above all, he protected the Seaman against each other by maintaining order, settling quarrels, and distributing food and other essentials .

Sailing Master: This was the officer who was in charge of navigation and the sailing of the ship . He directed the course and looked after the maps and instruments necessary for navigation . Since the charts of the era were often inaccurate or nonexistent, his job was a difficult one . He was perhaps the most valued person aboard a ship other than the captain because so much depended upon his skill .

Boatswain: The Boatswain supervised the maintenance of the vessel and its supply stores . He was responsible for inspecting the ship and its sails, and reporting their state to the captain . The Boatswain was also in charge of all deck activities, including weighing and dropping anchor, and the handling of the sails .

Carpenter: The Carpenter was responsible for the maintenance and repair of the wooden hull, masts and yards . He worked under the direction of the Ship Master and Boatswain .

Mate: On a large ship there was usually more than one Mate aboard . The Mate served as apprentice to the Ship Master, Boatswain, and Carpenter . He took care of the fitting out of the vessel, and examined whether it was sufficiently provided with ropes, pulleys, sails, and all the other rigging that was necessary for the voyage . The Mate took care of hoisting the anchor, and during a voyage he checked the tackle once a day .

Sailor: The common sailor was the backbone of the ship . He needed to know the rigging and the sails, as well as how to steer the ship . He also needed to know how to read the skies, weather, winds, and most importantly the moods of his commanders .

Other jobs on the ships were surgeon (for large vessels), cooks and cabin boys . There were many jobs divided up amongst the officers, sometimes one man would perform two functions . Mates who served apprenticeships were expected to fill in or take over positions when sickness or death created an opportunity .

13

PARTS OF A SHIPAft: Short for “after .” Toward the rear of the ship .Fore: Short for “forward .” Toward the front of the ship .Starboard: The right side of the ship when you are facing toward her prow .Bow: The front of the ship .Stern: The back of the ship .Port: The left hand side of a ship .Hull: The body of the ship, this is the most visible part of a ship . The hull makes the ship buoyant while providing shelter to those on board, and is divided by bulkheads and decks, depending on the size of the ship .Poop deck: The space on the ship where pirates would fire cannons, trim sails, and walk the plank .Quarters: Rooms below the deck of the ship where pirates would sleep .Mast: A pole that holds the sail upright .Boom: A pole that holds the sail horizontally .Crow’s nest: A small platform, sometimes enclosed, near the top of a mast, where a lookout could have a better view when watching for sails or for land .Jolly Roger: The pirates’ skull-and-crossbones flag . It was an invitation to surrender, with the implication that those who surrendered would be treated well .

PIRATE SHIP EXPLORATION (CONT.)Classroom Histor y Information

Taken from: http://www.geocities.com/captcutlass/Ship.html, http://atozkidsestore.com/dazesample_3.pdf

AFT

POOP DECK

MAST

CROW’S NEST

BOOM

QUARTERS

JOLLY ROGER

STERN

HULL

BOW

FORE

STARBOARD

PORT

14

Adapted from: Excerpted from Early Childhood Adventures in Peacemaking by William J. Kreidler and Sally Tsubokawa. http://www.teachervision.fen.com/ classroom-management/lesson-plan/2990.html; This model was developed through the collaboration of ESR’s Early Childhood training team: Lisa M. Cureton, Chris Gerzon, Rebecca Johns, Kim Jones, William J. Kreidler, Carol Miller Lieber, Sarah Pirtle, and Sandy Tsubokawa Whittall.

POSITIVE CONFLICT RESOLUTION PRACTICE Classroom Social/Emotional Well-Being Activit ies

We all run into problems…every single day! Sometimes it’s a problem of making the right choice – do we put away our project like our teacher asked us to, or do we keep doing our project because we want to; or the problem of controlling our emotions – how can we make good choices when someone makes us feel really angry; or choices on handling conflicts – can we work out a problem by ourselves or should we tell the teacher . Tinker Bell has lots of strong feelings – and when people make her feel angry, sometimes she doesn’t make the best choices .

