Block 2: Week 3

 


During week  3, our class focused on embodied storytelling through creative play and imagination. We began with a warm-up using simple objects like a plate and a rock, which we transformed into different items such as a phone, a steering wheel or a mirror, etc, moved through the space and physically acted out stories told by others. We also reflected on our emotions after each activity and observed how a single performer ( the teacher) could embody an entire story. These activities emphasised creativity, physical expression and emotional engagement in storytelling.

This helped me understand how learning in the foundation phase is not only cognitive but also embodied and sensory, allowing children to construct meaning through actions. Reflecting on our emotions after each activity also connects to social constructivism by Vygotsky, where learning happens through interaction, reflection and shared experiences.

The story of Tselani is more relevant to South African youth because it reflects real-life challenges such as identity, belonging, peer pressure and navigating social expectations within diverse cultural and economic contexts. Many young people in South Africa experience feelings of exclusion, family pressure or the need to fit in, which makes such a story relatable and meaningful. What deepened my understanding of this relevance was our class activity of embodying stories. when we physically acted out different narratives and reflected on our emotions, i realised how storytelling allows learners to connect personally with situations similar to their own lives so that they can know how to ask for help and deal with their emotions in a good way, this story of Tselani explore real issues in a safe, imaginative space .therefore through drama, stories like Tselani's can help young people express emotions, build empathy and develop a sense of identity, making the highly impactful in the South African context.

In addition, using Bruns PRO-Approach, stories for children aged 6-9, we should focus more on clear and relatable problems, supported by meaningful resources and lead to positive outcomes that children can understand and learn from. At this age, children are developing emotionally and socially, so common issues may include feeling left out, struggling to share, fear of making mistakes, or difficulty in expressing emotions. For example, a story could centre on a child who feels excluded during playtime(problem), receives support from a friend or teacher( Resource) and eventually gains confidence to join others (outcome).

Our class activities helped me to approach this, especially when we used a plate and a rock to create different meanings and stories. This showed that young children do not need complex materials to engage deeper; instead, they benefit from imaginative, play-based learning where they can physically act out and explore situations. Therefore, creating stories for this age group, I would include movement, repetition and opportunities for learners to embody the story, allowing them to connect emotionally and practically with the learning experience.

The hero's journey in The Legacy Necklace is shown through the character's movement from a place of comfort into challenge, and ultimately towards growth and self-discovery. The character is called to face difficulties, experience moments of uncertainty, receive guidance or support, and return changed with a new understanding. This journey is relevant because it reflects the process of personal development that many young people go through when facing challenges in their own lives. I connected this to our class experience, particularly when we had to embody stories and perform in front of others. At first, stepping into this role felt uncomfortable and unfamiliar, but as we continued, I became more confident and expressive.

This mirrors the hero's journey stages of leaving one's comfort zone, facing challenges and achieving growth. Through this, I realised that drama not only tells stories but also allows us to experience transformation. This makes the hero's journey a powerful tool for teaching resilience, courage, and self-belief in young learners. As a student teacher, I will use drama strategies like embodied storytelling and imaginative play to support learners' creativity, confidence and emotional expression.

 

Reference 

Bruner, J.(1990). Acts of meaning. Cambridge, MA; Harvard University Press.

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