Creative Dramas:

Picture the Possibilities

This article is an abbreviated version used with permission from Human Kinetics. For the complete article consult:

Henkel, S. (2002). Creative Dramas: Picture the Possibilities.Teaching Elementary Physical Education, 13 (6), 23-26.

Rationale

Creative dramas provide students with opportunities to move in fun and unique ways, and serve as a precursor to other forms of creative expression. Dramas are constructed by sequencing a series of word pictures together, usually in the form of a story. Joyce (1994) uses the label "creative imagery" to promote the use of word pictures in dance. Although word pictures or images are used effectively for enhancing understanding of basic dance elements (Joyce, 1994; Purcell, 1990), and for eliciting precise dance movements (Hanrahan, 1995), their value is recognized apart from dance.

Word pictures may be unrelated to movement or linked to movement using timely descriptors. Those linked to movement may or may not stimulate creative thinking. Students are stimulated to think and move creatively when the substance of a word picture is familiar, yet the movement opportunity is not. The opportunities to "Gallop like a horse" and "Grow like a flower" are too familiar to stimulate a wide range of responses among children. Whereas, "Show me how to sizzle like a fried egg" is much less common. Although the verbiage, voice inflection and timing of the reader suggest ways to move, students may respond differently from one another.

Process

Divergent thinking, rather than conformity, is a key value emphasized during the process of writing creative dramas. In this context, the process is described, recognizing that (a) the sequence of carrying out steps may vary, and (b) steps may be combined.

Conclusion

Creative dramas provide one means of having students move creatively. If dramatic stories are tailored to the interests of movers, and vocabulary of word pictures is developmentally and culturally appropriate, students can enjoy the experience without feeling threatened. Professionals can follow suggested steps in writing dramas, yet have a lot of freedom with both their preparation and use. Dramas may be utilized during the opening of a lesson for accentuating a variety of stretches or fostering large muscle movement, or during the body of a lesson for teaching specific content. Regardless what other content is included, teachers can capitalize on the opportunity to emphasize aspects of creative thinking and moving in ways that challenge learners to express themselves uniquely. Teachers and their learners can genuinely "picture the possibilities" through the use of creative dramas.

References

Hanrahan, C. (1995). Creating dance images: Basic principles for teachers. Journal of Physical Education, Recreation and Dance, 66 (1), 33-39.

Joyce, M. (1994). First steps in teaching creative dance to children, 3rd ed. Mountain View, CA: Mayfield.

Purcell, T. (1990). The use of imagery in children's dance: Making it work. Journal of Physical Education, Recreation and Dance, 61 (2), 22-23.

Ritson, R. (1986). Creative dance: A systematic approach to teaching children. Journal of Physical Education, Recreation and Dance, 57 (3), 67-73.

Torrance, E. (1974). Torrance test of creative thinking: Norms-technical manual. Princeton, NJ: Personnel Press/Ginn.

© Steven A. Henkel, 12/02