ACTIVITY1 . Begin by asking students if they have ever had an argument or disagreement with a friend or classmate . What are

some things we can argue about? This list may include: conflict when getting into line, not letting someone play with a toy or use playground equipment, not sharing, hitting or pushing, arguing over who gets to go first/next, etc . Write these examples on the board—but make sure students do not give names or specifics, instead keep these accounts generalized as much as possible .

2 . Share with students that there are things we can do when we are in a disagreement with others to solve our problems without fighting . Explain that the “Talk It out Together” method is a problem-solving process that’s easy to remember . It consists of the following steps:

a . Step One: Get Together Step Two: Take Turns Talking and Listening . Step Three: What Will Help? Step four: Choose a Plan . Step five: Do It!

3 . Walk the group through the “Talk It out Together” method, using the following puppet role play:a . The puppets are cleaning up after an activity . Two puppets are pulling at the same toy until one of the pup-

pets pushes the toy at the other and he falls down and starts to cry .b . Say, “The puppets seem to have a problem . Let’s use the ‘Talk It out Together’ method to resolve this conflict .”

4 . Have the puppets model the steps of the method in the following ways:a . Step One: Get Together . The puppets face each other for step one . Step Two: Take Turns Talking and Listening . The puppets take turns talking about how they felt about the

toy and about the pushing and falling . Step Three: What Will Help? The puppets take turns suggesting plans that will make both parties feel okay . Step Four: Choose a Plan . The puppets suggest two different solutions that are agreeable to both of them .

Ask the students to give a thumbs-up for the plan they like the best . Step Five: Do It! The puppets pick the plan they like by signaling thumbs-up .

5 . After going through this process as a group, split the class into small groups and have them brainstorm other conflicts they could create a short Activating Scene about, using the puppets .

a . Give students a few minutes to come up with their conflict idea and script, and allow each group an oppor-tunity to practice with the puppets .

b . Remind students that their scene will stop before the problem escalates into a large conflict with fighting, screaming, or hurtful language used .

c . Tell students that their scene must be first approved by the teacher in order to share the scene with the class .

6 . Once the conflict Activating Scenes are ready, share the scenes with the class and then have the class use the “Talk It Out Together” method to solve these conflicts peacefully and respectfully .

15

FIGHTING THE URGE TO FIGHTClassroom Social/Emotional Well-Being Activit y

ACTIVITY1 . Start by asking students how they would define violence .

a . Why do they think people sometimes use violence to handle conflicts?

2 . After the students have offered a few suggestions, ask them to name everything potentially positive they can think of about fighting or using violence to resolve conflicts .

a . List their contributions on the board . Continue the brainstorm for five minutes .

3 . Next ask students to name all the potential negative consequences of fighting or using violence to deal with conflicts .

a . Repeat the brainstorming process . b . If necessary, ask about specific areas of students’ lives: What might be the consequences

of fighting at home? At school? On the playground? The negative list will probably be significantly longer .

4 . As a way to conclude the activity, discuss the following questions with your students:

a . Which list is longer? Why? Which of these negative things is a short term consequence? Which is long term? What are some ways you could get the positive effects of fighting without fighting? If there are so many reasons not to fight, why do people fight? Where do we get our ideas about fighting?

5 . Finally, have students take part in a role play activity . Take a particular conflict situation, possibly one that was mentioned in the prior discussion, and split students into pairs . One person’s objective is to escalate the conflict into a fist fight . The other person’s objective is to resolve it peacefully, or at least prevent a fight .

a . The pairs can all role play the situation at the same time . Allow students 30-60 seconds to explore this scene .

b . Afterwards, allow volunteers to share their scene with the class and have the class analyze what each person did to satisfy his/her objective . What general principles or guidelines can be drawn from this?

Adapted from: http://www.teachervision.fen.com/safety/lesson-plan/2962.html, Excerpted from Elementary Perspectives: Teaching Concepts of Peace and Conflict by William J. Kreidler. http://www.goodcharacter.com/BCBC/PreventingConflicts.html, © Copyright Elkind+Sweet Communications, Inc

humanITIeS ClaSSroom aCTIvITyAdapted from: http://www.teachervision.fen.com/safety/lesson-plan/2962.html, Excerpted from Elementary Perspectives: Teaching Concepts of Peace and

Conflict by William J. Kreidler. http://www.goodcharacter.com/BCBC/PreventingConflicts.html, © Copyright Elkind+Sweet Communications, Inc.

activity1. Start by asking students how they would define violence. a. Why do they think people sometimes use violence to handle conflicts?

