Previously in Class 1: see Notsobig One, Part 1.
As the first steps into our new narrative, the children had encountered The Notsobig One (a crocodile character from Roald Dahl's The Enormous Crocodile). They'd considered his problem (his friend, the Enormous Crocodile, had gone missing and he had received a threatening note to his swamp). They'd considered what they already knew and looked for clues outside (encourage small children to find clues, and they will find them). Finally, we had gathered together to share our ideas and prepare to meet The Notsobig One again. At this point, I reminded them that when they spoke to the crocodile, they had to remember manners and not to shout at him or over each other (see previous post).
Meeting the Notsobig One again:
I took the children back to the swamp they had created and as soon as they gathered around it I stepped into role as The Notsobig One. The children shared their thoughts with me, including letting me know (more gently than before) that my friend might in fact be seriously injured. I used this time to create a back story* for my character; I needed the children to begin to sympathise with him. I said such useful things as:
"I've known the Enormous Crocodile all my life"
"I'm 102 years old you know"
"My mummy and daddy aren't alive any more. My friend was all I had left... now I'm all alone."
"I did used to eat children but now I don't.... I know I shouldn't"
Some of this was in response to questions the children had asked: previously, out of role, I had reminded them that they could as the Notsobig One any questions they had. Incidentally, they did a much better job than before of taking it in turns to speak to the character so that I could more successfully remain in role this time.
As the conversation went on, I gradually became the sad, worried and lonely crocodile that I wanted the children to see. At one point I said, "I just have no friends left", to which one child replied,
"We'll be your friends!"
This led on to a discussion about whether the children would help me; would they help me to find out what had happened to my friend? Would they protect me from whatever was trying to get me to leave my swamp? They weren't all sure to start with and that was fine. We established that I'd have to agree not to eat them (fair enough) and that they might have to think about it a bit - I might have to sign some sort of contract.
I decided that was a good place to stop, became their teacher again, and took them inside.
Next came the best part of the session; unexpected and unplanned, as best bits often are. We got inside, gathered onto the carpet, and one small child approached me:
"Miss, miss, the Notsobig Crocodile wants us to help him. We said we would but we thought we'd better ask you first".
Perfect.
"It's so kind of you to think to check with me", I replied, "let's discuss it."
And so a group of small children began a discussion about this crocodile they had met and whether or not they could trust him. I really hadn't expected this. I knew that as the Notsobig Crocodile my job was to work towards the children trusting me and wanting to help me. I hadn't expected the children themselves to recognise this and to talk so seriously and deeply about it. We discussed their thoughts and I left it with, " we don't need to decide now, we can think further about this and maybe find out more about him."
A good place to stop. I am pleased with the way I am managing to co-create this expert team and fiction more with the the children. Previously I've been concerned about getting them there quickly; I'm learning to appreciate the value of gentling the children into a fiction.
Next:
- To try to maintain tension in the narrative (I find this challenging)
- To continue gradually to increase the level of engagement from the children (so that they feel concern and investment in the narrative)
- To continue to work on stepping in and out of role regularly so the children get used to it
Notes:
* I'm learning that narratives need depth and dimension if they are to maintain momentum and purpose. Creating a character's back story is vital; also, adding in different roles with different viewpoints as the fiction goes on.
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