GRADES K-3
Specific Session Objective:
Students will explore assertiveness as a means of
expressing oneself.
Materials
The Three Billy Goats Gruff
Session Content
1. Introduce the topic of bullies. Discuss times when the
players have been the target of a bully or maybe a bully themselves.
How have the players dealt with bullies in the past? Tell the players
that you know a story about three billy goats who had to deal with a bully.
2. Share the story of The Three Billy Goats Gruff.
3. Discuss the troll with the players. What did he look
like? Who in the story was afraid of him? Why do you think
he was so mean? Why didn't he want the goats to cross the bridge?
4. Instruct the players to turn themselves into mean and nasty
trolls. Have the trolls get under their bridges. Ask them to
think about what the troll might be doing under his bridge. The leader
takes on the roll of another old troll who comes to visit his troll friend
that lives under the bridge. The leader in-role engages the trolls
in a conversation about what they will do if anyone tries to cross over
their bridges. End this activity by saying something like "Hmmm.
What is that noise I hear? I'll go check it out. You get ready
to defend your bridges!" Stop the playing and exit the role of a
troll.
5. Discuss the goats with the players. Why were the goats
afraid? Why did they want to cross the bridge? How did they
feel when the troll confronted them on the bridge?
6. Divide the players into two groups. Instruct one group
to form themselves into little billy goats and the other group to form
themselves into middle billy goats. The leader is in role as the
big billy goat. All the goats are grazing in a near empty field.
The leader in-role engages the goats in a conversation about what they
will do when the grass is gone from their field. They'll have to
cross the bridge to the grassy hillside so they can make themselves fat.
Discuss how you will confront the troll when he comes out from under the
bridge.
7. Discuss how the goats in the story dealt with the troll.
Brainstorm other ways that they could have dealt with the troll.
Suggest that the goats might have stood up to the troll and told him their
concerns and feelings in a rational manner. The goats might have
tried being assertive with the troll.
8. Divide the class into pairs. One player is the troll
and the other player is the big billy goat. Dramatize the confrontation
on the bridge. However, instead of fighting with the troll, the big
billy goat must explain his/her feelings and concerns about why he must
cross the bridge. In addition, the troll must explain his/her feelings
about why he/she does not want the billy goat to cross the bridge.
Can the troll and the billy goat work out their problem?
Session Assessment
1. Bring the players into a circle. Discuss the definition
of assertiveness.
2. Discuss the benefits of assertiveness over violence or cowering
from enemies.
3. Solicit examples of times in the players lives when they might
benefit from being assertive.
Relevant References in Goleman's Emotional Intelligence:
pp. 266-267
Developed by M. R. White
GRADES 4-5
Specific Session Objective:
Students will practice assertive communication skills.
Terms: passive assertive
tactics
Session Content
Warm-up: Exploring non-verbal assertiveness.
Have the class stand and find some personal space,
and explain that for the warm-up they are to work by themselves and avoid
interaction with each other. Ask them to think about ways in which
babies assert themselves before they learn to talk. Ask them to demonstrate
tactics babies use to assert themselves when they are angry, scared, hungry,
etc.
Discussion
Call attention to the limited range of tactics babies
have for communication. How about us - how do we assert how we feel?
What are some ways in which we assert ourselves when we are pleased or
displeased?
Have the class stand in a circle. The leader comes to the center.
Pick a conflict - ask for examples of an imaginary
conflict which class members could conceivably
experience, and pick one with which to play.
Play out conflict aggressively - The leader
plays the transgressor or initiator of the conflict. The class, in
ensemble, plays "themselves" in the situation. As leader, initiate
the action which is the heart of the conflict. Instruct the class
to respond, using absolute and attacking language, such as "You always...,
You never..., You are so... etc."
Discuss briefly the possible results of this type of response.
Play out conflict passively - repeat the conflict,
this time instructing the group to respond passively using evasive tactics.
For example: leaving the conflict, not listening or ignoring the problem.
Discuss whether or not these tactics are ever appropriate, and what
might result from them.
Play out conflict assertively - play the situation
one more time instructing the class to: state your perception of what is
happening, state how it makes you feel, and state what you would like to
happen.