2. After the students have offered a few suggestions, ask them to name everything potentially positive they can think of about fighting or using violence to resolve conflicts. b. List their contributions on the board. Continue the brainstorm for five minutes.

3. Next ask students to name all the potential negative consequences of fighting or using violence to deal with conflicts. a. Repeat the brainstorming process. b. If necessary, ask about specific areas of students’ lives: What might be the consequences of fighting at home? At school? On the playground? The negative list will probably be significantly longer.

4. As a way to conclude the activity, discuss the following questions with your students: a. Which list is longer? Why? Which of these negative things is a short term consequence? Which is long term? What are some ways you could get the positive effects of fighting without fighting? If there are so many reasons not to fight, why do people fight? Where do we get our ideas about fighting?

5. Finally, have students take part in a role play activityTake a particular conflict situation, possibly one that was mentioned in the prior discussion, and split students into pairs. One person’s objective is to escalate the conflict into a fist fight. The other person’s objective is to resolve it peacefully, or at least prevent a fight. a. The pairs can all role play the situation at the same time. Allow students 30-60 seconds to explore this scene. b. Afterwards, allow volunteers to share their scene with the class and have the class analyze what each person did to satisfy his/her objective. What general principles or guidelines can be drawn from this?

What about Fighting?

18

16

Taken directly from: http://teachmag.com/archives/5618

PUPPETS IN THE CLASSROOM Social/Emotional Intell igence Resource

The young faces of the children in a Toronto-area Montessori classroom illuminate as their teacher, Carina Cancelli, brings out the puppets to help enact the lesson of the day . Simple gestures with her hand bring life to the inert puppets, moving their little arms and mouths to animate a topic . Easy to operate, the children too can play with the puppets—bringing them to life and attributing personalities, characteristics, attitudes, and more . The puppet can become anyone or anything he or she wants . A best friend perhaps . Maybe even a sibling, teacher, or pet . It does not really matter because the world children create with puppets is entirely their own, a world without boundaries that they can freely explore . When used in the classroom, these puppets can help boost creativity and stimulate kids’ imaginations, from the preschool age up to early teen years . The innate interactivity draws children in and encourages them to be actively involved in the learning process and share their thoughts and observations .

A puppet is defined as a movable inanimate object or figure that is controlled by strings, rods, or by placing one’s hand inside its body . There are various types from finger puppets to hand puppets, pop-up puppets to paddle puppets, and marionettes to shadow puppets . A very ancient art form believed to have originated 3,000 years ago, puppetry has been practiced among many cultures throughout the history of civilization . The expressiveness and dramatization of puppets have not only entertained people for thousands of years, but have been used to educate and inform . In early Asian society, puppets were described in literature such as the Mahabharata and the Ashokan Edicts, as preachers of religion . In China specifically, shadow theatre—the casting of shadows of puppets onto a wall or screen as the puppeteer narrated a tale—was a popular form of entertainment . In parts of ancient Europe, such as Greece and Italy, puppets dramatized scriptural stories about creation and life . In areas of Africa, puppetry was often incorporated into healing rituals .

Today, puppets can be used to teach an array of secular topics, particularly in the classroom . Preschool children ranging from ages one to three, can be overly active and easily irritable or cranky . Puppets are perfect for grabbing their attention because they are safe, fun, and a natural progression from educational cartoons they likely watch at home . “My students are very excited when I use puppets . They love watching them and acting out scenarios of everyday life,” explains Cancelli who teaches a busy classroom full of two- and three-year-olds . “Finger puppets, particularly, are the most effective for my children because they have such tiny hands . By putting puppets on their fingers, they are able to transform their fingers into anything they want,” she adds . Puppets are also effective for teaching storytelling and the arts . Cancelli explains enthusiastically that puppets “are amazing as a visual aid for singing and dancing, they help children to be inventive and artistic, and they allow for children’s visions and inspirations to come to life .”

