Name : ELOK TAPRIKHA (D95218067)

Class : Innovation and Creativity in ELT (D)

In the fifth meeting of our class we discussed two topics. The first was about “Lexis
in Syllabus''. Syllabus may be specified in terms of goals, performance objectives, or other
criteria. Historically, syllabuses were structural, the Communicative Approach introduced
functions, and certain reordering. The syllabus is normally thought of as listing, and perhaps
sequencing course content. In fact, three factors are important. Those are inclusions,
exclusions, and sequencing. In educational syllabus, the educational syllabus, have
characteristics The P-P-P (present, practise, produce) paradigm, repetition, and controlled
pattern practice  and A task-based methodology. In lexical syllabus, The lexical syllabus not
only subsumes a structural syllabus, it also indicates how the structure which makes up the
syllabus should be exemplified. (willis,1990) Lexical syllabus have a target how text is used
in the classroom. Then in Content Specifying Lists, One of the most influential attempts to
specify content was the Threshold Level, which attempted to develop in detail the work
summarised in national Syllabuses. In contrast, Willis (1 990: v), developing Sinclair’s ideas,
regards vocabulary and quite specifically words, as the key to syllabus specification. The last
in the function, Developing the students’ ability to use the dictionary as a learning resource,
rather than reference work, and most importantly of all, helping students to identify lexical
phrases in text.

         The second topic was about “Developing Drama Creatively”. In the principle, Most
of the activities noted in drama, such as improvising with puppets and performances in
assemblies, trigger children’s imaginative involvement and involve an act of pretence.
However, the most valuable form of drama at this phase is improvisational classroom drama.
This involves children in exploring issues in role and improvising alongside their TIR
(Teacher in Role), building a work in the process. It is commonly referred to as process
drama (O’Neill, 1995), story drama (Booth, 1994) and/or classroom drama (Grainger and
Cremin, 2001).  In the drama and learning, Drama is a powerful way to help children relate
positively to each other, experience negotiation, and gain confidence and self-esteem as well
as confront ethical principles, personal values and moral codes of conduct (Winston, 1998).
Drama also offers rich opportunities for imaginative development through the creation of a
questioning stance and the exploration of different possibilities and perspectives (Cremin et
al., 2006b). The key areas of learning in drama include: the imagination, personal and social
issues, literacy, reflection, the content of the drama, and the form itself.

         In the Improvisational Classroom Drama, In classroom drama, no script is in

evidence, although literature is often used to support, and shared fictitious worlds are created
through the imaginations of both the children and their teacher (Taylor and Warner, 2006).
Such drama focuses on the process of meaning making, has no immediate audience and is
spontaneous, unpredictable and emergent. It frequently creates motivating contexts in which
reading, writing and speaking, and listening are natural responses to the various social
difficulties and dilemmas encountered. It also invites children to exchange ideas, experiment
with alternative perspectives and raises questions rather than answers them.

         In the Teacher In Role, TIR is central to successful classroom drama, for as Bolton
observes, ‘seeing the teacher as a fellow artist in a shared endeavour is the key to
relationships in the drama classroom’ (1998: 76). Through TIR, teachers help shape and
direct the imagined experience, negotiating this with the learners and supporting, extending
and challenging their thinking from inside the fictional context. In the Drama And Speaking
And Listening, Since extended classroom drama is oriented towards investigating problems
and opening up issues, talk is an essential part of its currency. Drama creates imaginative and
motivating contexts, which are often experienced as real and which provoke a variety of oral
responses. In the context of improvising a decision alley or planning, discussing and
evaluating a freeze-frame, for example, children spontaneously talk and listen to one
another’s ideas and often need to negotiate and make decisions together. In the Drama And
Reading, During drama children employ a number of strategies that are also central to
reading, including: prediction, image construction, making imaginative connections, co-
authoring the text, developing empathy and engaging emotionally and reflectively (Grainger,
1998). Drama can help children become more effective at reading both text and subtext, and
can extend their understanding of characters’ motives, behaviour and possible histories.

         In the Drama And Writing, Both qualitative (Crumpler and Schneider, 2002) and
quantitative studies (Fleming et al., 2004) demonstrate that if drama is used in literacy
sessions and in extended units of literacy work, it can make a significant contribution to
children’s writing. The focus will be on using drama to help generate and sculpt a particular
genre of writing. In the Fostering Imaginative Engagement In Role-Play Areas, The
imaginary contexts of role-play areas enable children to converse, create and draw on their
experience, knowledge and understanding of the world to make meaning. Role-play areas
tend to mirror real world settings, such as doctors’ surgeries, cafés and garden centres, but
over time children also need to be challenged by a range of more imaginary open-ended
contexts, including fictional book-based contexts and more generic open-ended themes. In
addition, connecting to popular cultural themes can be motivating and effective. In these
contexts children can be prompted to become engaged as speakers, listeners, readers and
writers.