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Huia beak brooch: 'I just didn't think!'

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Writer: Trevor Sharp
Year: 9
Level: 3
Duration: 5 - 7 lessons

The students will use the Te Papa digital resource, Huia beak brooch, c.1900, in order to explore the subject of conservation of nature. The focus will be on the individual responsibility we all have for the depletion of our natural resources. They will use drama to create a fictitious situation where a person in the past is forced to face up to her small part in causing the extinction of a species.

Huia beak brooch, c. 1900

Description

This is a gold-mounted brooch with chain, made from the beak of a female huia ('Heteralocha acutirostris'), a bird native to New Zealand that became extinct in 1907. There is an engraved floral design on the gold mount. At the proximal end of the beak (the end that attached to the bird), there is a scroll and ball ornamentation with '15 C' stamped near the scrollwork. The chain attaches in two pieces between the three sections of gold mount. The brooch measures 11.3 cm long x 1.5 cm wide.

Source Museum of New Zealand Te Papa Tongarewa

Educational Value

This asset serves as a reminder of an extinct species that was found only in the North Island of New Zealand. The huia was one of the most ancient New Zealand birds. Only the moa and kiwi are thought to be older. The brooch is an item considered tapu (sacred) by Māori. To wear a beak as ornamentation was a great honour and one bestowed only on rangatira (chiefs). It suggests the effect of European fashion on New Zealand's natural environment. Although huia were held sacred by Māori and only worn by rangatira, European women in the late 19th century wore the feathers and beaks, such as this brooch, as fashionable costume jewellery. this fashion created a strong demand for the birds, leading to a steep decline in bird numbers and their eventual extinction in 1907. The brooch is a decorated example of the huia's most remarkable feature. This beak must have belonged to a female huia, as the male has a markedly different beak style (short and stout as opposed to long, slender and curved). No other bird is known to have such a marked distinction in beaks within its own species.

Values

Ecological sustainability: The students will explore the way in which responsibility for ecological sustainability ultimately devolves to the responsibility of each and every individual. They will examine how conservation has always been an issue in history.

Inquiry and Curiosity: The students will explore motivations for the actions of others and how we might be more sensitive to what is happening around us.

Key Competencies

Thinking: The students will create through drama a possible scenario, grounded in data from New Zealand's past, involving one individual's realisation of personal responsibility for the environment. They will explore the analogies of this with the present and future situations.

Using language, symbols, and texts: The students will practise creatively inferring information from documents to create a possible cohesive explanation. They will also improve their skills in creating and reading tableaux as well as their reporting skills by writing in role.

Managing self: The students will learn how to manage themselves and set high standards in devising and refining dramas in group situations. They will need to develop strategies for solving problems and the skill of knowing when to lead and when to follow.

Relating to others: The students will interact with others in developing and performing a variety of fictional roles. They will work extensively in ensemble situations to create drama.

Participating and contributing: The students will participate in a number of role plays where the success of the activity depends on the quality of their contribution. They will also participate in a range of group-based drama activities.

Cross Curriculum Links

Social Studies, Visual Arts, English, Education for Sustainability

Achievement Objectives: Level 3

The students will:

Developing Practical Knowledge (PK)

Use techniques and relevant technologies to explore drama elements and conventions.

Developing Ideas (DI)

Initiate and develop ideas with others to create drama.

Communicating and Interpreting (CI)

Present and respond to drama, identifying ways in which elements, techniques, conventions, and technologies combine to create meaning in their own and others' work.

Specific Learning Outcomes

The student can:

  • Use techniques to explore how conventions can develop the elements of drama.
  • Devise and perform drama within specific limitations, using prescribed conventions.
  • Maintain a role and write a summary of the in-role discussion.
  • Contribute ideas to a shared role.
  • Provide relevant feedback to other students' work identifying ways in which elements, techniques and conventions create meaning.
  • Participate appropriately in the planning and development process of a scripted drama.

Resources

1 copy of card ( 61 KB) (Products and Sources Cards) on card and laminated if possible.

1 copy of Resource B (Letter to Curator from Richard Sunderland).

1 copy of Resource C (Photograph sent by Richard Sunderland - Te Papa "Huia beak brooch") Available from Museum of New Zealand Te Papa Tongarewa

1 copy of Resource D (Hilda's First Diary Entry) preferably hand written and torn out of a book. There need to be also 7 to 10 photocopies of the resource for students to examine in small groups.

1 copy of Resource E (Hilda's Second Diary Entry) preferably hand written and torn out of a book. There need to be also 7 to 10 photocopies of the resource for students to examine in small groups.