For kindergarten children, puppets are simple and effective tools for delivering information . “Often times, [my students] quote things I have said in lessons, or things their parents have said at home . The puppets allow them to project things that they observe and relate to in their lives,” explains Cancelli . When puppets are incorporated with play-based learning, children retain knowledge more effectively . The puppets then become tools for sharing or retelling what they have learned and observed .

Primary students can benefit from puppets through oral and language skills development . When a puppet speaks, children can listen, identify, and understand different words and phrases emphatically performed by their teacher who stresses proper enunciation and pronunciation . Similarly, the act of speaking out loud is much different than thinking the thoughts in your head . So when children are required to make short presentations or simply answer questions in class, the pressures from their peers or evaluation from their teachers can be intimidating . When puppets are provided however, these shy students can speak via the puppet, shifting the audience’s attention away from them and onto the puppet . With a crutch in their hand, students can gradually grow more confident with public speaking .

Some of the main benefits of puppets for middle school children revolve around the developing a child’s social skills . It is around this age that kids begin communicating among larger settings and partake in social activities without the presence of a teacher . They begin learning how to interact with the different personalities of their peers . When two puppets are animatedly speaking to each other first, it can help break the ice between students and initiate natural conversation . By exploring different communication techniques using puppets, students can apply the same to regular conversations .

17

Children in later grades can use puppets in a more profound way . Puppets can help break down barriers and encourage students to discuss very difficult issues such as bullying, abuse, drugs, and cultural and physical differences, to name a few . Many students are very uncomfortable with deeply personal topics and puppets can be used to lighten the mood . Cancelli says puppets “allow kids to express issues or concerns with a ‘mask’ on,” hiding behind the puppets, but still talking about the issues on hand—literally and figuratively . Puppets can empower students and assure them that they can discuss difficult issues without being centered out or put on the spot . Cancelli adds, “Puppets also act as an outlet because students can use them to express things that may pain them, or share things without feeling vulnerable .”

Over the centuries, puppets have remained a powerful form of communication between people . From Asia to Europe, Africa to the Americas, puppetry is a familiar art form that has been predominantly used for telling stories, preaching religious beliefs, and discussing cultural practices, but mainly, sharing knowledge . Puppetry in the classroom can be used in the same way . Beginning as a progression from child-friendly cartoons, such as the Muppets, to an educational tool for sounding out and pronouncing words, their multi-purpose functionality allows children’s minds to create, explore, and flourish . Puppets aid students to speak aloud in a group setting, allowing them to talk about serious and uncomfortable issues . Not only that, puppets are also a wonderful visual aid for children, retaining their attention and encouraging them to participate in class . Children are more willing to learn when they are having fun, and puppets are a gateway to opening up the mind and inviting knowledge in . Kids’ imaginations can run wild, and without knowing it, they are developing essential skills needed for everyday life, just as they did thousands of years ago .

Taken directly from: http://teachmag.com/archives/5618

PUPPETS IN THE CLASSROOM (CONT.) Social/Emotional Intell igence Resource

18

Taken directly from: http://www.associatedcontent.com/article/1874919/the_benefits_of_imaginative_play.html?cat=25, Published July 02, 2009 by: E.M. James

THE BENEFITS OF IMAGINARY PLAY Social/Emotional Intell igence Resource

The little girl holding a make-believe tea party for her stuffed animals; the young boy and his sister pretending to be brave, crime-stopping superheroes; the child acting as a police officer issuing traffic violations to everyone in the house¬hold; they are all engaged in, what might seem like simple child’s play . However, during these activities, important work is taking place in those children’s brains – work that can contribute to strengthened social, emotional and intellectual skills . Pretend play requires the ability to transform objects and actions symbolically; it requires social dialogue and negotiation; and it involves role-playing and improvisation (Bergen, 2002) . When it comes to finding activities that promote children’s development, many parents rightfully consider music, sports and academic enrichment programs . These activities are indeed valuable to children’s growth . Playtime, for some families, is often seen as a time of relaxing fun with little benefit to a children’s intellectual progress . However, studies have consistently demonstrated that the benefits of play, and specifically imaginative play, can help to prepare even the youngest children for school (Singer & Singer, 1992) . From ages three to about ten, imaginative play offers a host of benefits to children .

