Northern Exposure: History through Drama and Drama through History
The Cremation of Sam McGee by Robert W. Service (with paintings by Ted Harrison)
Dylan McCafferty & Robert Bryan
DRAMA EDUCATION: A MEDIUM FOR LEARNING
EDCI 305A
Story Drama Structure
The Cremation of Sam McGee by Robert W. Service (with paintings by Ted Harrison)
“Nor shall this peace sleep with her; but as when
The bird of wonder dies, the maiden phoenix,
Her ashes new-create another heir
As great in admiration as herself.”
― William Shakespeare, Henry VIII
“Drama is life with the dull parts left out.”
― Alfred Hitchcock
Acknowledgements
The format for this assignment - Story Drama Structure - is drawn from Holocaust Education Through Drama: Rose Blanche by Carole Miller & Juliana Saxton, 1998and Process Drama: An Educational Tool for Process Drama and Developing Multiple Literacies byHeinemann, 2006. We would also like to acknowledge our drama class colleagues who graciously provided peer review of our story drama structure in preparation for submission for this course requirement: Steve North, Richard Watters, William Nicolls-Allison and Rachel Trebilco. The works of JonothanNeelands, Tony Goode and Keith Johnson have been instrumental in developing the ideas.
Themes
The Cremation of Sam McGee is a retelling of Robert W. Service’s frontier ballad with wonderful full bodied accompanying paintings by Ted Harrison. The story vividly describes the hardships of prospector life in the Yukon Territory of Canada’s North. Themes delivered in the story include the mysterious unknowns of the remote Arctic; man’s battle with harsh elements; the solemn business of honoring a friend’s last wish; and the eerie tricks that cold, isolation and fatigue can play on the body and mind.
Overview Synopsis
Sam McGee was a stranger to the Arctic lands. He left his home in Tennessee to find gold in the frigid Yukon Territory. Out of his element and unprepared for the harsh conditions, Sam begins to feel exhausted and “chilled clean through to the bone.” Fearing that death is imminent, he delivers a final request to his travel companion, Cap, who is also the narrator of the story. Instead of being buried in an icy grave, Sam wishes to be cremated. Sam dies shortly after, and Cap comes to regret his vow. Cold, alone and exhausted, he must carry Sam’s heavy body through the snow. Finally, he discovers an abandoned boat on an icy lake. Using the boat’s boiler as a crematorium, Cap fulfills his promise to Sam. However, when he gathers the courage to peek inside the boiler, he sees something he can scarcely believe.
Rationale
Dramatic poetry through oral language and drama methodologies designed to uncover Northern Canadian history, geography, art and literature.
Instructional Objectives
Greater understanding of Canada’s rich northern history through drama methodologies that will engage a variety of drama forms to:
- Express thoughts, feelings, intentions and attitudes of particular characters
- Explore and convey various situations
- Interpreting the authors dramatic verbal and non-verbal messages
Interpreting the message of the dramatic poem through:
- Make connections between drama forms learned in class and drama forms in various historical, cultural and societal contexts (ie. audience, purpose and situation)
- Describe the purpose and significance of dramatic visual paintings, drawings and illustrations
- Analysis of dramatic syntax, diction and verbal cues to enhance the poem/story
Ensuring students perform drama to embrace the power, passion and significance of Northern Canadian cultures through:
- Reflecting on a variety of historical cultures
- Exposing students to unfamiliar concepts and allowing them to take risks
- Dramatic poetry as a catalyst to move the reader to uncover more about the subject.
Learning Possibilities
Students will begin to develop, embrace and satisfy the following prescribed learning outcomes found in Grade 7 Middle School Drama curriculums:
Demonstrate active dramatic engagement in a variety of forms (Grade 7 - IRP – PLO – B2)
Analyze the role of drama in a variety of social, cultural and historical contexts (Grade 7 – IRP – PLO – C1))
Perform drama for specific purposes and audiences (Grade 7– IRP - PLO – D1)
Delivering the Content
The unique discipline of drama, while always addressing areas of content, offers ways of deepening understanding of content as students engage holistically with the meanings offered in the story (Miller and Saxton, 1998). It is essential in delivering this drama content for the students that they have previous knowledge of the historical context of what they are about to explore through many forms of drama strategies. Therefore, the following pre-drama concept and skills mini-exercise is proposed before students delve into the drama strategy methodologies themselves.
Prerequisite Concepts and Skills
Have students divide into groups of 3 to 4 in pods around the classroom (Think, Pair, Share) to discuss:
Their previous knowledge of dramatic history and geography from Grade 6 Social Science and Drama classes
Their previous personal knowledge of Canada’s North
Their previous personal experiences living in northern or remote areas
Their ideas about what it must have been like to live in Canada’s north at this time and what has changed today
What roles in the dramatic poem would they see themselves performing and why?
