The lesson plans have been designed to simulate the initiation process—separation, instruction and reincorporation. Within these three categories are nine lessons.
UNIT I-SEPARATION
Lesson 1:
Objectives
To introduce myself to the group. (Obviously not an objective for teachers already familiar with the group.) To create a sense of separation from the ordinary school setting. To produce a new set of names to be used throughout the nine lessons.
Materials
One very large stone and enough small stones (big enough to paint names on one side) for each member of the group +5 for the stories in the unit. (Note: Stones should be visible during each lesson.)
Procedure
Have students sit in a circle. Play a variation of the name game. Each person says his or her name, and chooses a second name that starts with the first letter of the first name. The new name must be found in nature. (It can deal with weather, be a plant, an animal, a mineral, etc.), but no two people can choose the same name. The teacher should go first and again at the end. Each person must introduce all preceding players saying, “Hello, I am
(Bill)
and my other name is
(Bear or Black Boa, Brown Bull, etc.)
and this is
(real name of person)
and their other name is(__________). It should be explained that the significance of these new names will become apparent in a later session, but for now they should keep the names secret. After the name game each person paints their “other name” on a stone.
Lesson 2:
Objective
To pass on the story, “The Storytelling Stone”. To introduce the concept of oral traditions.
Procedure
Tell the story, “The Storytelling Stone”. Discuss the significance of giving presents of freshly killed game to the stone. Ask students what stories they remember being told as a child? Ask students why they think that certain stories have been passed from one generation to another? Introduce the concept of Oral Traditions. Have students write down the one story they remember they liked the best when they were told it as a child. Tape this story to the stone that has their “other name” on it. (It can be painted on if there is room.) In pairs, students can choose one of their two stories. One person stands behind the other and places their arms under the other persons arms. The person in front then folds their arms behind their back. One person tells the story while the other person creates the hand and arm movements to go with the story. Several can be shared with the group.
UNIT II-INSTRUCTION
Lesson 3:
Objectives
To introduce the concepts of rites of passage and initiation. To develop small group improvisations based on personal rites of passage.
Procedure
Place all desks around the edge of the room. Ask students to sit at the desks. Introduce the concepts of rites of passage and initiation rituals. Ask students what they have experienced that was (like) a rite of passage. (Entering school, joining the scouts, getting a passport or social security number, opening a savings account, moving schools, going to church, a church ceremony, first time in McDonald’s, etc.) After discussion ask students to break into three groups. Pick one person’s rite of passage in each group. That person acts as director and places each member of the group in the role of a person who was there. (The teacher should stress that a “production” is not being asked for. This is not the time to stress theater conventions such as face the front, speak up and keep your character!) Students should have no more than ten minutes to prepare the improvisation. View the three improvisations. Identify traits that they have in common.
Lesson 4:
Objectives
To introduce another way of interpreting a well known fairy tale. To gain commitment. To tell the story of “Little Red-Cap”.
Materials
Wolf mask, Grandmother mask, Red-Cap mask, Hunter mask. (Not essential, but useful for protecting beginners in Drama and in presenting the stereotyped characters presented in fairy tales.)
Procedure
Review the process of initiation rituals. Pick up the stone with the title “Little Red-Cap” on it. Explain that although the story of “Little Red-Cap” appears to be a child’s story, it has levels of meaning that are not visible to children. Today the “initiatory level” will be explored. Ask students to sign the affidavit on the back of the “Certificate of Initiation”,
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found in the Appendix, declaring they will keep this and future information a secret from students younger than themselves. Students should sign their secret name and real name. The concept of identity-loss, common in initiation, should be discussed to add relevance to the secret name. (This technique serves a triple purpose: to create an atmosphere of secrecy typical of initiatory rituals—by giving a “secret” that should be kept secret from those younger; to “upgrade” the idea of folk and fairy tales for those who might have “given them up”, and to give students an opportunity to see the certificate they will receive after completing the course of study. Tell the story of “Little Red-Cap”. Ask the students to listen for patterns of initiation ritual. Choose students to play each of the four roles. Choose one person to narrate the story. Place a chair on one side of the room for Red-Cap’s house and another chair on the other side of the room for Grandmother’s house. The path and forest are in between. The teacher says freeze at each point in the narration where the story can be translated into initiatory terms. The performers act out each section told by the story narrator, and are frozen during the initiatory narration. When the story is completed ask students if there is a cultural path prescribed for them? Who or what do we have in our culture that resembles the wolf leading us astray? Do they know of any other stories where its heroine or hero is swallowed and reborn?