Promotes social skillsDuring pretend play, children are exploring social roles and trying out new ways to interact . They are able to practice sharing, taking turns, listening to others and negotiating . The child pretending to be a shopkeeper, for example, must deal with the give and take of customers (even if they are brothers, sisters or playmates) .

The children playing school are exploring appropriate ways to deal with authority and autonomy . The princess is negotiating how to rule over those in her kingdom without causing a rebellion or loss of playmates .

Encourages intellectual aptitudeImaginative play is the foundation of abstract thought . Children who pretend to be camping with a blanket thrown between two chairs in the living room are learning to think symbolically . In school, abstract thought becomes essential for understanding the symbolic nature of letters, numbers, sounds and so on . Learning to use numbers to show how many apples is an exercise in using symbols to display an amount .

Develops language and communication skillsPretend play with others requires much talking to get things straight—where the dragon lives, what planets the astronauts will visit, who will be the restaurant customer and who will be the server . Having to make one’s ideas clear to others promotes the growth of vocabulary and communication skills .

Supports emotional developmentRole-playing can allow children to explore their feelings . When children pretend to encounter and conquer a monster in the closet, they gain a sense of control over the situation . The monster in their mind (and closet) can lose some of its frightening power . Pretending to be a veterinarian caring for sick animals can help a child examine and practice empathy . Imaginative play can also help children explore some of the more confusing feeling they experience, such as jealousy, anger or frustration .

Builds self-confidenceBecause a young child is not able to control much in his/her day-to-day life, taking on an adult role, such as a carpenter, mail carrier or astronaut can be very empowering . When children develop confidence in their abilities and their potential, they can become more determined and persistent when introduced to new skills that they are expected to master .

ParenT and TeaCher InFormaTIonTaken directly from: http://www.associatedcontent.com/article/1874919/the_benefits_of_imaginative_play.html?cat=25,

Published July 02, 2009 by: E.M. James

The little girl holding a make-believe tea party for her stuffed animals; the young boy and his sister pretending to be brave, crime-stopping superheroes; the child acting as a police officer issuing traffic violations to everyone in the house-hold; they are all engaged in, what might seem like simple child’s play. However, during these activities, important work is taking place in those children’s brains – work that can contribute to strengthened social, emotional and intellectual skills. Pretend play requires the ability to transform objects and actions symbolically; it requires social dialogue and negotiation; and it involves role-playing and improvisation (Bergen, 2002). When it comes to finding activities that promote children’s development, many parents rightfully consider music, sports and academic enrichment programs. These activities are indeed valuable to children’s growth. Playtime, for some families, is often seen as a time of relaxing fun with little benefit to a children’s intellectual progress. However, studies have consistently demonstrated that the benefits of play, and specifi-cally imaginative play, can help to prepare even the youngest children for school (Singer & Singer, 1992). From ages three to about ten, imaginative play offers a host of benefits to children.

.Promotes social skillsDuring pretend play, children are exploring social roles and trying out new ways to interact. They are able to practice sharing, taking turns, listening to others and negotiating. The child pretending to be a shopkeeper, for example, must deal with the give and take of customers (even if they are brothers, sisters or playmates). The children playing school are exploring appropriate ways to deal with authority and autonomy. The princess is negotiating how to rule over those in her kingdom without causing a rebellion or loss of playmates.

.Encourages intellectual aptitudeImaginative play is the foundation of abstract thought. Children who pretend to be camping with a blanket thrown between two chairs in the living room are learning to think symbolically. In school, abstract thought becomes essential for understanding the symbolic nature of letters, numbers, sounds and so on. Learning to use numbers to show how many apples is an exercise in using symbols to display an amount.

.Develops language and communication skillsPretend play with others requires much talking to get things straight -where the dragon lives, what planets the astronauts will visit, who will be the restaurant customer and who will be the server. Having to make one’s ideas clear to others promotes the growth of vocabulary and com-munication skills.

.supports emotional developmentRole-playing can allow children to explore their feelings. When children pretend to encounter and conquer a monster in the closet, they gain a sense of control over the situation. The monster in their mind (and closet) can lose some of its frightening power. Pretending to be a veterinarian caring for sick animals can help a child examine and practice empathy. Imaginative play can also help children explore some of the more confus-ing feeling they experience, such as jealousy, anger or frustration.