How dramatic poetry story telling acts as a powerful tool to uncover history
Ask them to question the significance of this dramatic poetry today as opposed to when it was written.
Timing and Materials
The times suggested in this story drama structure are approximate and will depend upon students, their interests and our overall teaching objectives. We have left the various sections open to augmentation, flexibility and overlap from one drama class lesson to another.
●Tambourine
●Paper plates--two per person
●Big Sheets of paper and standard pieces of paper
●Coloured pens and markers
●Copies of the text x # of students
●Copy of text x2
The Warm Ups
Warm up # 1 – “Northern Creatures”
Grouping:The entire class in a circle
Strategy:Movement
Administration:Tambourine
Focus:Exploring space and pace
Teacher:Before we begin our drama, we are going to warm up our bodies, as well
as our imaginations. You need to concentrate really hard on who you are.
As I go around the circle, I will give you a letter: A, B or C. Listen carefully
so that you can remember.
A’s raise your hands, B’s raise your hands and C’s raise your hands.
Teacher:You are all now Northern Creatures (Human or Animal). When I give the
Signal with my tambourine, A’s you are to move quickly around the room,
B’s move at a normal pace, and C’s you are to move very slowly. Be
careful not to bump into anyone. Keep good spaces between each other.
When you hear the tambourine, stop. Listen for the next instruction.
Ready? Off you go. (After a few moments, sound the tambourine)
Teacher:Change. This time B’s move very slowly, C’s move quickly and A’s move at
a normal pace. (After a few moments, sound the tambourine)
Teacher:Now, the last time: C’s move at a normal pace, B’s move quickly and A’s
move very slowly.
And freeze. Please sit down where you are. (or this can be repeated a
few times to increase body movement in older grades.)
Teacher:Choose one of those speeds and think about what it brought into your
Mind; what situations were you reminded of? Talk with people next to
you. (Students talk)
Who heard something they would like to share with the group? (Hear)
Analysis
Type of LiteracyKinesthetic understanding of the self in space and in relation to others.
DescriptionWhen we embody language, we ask the students to interpret words
physically. Language in the head or in the mouth is different from
interpreting language in and through the body.
Application“Reading” embodied language involves students in making comparisons,
modeling for one another and adjusting their movements as change
happens. Physical engagement mediates affective and cognitive
understandings and deepens students’ understanding of who they are
in relation to others. The ability to read the signs of physical language is
imperative in effective social communication.
Warm up # 2 – “Dance Hall – Paper Plate Symphony”
Grouping:The entire class in a circle
Strategy:Movement and Voice
Administration:Paper Plates
Focus:Exploring space and voice preparation
Teacher:Now that we have warmed up our bodies, as well as our imaginations.
Let’s combine this with movement and singing. Everyone gather
around in a circle again. You each need two paper plates
As I go around the circle, I want you to bang your plates together just
Once; then twice; then three times; then in a rhythm I make up.
Teacher:You are all now Northern Dance Hall Performers. When I give the
signal with my paper plates, we will play songs and sing songs of
Canada’s north, starting with O Canada! Wave your plates, bang out
then beat a song at the top of your lungs. Be careful not to bump into anyone. Keep good spaces between each other.
When you hear my paper plates and voice stop, you stop. Listen for the next instruction. Ready? Off you go. (After a few moments, sound your
Plates and voice then stop after singing O Canada)
Teacher:This can be repeated a few times to increase body movement and voice levels in older grades with different rhythms and songs.)
Teacher:Choose one of those songs and think about what it brought into your
mind; what situations were you reminded of? Talk with people next to
you. (Students talk)
Who heard something they would like to share with the group? (Hear)
Analysis
Type of LiteracyA deeper understanding of the self in space and voice and in relation to others.
DescriptionWhen we embody language, we ask the students to interpret words
physically and orally. Language in the head or in the mouth is different from interpreting language in and through the body.
ApplicationCombining language with physical movement involves students in making comparisons, modeling for one another and adjusting their movements as change in space and voice happens. Physical engagement and associated voice projections deepens students’ understanding of who they are in relation to others. The ability to incorporate read the physical body movement with language is essential in effective social communication.
The Lessons
(Note: The following lessons have endeavored to enable drama students of middle years levels and ages with the ability to deepen their understanding of drama methodologies and allow them a greater knowledge of drama tools, history, art and literature)
Strategy 1 BRAINSTORMING(Time: 30 minutes)
Divide the class into three groups. Each group is given a large sheet of paper and a number of felt pens. Each sheet has one of the following words written on it in large print.
Groups:Words:
Group A:“The North”
Group B:“Snow and Ice”
Group C:“Hardship and Friendship”
Teacher:“Write down any thoughts and images that come to mind as you look at the
words on your page. Don’t worry about contradictions. Build on each other’s
ideas.”
