6.3 Teaching strategies
Because the primary curriculum allows for an holistic approach to teaching and learning, the strategies suggested will not be divided into Stages 1 to 3 since most can be used with all levels. However in Sections 6.3.3 and 6.3.5 different poems will be presented for different age groups with ideas for working with them in the classroom.
Hearing verse and nursery rhymes allows young children to appreciate sound and rhythm. This, Wright (1975) proposes, makes it easier for them to move to the next level of appreciation of the structure and meaning. Sloan (1984) and Travers (1986) also note the importance of reading aloud as a starting point, and the following is an approach to teaching poetry based on Travers' suggestions:
- An initial reading of the selected poem by the teacher ("Getting the feel for poetry in rhythm, rhyme, images, tone, mood, atmosphere" p.107). (6.3.1)
- Motivating activities which move around or away from the poem, drawing etc. (6.3.2.)
- Understanding and interpreting the poem (6.3.3)
- Understanding poetic techniques (6.3.4)
- Creative writing of poetry (6.3.5)
- Criticising and evaluating the poem (6.4.6)
The teacher may decide that not all the activities are suitable for their class or that the divisions are artificial. However these ideas are intended to provide a framework to be adapted as needed, and are divided into separate sections for clarity of presentation.
The order of these activities can be changed, so that, for instance, the teacher may prefer to move straight to interpretative questions about the poem immediately after the initial reading; and these questions could then stimulate ideas for children to write their own verse.
The activities which move around the poem lend themselves to being used across the curriculum, allowing poetry to be integrated into the classroom in an holistic way. Ideas for this approach will be covered in Section 6.4 Nevertheless some poems may better left to stand alone and just be read and reflected on. Tunica (1995) cautions against "the temptation of having an activity at the ready for every poem ..." (p.51).
John Masefield's Cargoes is a case in point. Robinson (1985) argues that what is important is the magical sounds of the words themselves, not that the children understand every word.