The Benefits of Imaginary Play

16

19

Taken directly from: http://www.associatedcontent.com/article/1874919/the_benefits_of_imaginative_play.html?cat=25, Published July 02, 2009 by: E.M. James

THE BENEFITS OF IMAGINARY PLAY (CONT.) Social/Emotional Intell igence Resource

It’s easy and fun!Imaginative play experiences need not be expensive or complicated undertakings for families . Here are just a few simple ideas to help encourage children’s growth through play:

Put your junk mail to good useSave up those envelopes of unwanted credit card offers (especially fun are the ones with pretend credit cards inside), the coupon mailing packs with colorful advertising postcards, and the seemingly endless sweepstakes offers . Junk mail for music and/or book clubs sometimes comes with a set of perforated stamps (of CD or book titles) . Pass along these stamps and envelopes to your little ones, so they can play with the mail . Licking stamps, sorting and organizing grown-up mail for delivery can be a fun experience for children .

Use everyday items that you don’t need anymore. Encourages intellectual aptitudeKids love to explore adult objects . Even items that seem pretty mundane to adults can be very interesting to children . When you buy new wallet, don’t toss out the old one . Pass it along . An adult wallet can be a pretty exciting possession for a child .

Choose open-ended playthingsToys that have more than one use, like blocks, simple toy vehicles, dolls not based on television or movie characters, an empty paper towel tube, etc ., allow children to become more self-directed in their play as they find creative new uses and scenarios for items .

Enjoy good old-fashioned pretendingParents can also suggest imaginative, role-playing ideas . “Why don’t you pretend that you are an elephant?” Or “As I am mowing the lawn, why don’t you pretend that you are an explorer in the jungle?” Parents can be very clever and creative in offering scenarios for their children to try . There are so many ways for parents to promote pre¬tend play: a box of dress-up items, putting up a sheet in a doorway to serve as a stage curtain, even offering up empty cardboard boxes .

Parents’ encouragement goes a long wayAside from helping to provide hours of fun and fond childhood memories, parents who encourage imaginative play experiences are also supporting their children’s development in critical areas of social, emotional and intellectual growth . Imagine that!

Works CitedSinger, D. G., & Singer, J. L. (1992). The House of Make-Believe: Children’s Play and the Developing Imagination, Cambridge, MA: Harvard University Press.

Doris Bergen, “The Role of Pretend Play in Children’s Cognitive Development,” Early Childhood Research and Practice, 4(1), Spring 2002

ParenT and TeaCher InFormaTIonTaken directly from: http://www.associatedcontent.com/article/1874919/the_benefits_of_imaginative_play.html?cat=25,

Published July 02, 2009 by: E.M. James

The little girl holding a make-believe tea party for her stuffed animals; the young boy and his sister pretending to be brave, crime-stopping superheroes; the child acting as a police officer issuing traffic violations to everyone in the house-hold; they are all engaged in, what might seem like simple child’s play. However, during these activities, important work is taking place in those children’s brains – work that can contribute to strengthened social, emotional and intellectual skills. Pretend play requires the ability to transform objects and actions symbolically; it requires social dialogue and negotiation; and it involves role-playing and improvisation (Bergen, 2002). When it comes to finding activities that promote children’s development, many parents rightfully consider music, sports and academic enrichment programs. These activities are indeed valuable to children’s growth. Playtime, for some families, is often seen as a time of relaxing fun with little benefit to a children’s intellectual progress. However, studies have consistently demonstrated that the benefits of play, and specifi-cally imaginative play, can help to prepare even the youngest children for school (Singer & Singer, 1992). From ages three to about ten, imaginative play offers a host of benefits to children.

.Promotes social skillsDuring pretend play, children are exploring social roles and trying out new ways to interact. They are able to practice sharing, taking turns, listening to others and negotiating. The child pretending to be a shopkeeper, for example, must deal with the give and take of customers (even if they are brothers, sisters or playmates). The children playing school are exploring appropriate ways to deal with authority and autonomy. The princess is negotiating how to rule over those in her kingdom without causing a rebellion or loss of playmates.