Have students pair up and choose a different conflict
to play with. Lead them through replaying the exercise they just
did as a group, only with a partner playing the initiator. Emphasizing
safety and care for each other, have them play out results of each tactic.
When they reach the "assertive" section, introduce the following rules:
The initiator repeats what they heard their partner say until the speaker
agrees with
the listener's repetition.
The initiator then expresses how they feel about the situation and their
partner
repeats their feeling back to them until they feel understood.
Together, each pair brainstorms to find common ground and possible resolutions
to
the conflict.
Have each pair switch roles and play out different
conflict.
Session Assessment
How do you feel about this way of asserting yourselves?
How can we practice this way of talking in day-to-day life? Can we
agree to try to work out problems in our classroom in this manner?
Relevant References in Goleman's Emotional Intelligence: pp.
56-65, 111-126, 145-147
Developed by D. Ott
GRADES 6-8
Specific Session Objective:
Students will practice ways of asserting themselves
in bureaucratic, institutional settings where
they may feel wronged by an institution more than by an individual.
Terms:
Passive
Session Content
Often we are subject to authority structures which
may impose rules or carry out actions that anger or even injure us.
These structures are rarely, if ever, set up to really listen to individual
concerns. None the less, it is important that we assert ourselves
when we feel wronged.
Ask students for examples when they have felt oppressed
or wronged by a power structure - a community with an early curfew for
minors, a school with a strict dress code, censorship in student theatre
or newspaper, or to come up with similar situations they may have heard
of or imagined.
Form groups of four or five students. Have
each select a situation from those discussed or come up with another of
their own and create a series of three tableaus illustrating the oppression
and the possible effects of directly defying it. Show the work and
discuss it briefly.
Ask each group to come up with three possible responses
to the oppression and improvise a scene in which they play out each response.
One should be aggressive - emphasize conflict and argument. For the
second, find a passive response - what happens if the oppressed party does
little or nothing? Third response should be assertive - what can
we do to feel heard and possibly effect change? Is there an option
which limits the chance of disciplinary action (suspension, police action,
etc.)? As they go through this progression, have various groups show
their work. Each group should present a scene at least once.
Alternative actions and results may be suggested by the class and played
out, if time permits.
Session Assessment
How did each type of action (aggressive, passive,
assertive) make you feel? What benefit is there in taking action
at all if nothing changes? How do you decide how far to go
- would you ever risk being disciplined or punished?
Relevant References in Goleman's Emotional Intelligence: pp.
56-65, 111-126, 145-147
Developed by D. Ott
GRADES 9-12
Specific Session Objective: Students will:
- explore the correlation between words, emotions,
and physical reactions.
- cooperatively work on techniques of assertive
behavior.
Session Materials
Gym or exercise mats - as many as possible
Session Content
1. ADVANCE ORGANIZER
Obtain an overview of students’ concepts of
assertiveness and offer the session’s working definition. Provide
the framework of the lesson and the justification for the introduction
of stage combat techniques.
2. STAGE COMBAT TECHNIQUES
Stage combat safety discussion - remove jewelry,
watches, etc.; take it slow and be aware of
your partner’s comfort level; and so on.
Hand Slap - Point left hand toward partner’s chin creating
a perpendicular plane. Use right hand
to slap left hand without actually coming into contact
with partner.
Shoulder Punch - Aim punch toward partner’s chin.
As you swing in front of the chin, open your
hand and hit partner’s shoulder with flat palm.
Watch out for the collar bone.
Side Fall - Crumple to the floor on one side starting
with the knees and progressing onward.
Remember to protect the head with the arm.
Shove - Shove partner from the front or back, pushing
on shoulders. The individual that has been
shoved can step back or can go into a side fall.
3. LINE EXPLORATION
In pairs, ask students to choose a line expressing
a feeling or concern to say to one another. For example: “I
want you to listen to me,” “You make me so mad,” or “She’s going to get
hurt if you don’t help her.” Have one student say the line using
an angry tone while the other student returns the same line in a passive
manner. The student using the angry tone will be the overt attacker
using one of the stage combat techniques on his or her partner. The
attacked student will react to the blow and offer a passive rendition of
the line. Students will then choose another line and switch roles
so that the “passive” student is now the “angry” student.