1 copy of F ( 24 KB) (Invoice for Brooch) preferably made to look aged. There need to be also 7 to 10 photocopies of the resource for students to examine in small groups.

1 copy of Resource G (George Sunderland's Letter) preferably hand written. There need to be also 7 to 10 photocopies of the resource for students to examine in small groups.

1 copy of The students sit gathered around behind the chair that represents the friend ( 26 KB) (Chair arrangement for shared role) for teacher information.

1 copy of Resource I (Historical Facts) on card and laminated if possible.

A copy of Resource J (Extract from Survivor by David Hill) for each member of the class.

Keywords

hot seating: a process convention in which class members question or interview someone who is in role to bring out additional information, ideas, and attitudes about the role.

mantle of the expert: a process convention in which the participants become characters endowed with specialist knowledge relevant to the situation of the drama. The situation is usually task-oriented so that expert knowledge or understanding are required to perform the task.

reflection circle: a process convention in which students stand in a circle and, one at a time, contribute a sentence reflecting on the drama work.

shared role: a process convention where a group of students all contribute to the one role which can be represented by a vacant chair. In some instances one of the students may speak for the role but take advice from the others about what to say.

tableau (freeze frame): a convention used in performance and process drama in which a person or the members of a group use their bodies to make an image capturing an idea, theme, or moment in time.

thought tapping: a process convention in which the action freezes and a leader moves among the participants, tapping individual's shoulders to activate the speaking aloud of the thoughts of that role.

time press: a simple strategy for creating tension where the TIR puts some sort of time limitation on the role play from within the action. An example would be having to leave to catch a plane at a specific time.

TIR(teacher in role): a process convention and teaching strategy where the teacher manages a class from within a drama by taking a role to deepen and extend students' inquiry and learning.

writing in role: a convention that involves writing as the character, using the character's voice to express thoughts and/or feelings about a situation.

The Big Question

  • How much are we all personally responsible for conservation on our planet?
Learning Experiences Teaching Notes

1. Introduction

Hand out cards in  Resource A ( 43 KB) randomly, one to each student. Half of the students will have a card with a valued product on it. Half will have the natural source of that product. The task is for each of the products to find its source. When the pairs have been formed, the students work out a statement about the effect the product is having on or did have on its source and what the situation is today. The class listens to each pair and supplies any information that they have in discussion after each report.

 

2. The Pretext

SIR (Students In Role) Experts on New Zealand art history.
 TIR (Teacher In Role) Museum curator.

Firstly, out of role, the teacher negotiates the roles with the students by discussion. Questions might include:

  • What does an art historian do?
  • What are they good at?
  • If we were to take on the role of art historians, what are some things we would need to do/not do?

TIR Beginning:
"Good morning, everyone. I have received a letter a couple of days ago from a Mr Richard Sunderland of Karori, Wellington. I have called you together firstly because I think you will find it very interesting and, secondly, because I need you to assist the museum in drafting a response to it."

The teacher, still in role, reads the letter The letter refers to a photograph .

The teacher asks further questions out of role:

  • What have we learned from the letter?
  • What can we deduce from the photograph about the piece of jewellery?
  • What questions might the art experts ask the curator next?

At this point go back into role to do the questioning. When this has run sufficient time, TIR says:
"Well, I'm not sure what needs to be done next. I know that you as art historians will have some suggestions as to what should be done now. You're the experts. I'm happy to go along with your ideas."

An in-role negotiation continues. Through questioning, the teacher establishes some tasks the experts need to undertake in order to discover more about issues surrounding the brooch.

Possible suggestions should include:

  • asking to view what else was in the box.
  • interviewing Richard Sunderland.
  • finding out about Richard's great grandmother.

These all involve further contact with Richard Sunderland.

Reflection
Thinking about the role play.
Begin with a reflection circle and use ideas from that for a class discussion of what worked and what didn't. Important questions are:

  • What was the most positive contribution I made to the role play?
  • What would improve my contribution next time?
  • How will I achieve this?

These questions can be discussed in pairs and then reported back in class discussion.

 

Key Competency: Remind students that thinking is an important part of learning where they are drawing on personal knowledge and intuitions, asking questions and challenging assumptions.

 

 

 

 

 

 

There needs to be a clear signal of when the class is working in role and when not. It can be simply that when the teacher is seated, he/she and all the students are in role. If he/she stands then the role play is paused. If preferred, the teacher could have a prop or piece of costume that can be used as a signal for when proceedings are in or out of role.

It is also important that students have a way of calling 'time out' from the role play.