.Encourages intellectual aptitudeImaginative play is the foundation of abstract thought. Children who pretend to be camping with a blanket thrown between two chairs in the living room are learning to think symbolically. In school, abstract thought becomes essential for understanding the symbolic nature of letters, numbers, sounds and so on. Learning to use numbers to show how many apples is an exercise in using symbols to display an amount.

.Develops language and communication skillsPretend play with others requires much talking to get things straight -where the dragon lives, what planets the astronauts will visit, who will be the restaurant customer and who will be the server. Having to make one’s ideas clear to others promotes the growth of vocabulary and com-munication skills.

.supports emotional developmentRole-playing can allow children to explore their feelings. When children pretend to encounter and conquer a monster in the closet, they gain a sense of control over the situation. The monster in their mind (and closet) can lose some of its frightening power. Pretending to be a veterinarian caring for sick animals can help a child examine and practice empathy. Imaginative play can also help children explore some of the more confus-ing feeling they experience, such as jealousy, anger or frustration.

The Benefits of Imaginary Play

16

20

1 . “It’s not fair! People always get it wrong . I just wanted a friend . Everyone should have a friend .”

2 . “Neverland? . . . Neverland . . . Odd name for an island . Though I will say I’ve sailed these seas many a moon and never once seen it . So I suppose Neverland is nice a name as any .”

3 . “I’m not a pet . I’m a boatswain . And the Cap’n’s been to University . Who cares if he didn’t graduate .”

4 . “Have you seen my nanny? I fell out of the pram while she wasn’t looking and now I don’t know where she is .”

5 . “I shall give you a kiss if you like .”

6 . “I hear them planning their children’s futures here all the time . This one will be a doctor, that one a barrister, that one a doctor, this one a magistrate, that one a doctor . If so many grow up to be doctors, who will be left to be the patients?”

7 . “I have to see my mother . I have to go home .”

8 . “Proud and insolent youth, prepare to meet thy doom .”

9 . “The battle for Neverland is won!”

10 . “Do you believe in fairies? You should . I believe in you .”

WHO SAID IT?

1 . At first, Tinker Bell is not very kind to Wendy . Why do you think this might be? How can we resolve problems if we are jealous of other people becoming friends with our friends?

2 . Many people cannot understand Tinker Bell, because when she speaks all that they hear is the sound of a tinkling bell . Have you ever been unable to understand somebody’s speech or language? Has somebody ever been unable to understand your speech or language? What was it like? How did you communicate with that person?

3 . Tinker Bell and Peter declare their friendship to be over, but in the end, they remain friends who help and love each other . Have you ever had a fight with your friend? How did you move past that fight and stay friends with that person?

POST-SHOW QUESTIONS

21

1 . “It’s not fair! People always get it wrong . I just wanted a friend . Everyone should have a friend .” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TINKER BELL

2 . “Neverland? . . . Neverland . . . Odd name for an island . Though I will say I’ve sailed these seas many a moon and never once seen it . So I suppose Neverland is nice a name as any .” . . . . . . . . . . . . . . . . . . . . . . . . . . . . CAPTAIN HOOK

3 . “I’m not a pet . I’m a boatswain . And the Cap’n’s been to University . Who cares if he didn’t graduate .” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SMEE

4 . “Have you seen my nanny? I fell out of the pram while she wasn’t looking and now I don’t know where she is .” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . THE LOST BOYS

5 . “I shall give you a kiss if you like .” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WENDY

6 . “I hear them planning their children’s futures here all the time . This one will be a doctor, that one a barrister, that one a doctor, this one a magistrate, that one a doctor . If so many grow up to be doctors, who will be left to be the patients?” . . . . . . . . . . . . TINKER BELL

7 . “I have to see my mother . I have to go home .” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PETER

8 . “Proud and insolent youth, prepare to meet thy doom .” . . . . . . . . . . . . . . . . . . . . . . CAPTAIN HOOK

9 . “The battle for Neverland is won!” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PETER

10 . “Do you believe in fairies? You should . I believe in you .” . . . . . . . . . . . . . . . . . . . . . . TINKER BELL

WHO SAID IT? (ANSWERS)