4. CIRCULAR DISPLAY
Ask students to stand in a circle. Beginning
with one pair and working around the circle, ask students to come to the
center of the circle and replay their line exploration with stage combat.
Ask each pair to face a different direction so each student gets a different
view.
5. DISCUSSION
How did the addition of physical elements enhance understanding
of the ways words can affect us?
What are the emotions hidden behind passivity and anger, and
what kinds of inner turmoil trigger
irrational, unkind, or inappropriate behavior?
How can you rephrase lines stating them in an assertive, rather
than an angry or passive, manner.
6. REENACTMENT
Ask students to rework lines with their partner
changing the wording and the tone. Encourage them to replace the
combat techniques with expressive facial or body movements conveying an
assertive (as defined) manner. Then get back into the circle and
replay lines for the group.
7. DISCUSSION
How did the changes affect you physically?
What were your emotional responses?
What changes did you see in others vocally
and physically?
Session Assessment
The reenactment tells a lot about how well
the student processed the given information and so do the discussions.
During discussions, asking pointed questions that require students to think
about alternatives to various situations, and to become aware of personal
behaviors and their subsequent outcomes provides insight into the level
of students’ understanding.
Relevant References in Goleman’s Emotional Intelligence: pp. 234-239,
215-219, 304.
Developed by S.R.
GRADES 9-college
Specific Session Objective
Students will take part in dramatic exercises where
their personal views and actions will be solicited. The importance
of "self-dynamics" will be stressed and explored.
Terms
Self-Dynamics - Working effectively with your own
thoughts and feelings. Allowing yourself to feel comfortable in placing
ideas and personal views before others.
Session Content:
1. Read the following poem, Risks, while having the students
quietly sit apart from each other. Have them relax, close their eyes
and concentrate on the words, and any meanings they may convey.
To laugh - is to risk appearing
the fool
To weep - is to risk appearing
sentimental
To reach out for another
- is to risk involvement
To expose feelings - is
to risk exposing your true self
To place ideas, your dreams
before a crowd - is to risk their loss
To love - is to risk not
being loved in return
To live - is to risk dying
To hope - is to risk despair
To try - is to risk failure
` But risks must be taken, because
the greatest hazard in life is to risk nothing -
The person who risks nothing
does nothing, has nothing, and is nothing -
They may avoid suffering
and sorrow, but they cannot learn, feel, change, grow, love or live -
Chained by their certitude,
they are a slave; they have forfeited their freedom -
Only a person who risks
is free.
Ask students to respond, one by one, to this poem in a word or phrase.
Instruct them that it could be anything, a feeling or observation about
the poem's words. Read the poem again and encourage the students
to speak during the reading; commenting or expressing feelings or thoughts
it may elicit in them.
2. The living continuum. The classroom becomes a continuum
upon which students will place themselves physically depending upon their
thoughts and views. It is important to clearly and carefully decide
what kind of topics you will include for this exercise, choose topics appropriate
to your group. Your topics should be as "hot" as possible, so as
to create enough dramatic conflict and the slight controversy this activity
needs.
Instruct students as to how the continuum works
and try out a few sample questions for practice, (ex: I love school - I
hate school, or I am an outgoing person - I am an introverted person.)
Next, introduce more controversial topics, 3 or 4 will be sufficient.
Ask them to think carefully about each one and place themselves truthfully.
After completion, repeat one or two that had a nice division or varied
placement, then "spotlight" two students to improvise a scene or verbal
exchange regarding their views on the subject. You may choose students
or have someone start and engage others. Attempt to have all student
participate. Remember, it need not be a fully improvised dramatic
scene, just a quick verbal exchange is sufficient if you have a timid or
inexperienced group. If time permits, allow students to collectively
or privately come up with some issues for the continuum and repeat the
process.
Session Assessment
1. In what ways does the poem deal with the idea of assertiveness?
Did certain parts of the poem seem more true to you as an individual?
How did the idea of "risk taking" become a necessary or positive thing?
2. With regards to the continuum, how did you feel placing your
views on a subject before the rest of the class? How did encountering
another individual placed differently then yourself affect you? How
might your place change after the improvisations? How did the presence
of others affect your place on the continuum?
Created by T. Jarmiolowski