After each group has completed the task, each moves to add their ideas to those of the previous group. Eg. Group A will add their ideas on ‘Snow and Ice’ to Group B’s initial thinking. Group B will move to Group C’s ‘Hardship and Friendship’, and Group C will move to Group A’s ‘ The North’.
The rotation is complete when each group has added their “take” to the other two sheets of paper and returned to their original word.
What is Happening? Students are:Building collaborative understanding with all its complexities, contradictions and ambiguities
Engaging with themes in the story
Building the collective vocabulary
Bringing their own experience to the themes that they are examining.
Students then read the other written contributions and talk about what has been added to their original comments. (Note: this conversation is critical for the third lesson strategy - Tableau.)
What is Happening? Through their discussions, students are:Revealing their prior knowledge about Canada’s North
Broadening their understanding of what life must have been like historically
Discovering the range of perspectives of student colleagues reflected on the paper
Accessing and gaining new information about Northern lifestyles, cultures and peoples
Increasing their interest in dramatic history
Strategy 2 STORY READING(Time: 15 minutes)
Teacher reads first few pages of The Cremation of Sam McGee.
What is Happening? Teacher is:Establishing the foundational text structure, cadence and understanding of historical dramatic poetry
Asking students to listen in a particular way
Providing context for time and place for the students
Ensuring the students have a feeling for the overall dramatic poetry
Enabling the students to have a sense of what may come next in the text
Teacher distributes copies of the picture book around the class. Teacher also distributes photocopied text and paintings for each student to review and keep for reference.
Teacher:“Look at the paintings on each page by Ted Harrison. How are they providing a graphic visual display that is helping illustrate the text. What do you see?”
As the students examine the paintings, teacher side coaches:
“What do the vibrant colours tell you?”
“What is the mood of the text and paintings?”
“Do the words and the visuals correspond?”
“Why don’t the characters in the paintings have faces?”
“What symbolism do you recognize in the paintings?”
“Are the poetry text and paintings reflective of Canada’s North
that you know or are familiar with?”
What is Happening? Students are:Gathering Information
Talking amongst themselves about what they are seeing
Comparing the text with the paintings in the book
Building a collective understanding of the text and paintings
Offering their views on what the author and the painter are trying to convey
Teacher:“What is the first, second and third painting in the text telling you about
the poem?
“What are your eyes drawn to in each of the paintings and why?”
“Why did the artist choose these dramatic themes for the reader?”
“If you were to draw a painting or tableau for each of the first three stanzas of the poem and associated paintings, would you have chosen the same characters, animals, symbols, structures and layout?”
Teacher:“Take a minute now and close your eyes. Imagine you are an artist and have never seen the North. Insert your ideas through drawings onto the page you have in front of you in a simple form. Don’t worry about exact details, just let your mind wander and sketch out some shapes, symbols and structures both human made and that come from nature.”
Strategy 3 Tableau(s)(Time: 30 minutes)
Teacher:“Take the essence of what is on the page(s) of the actual text and what you have sketched out, and create a tableau that best represents your thinking about your words or phrases that best represents YOUR reflection of the dramatic poem’s early ideas.”
Teacher:“We are going to recreate the pictures in the first few pages of the book. We will need two volunteers (to represent Sam and Cap) for each of the paintings in the initial story.
Teacher:“Through these tableaus we will get a better understanding of our two characters and have students observe them. Students not in the roles of Cap and Sam will make any adjustments they feel needed.”
What is Happening? Teacher is:Grappling with the complexities of text / visual concepts
Drawing comparisons with what they see and how they see the text/paintings
Making abstract concepts concrete
Using their bodies to convey meaning
Teacher discusses the idea of stillness, patience and silence to students in order for them to understand how their bodies can portray thoughts in the simplest form.
Teacher:“Look at the paintings on each page by Ted Harrison. How are they providing a graphic visual display that is helping illustrate the text. How can you replicate these scenes or create ones of your own”
Each tableau is presented by groups of students allowing for 2 to 3 minutes each.
Teacher:“What do we see?”
Student observers offer their own ideas.
Teacher:“Explain what you see. What are you seeing and where?”
“What does the body language tell you?”
“What is the mood of the faces in the tableau?”
“How do the bodies and the faces correspond?”
“What symbolism do you recognize in the paintings that are reflected in the student tableaus?”
“Are the tableaus true depictions of what you think of when you picture Canada’s North? ”
What is Happening? Students in tableau(s) are:Mirroring the painting of the illustrator
Establishing a sense of comradeship between men
Exploring what it means to keep one’s ‘word’
Consolidating their understanding
Synthesizing their feelings and ideas about the characters
Teacher:“Remember how these tableaus were created; how they made you feel;