Lesson 5:
Objectives
To continue instruction in discerning initiation rituals in folk and fairy tales. To tell the tale, “The Devil Comes Between Them”.
Procedure
Teacher picks up the stone from around the storytelling stone that says “The Devil Comes Between Them”. Explain that this story has elements of initiation ritual concealed within it. Ask students to listen for them. Tell the story. Ask students which mother should die? Discuss. Discuss the initiatory motifs present. Choose students to play Iblis, the boy, the girl, two sets of parents, the old woman and the land monitor. Select a student to narrate. Set the location of the characters. Continue as in previous lesson. Have the students make and carry out dramatically a decision on what to do with the land monitor. Ask what tasks are set before students that resemble those in initiation rituals? How is the devil like the wolf in the previous story? What would have happened if the boy’s mother rather than the maiden brought back the land monitor? What can the students do now, that they could not do when they were “children”, that indicates they are gaining independence from their family?
Lesson 6:
Objectives
To continue instruction in discerning initiation rituals in folk and fairy tales. To tell the tale, “Faithful John”. To encourage dialogue. To introduce a written activity.
Procedure
Teacher picks up the stone from around the storytelling stone that says, “Faithful John”. Once again, ask students to listen for initiation rituals. Tell the story. Ask students what they have had to sacrifice to achieve certain tasks? (The entire class can be included in this story dramatization.) Choose students to play: The dying King, Faithful John, the King, the Princess, the twins, the three ravens, crew for the ship, servants for each castle, wedding guests. Students may need coaching from the teacher in the form of narration to keep the dramatization going. Go through the entire story. Discuss the initiation rituals present. Ask if there have been any occasions for students to pursue a goal in the way of the hero? Ask how/if the act of submission is a part of any students life? Ask what similarities there are between the stories, “The Storytelling Stone” and “Faithful John”? Inform students that in two more sessions we will improvise their own initiation rituals. Each student has two weeks to write a personal folk or fairy tale, with themselves as the central figure going through an initiation ritual. They should use their “secret” names in these stories.
Lesson 7:
Objectives
To continue instruction in discerning initiation rituals in folk and fairy tales. To tell the tale, “The Quality of Friendship”. To observe and assist with the writing process of personal tales including initiation rituals.
Procedure
Teacher picks up the stone from around the storytelling stone that says, “The Quality of Friendship”. Explain that this is the last story to be told—the others will be theirs. Tell the story. Ask students to individually write down all the initiatory patterns they heard. Discuss. Ask which friend was the best friend? Ask what initiation rituals and/or symbols have appeared in each story? Ask if they have ever had a friend prove their friendship? How? Written tales should be checked, and students having difficulty should be assisted. Dramatize the story as before.
UNIT III-REINCORPORATION
Sessions 8 and 9
Objectives
To have students demonstrate their new understanding of initiation rituals. To tell and/or dramatize personal tales. To develop self-concept and self-identity. To present certificates of initiation.
Procedure
Have students write the titles of their personal tales on their storytelling stones. Students are now the storytellers. They can tell the story with or without dramatization, but they can not read it. The teacher will choose a stone to indicate which story comes next. After each presentation there will be a discussion of the initiatory motifs and of what the person learned going through it. Time should be left to present each student with a
Certificate of Initiation
presented in both of their names. Teacher should prepare a form for the presentation of the certificates. A formal presentation, with appropriate music, is recommended. (“Pomp and Circumstance March No. 1, and IV-Abridged” by Sir Edward Elgar on side 2 of the Warner Bros. production of the soundtrack to Stanley Rubrick’s
A Clockwork Orange
will work if the unit has been very successful.)