 

 

 

 

 

 

 

 

 

 

The teacher may wish to use some of the Self or Peer/Group evaluation templates in Appendices 2 - 7 in order to evaluate student progress in relevant Key Competencies here.
It is suggested that teachers choose those most relevant to their students rather than using them all. Questions and foci can be changed in the templates as well to make them relevant to individual students. The very best practice would be to co-construct the templates with groups of (or even individual) students.

3. Rising Action - Hot Seating TIR

The teacher tells the class he/she has managed to bring in Mr Sunderland to talk to the group of art historians.
"Before this happens, we'd better decide what we want to ask."

The teacher sets up the situation so that the curator cannot be present for the discussion with Richard Sunderland. The excuse can be a busy work schedule and a double booking.

TIR as Richard Sunderland allows him/herself to be interviewed about the brooch.
The teacher, as Richard, should be vague about knowledge of the great grandmother. It could be hinted that there is some rumour of something unpleasant happening during a trip to Palmerston North. However Richard knows no detail at all of what it was.
Resource G should be produced only at the very end of the interview as an after thought:

"Oh, by the way I remembered this from my grandfather's papers. Never had any clue what it was all about, but maybe it has some relevance. I don't really know, but maybe you people can sort it out."

Again, Richard knows no more than what is stated in the letter from his great grandfather.

The teacher leaves as Richard Sunderland and returns in the role of the curator to:

  • find out how the discussion went
  • to examine the documents that have been left by Mr Sunderland.

 

Such out of role preparation for in role episodes can be invaluable in raising the quality and therefore the sense of satisfaction in the experience.

 

 

Resources: For the role, the teacher needs to have copies of Resources D ( 27 KB) , E ( 27 KB) and F ( 26 KB) . These are the other papers found with the brooch in the chest in the attic. For the sake of authenticity, it is desirable that the diary pages be written out by hand and torn down one edge as if they were ripped from a book (the diary). The paper could possibly be aged as well.

It will be useful to put a time press on the interview to help provide some tension to this part of the drama. The easiest way to do this is for Richard to have another appointment or a plane to catch.

 

 

The role change can be enhanced by the teacher's having some item of costume that identifies him/her as the curator. It could be a scarf, a tie, a white lab coat, a clipboard.

It could be possible to reflect on any changes in aspects of the Key Competencies here.

4. What did happen?

After whole class examination of the documents and discussion of possible interpretations of events, students, as a whole class, are asked to:

  • create a 'photograph' (tableau) of the moment Hilda places the box containing the brooch into the chest
  • add one person to the 'photograph'
  • Use questioning of figures in the tableau to establish the relationship between them and the motives of each of them.
  • Decide how the next ten seconds plays out (silently).
  • Give each character one thing to say
  • rehearse the timing of action and dialogue until all are happy that the scene is convincing and carries tension
  • perform the scene

 

The teacher (TIR as curator) could have photocopies of the documents run off to assist the group's examination of them.

5. Filling in the Background: Shared Role and TIR as Enabler

The scene is set for a causal meeting between two friends. It could be a coffee bar - perhaps a chair either side of a desk representing a small table.

TIR is the curator and the class share the role of the friend who is represented by the other chair. The friend is an expert on social history with special expertise in New Zealand history at the very end of the nineteenth century and the beginning of the twentieth.

In order to assist the students to assume the mantle of the expert in this conversation, they are each issued with a card containing a relevant piece of information coming from the period. (Each student should have a card even if there are some students with the same information on their cards.)

The students sit gathered around behind the chair that represents the friend ( 29 KB) . The name of the friend should be decided by the students.

Students, using the information on their cards, provide the conversation for the friend. They can answer when it seems appropriate - especially when the information on their card fits into the discussion appropriately.

The role play begins when the teacher sits and might go like this:

"Hi, _________. It's fabulous to find the time to have coffee today. Nice to relax for a bit, isn't it? How are things going with you?"

Wait for reply.

"Actually, I have an ulterior motive for wanting to meet with you today. We've had this intriguing puzzle come up at the museum. Had a letter from this bloke who found a huia brooch in the attic. Apparently belonged to his great grandmother who, it seems was pretty proud of it. Then, in 1903, she went to Palmerston North for a visit and something happened there that meant she never wore the brooch again. Put it away in a box along with any diary entries referring to it. Very weird! Hoped you might know something that could give us a clue.

Wait for a reply and then ask for explanation and try to take the students through all the information by asking the right questions.

The teacher finishes the discussion by saying he/she has to return to work (or some other reason) and thanks the friend for his/her assistance.

Reflection
This needs to occur on two levels.

A. Thinking about the role play. Begin with a reflection circle and use ideas from that for a class discussion of what worked and what didn't. Important questions are:

  • What was the most positive contribution I made to the role play?
  • What would improve my contribution next time?
  • How will I achieve this?

These questions can be discussed in pairs and then reported back in class discussion.

B. Thinking about what has been learned that might give some clues as to what occurred in Palmerston North to so upset Hilda Sunderland on 22 October, 1903.

 

 

 

 

The status of the TIR role here means that it is more difficult to manage the class from within the role than with a high status role. There needs to be a system whereby anyone can stop the role play while some point of order is sorted out. The easiest is that anyone who wants to call 'time out' simply stands up and the role play stops. The teacher, when the role play is ready to go again, will decide at which point it starts.

 

 

 

The job of the teacher is to manage the conversation and elicit the material from the students in their role.

 

 

 

 

 

 

 

 

 

 

Assessment Opportunity

  • Contribute ideas to a shared role.

(See Assessment .)

 

Some of the templates covering the Key Competencies could be revisited here. See Appendices 2 - 7 .

6. What did happen to Hilda

The class works in groups of 4 - 5 to create a tableau of the point of highest tension in the incident that so upset Hilda that day.

They should take turns to come out of their role in the tableau in order to direct the rest of the group helping to make the freeze clearer and to improve it technically and aesthetically.

When groups are satisfied they have developed their tableaux as much as they are able, view each in turn.

  • Evaluate the structural qualities of the tableau
  • Interrogate the freeze frame Question participants in role to find out more about the meaning
  • Use thought tapping to discover how characters are feeling or what they are thinking
  • Play the next ten seconds of time or 'rewind' to lead into the moment.

As the students work, the teacher coaches on aspects of focus, grouping, balance, awareness of audience, portrayal of arrested movement, and details of hands, feet, facial expression.

Things to examine include body language, groupings, focus, levels, tension, awareness of audience.

Use the following structure. The student asking must begin with the name of the student being asked the question and then put the question. There are to be no questions to the group generally.

It is fun if the teacher makes tape recorder noises to pause, rewind and start the imaginary VCR.

Assessment Opportunity

  • Use techniques to explore how conventions can develop the elements of drama.
  • Devise and perform drama within specific limitations, using prescribed conventions.
  • Provide relevant feedback to other students' work identifying ways in which elements, techniques and conventions create meaning.

7. Conclusion: Writing in Role

TIRbeginning to students in role as art historians again.

"Thank you for your work on the Sunderland query. I think we can now give Mr Sunderland some ideas about the significance of his find. I would like you to write to him to tell him what we have found out and what might have happened."

Assessment Opportunity

  • Maintain a role and write a summary of the in-role discussion.

(See Assessment )

8. Reflection: Out of role class discussion.

  • We began this drama with a photograph of a rather unusual piece of jewellery. What have we discovered about the brooch?
  • What drama practices have we used in the exploration of this subject?
  • How have these assisted us in our exploration?
  • What have we learned about the story of the huia as an example of conservation in New Zealand?
  • This is a story from the past. Can you suggest any similar stories that are current issues for us today? In New Zealand? In other places?
  • What about the future?

Scripted Performance
After some ideas in response to this last question, the teacher says:

 "There is a New Zealand playwright who has created a very unusual but intriguing scenario for the future. His name is David Hill and he has written a one act play called Survivor.

 "We are going split into three (or four) groups to produce a short extract from the play for each other. It will be interesting to see how each group interprets the text.

 "Although the section has seven characters, if there are more or fewer people in your group, you can easily split or double up on roles so that everyone is involved.

 "There is no need for elaborate props or costume. The set can be fashioned from furniture in the room. The emphasis is on what you make of the words and how you bring them to life.

 "The question is: What is the survivor?"

 

Key Competency: thinking.

 

 

Extract from Survivor by David Hill (originally published in Get In The Act by Heinemann, 1985 - now Out of Print). Full script and performance rights available from Playmarket .

Playmarket also holds the rights for public performance. It is a very reasonable rate.
Remember:

  • If there is anyone at a performance who is not a bona fide school member (i.e. teacher or student), then it is a public performance. This includes parents of the students.
  • Check out your school's copyright agreements.

How fully the extract or whole play is produced depends on the teacher's programme and the abilities and interest of the students. Suffice it to say that the preceding drama provides a valuable introduction to the play's conservation message.

Assessment Opportunity

  • Participate appropriately in the planning and development process of a scripted drama.

(See Assessment )

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