Tab 3 The Spoken Lesson/Unspoken Lesson

The Language of Godly Play® Page 2

Sacred Stories Page 3

Parables Page 4

Liturgical Action Page 5

Silence Page 6

The Role of the Storyteller in the Spoken Lesson Page 7

The Role of the Doorperson in the Spoken Lesson Page 8

The Creative Process Page 9

How the Organization of Space in the Classroom Teaches Page 10

How the People in the Classroom Teach Page 10

How Time in the classroom teaches Page 11

The Role of the Storyteller in the Unspoken Lesson Page 12

The Role of the Doorperson in the Unspoken Lesson Page 14

Disruptions in the Circle Page 16

Disruptions during the Response Time Page 17

Additional Resources Page 18

The Language of Godly Play® : Religious Language

What is Religious Language?

 It is the language of mystery.

 It is the language of exclamation.
 It puts the other kinds of language into perspective.
 It helps us come closer to God and the whole network of self, other,
nature, and God.
 It asks us to discover a presence at the edge of our being and knowing, but
it is not a presence we can look at directly.
 It invites us to enter into its actions, symbols, narratives, and parables to
play at the edge of our existence. It is then that the presence of
God may come to be with us.
 It is the way we make meaning at the limits of being and knowing.
 It says that the experience of facts, values, beauty, and justice are all
important, but not one of these standpoints in the world is the ultimate one.
The ultimate standpoint is at the edge of our existence, where we sense the
presence of God.

The Genres of Lessons in Godly Play®

 Sacred Story

 Parables

 Liturgical Action

 Silence

Why is Religious Language Important for Children?

The language of Godly Play® gives children a way to confront the existential
questions common to all people: aloneness, freedom, the meaning of life, and
death. Children need to sense this organization and balance from an early age
as part of the art of the language’s use. This is not to say that children can talk
about this. It is largely their senses that inform them of the structure and function
of the language system.

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THE SPOKEN LESSON

Sacred Stories:

 Narrative in which God is the main character

 Trace the encounters of the People of God with the mystery
of the Presence of God
 The story moves from Creation to the life of Jesus and the Church
 The story gives us our identity as people of God
 The story helps us identify our own stories within the story of our faith.
 Use three-dimensional objects to tell the story

The Wondering Questions

 “I wonder what part of the story you liked best.”

(This question allows the children to share what delighted them in the
story. It supports the children in their individual likes and feelings.)

 “I wonder what part of the story is the most important part.”

(This question suggests there may be a difference in what delights us and
in what we think is important. It takes both the thinking and the feeling of the
children seriously.)

 “I wonder what part of the story is about you, or who you are in the story.”
(This question encourages the children to enter the story more deeply. This is
more difficult for children in early and middle childhood than in late childhood, but
that should not prevent us from asking such an important question. Even by asking
themselves what the question means is the beginning discovery for the children.)

 “I wonder if there is any part of the story we can leave out and still have all
 the story we need.”
(This question gives the storyteller a way to see if the children were able to find
the central core of the story. It allows the children to express personal interests
by editing the story. This kind of wondering helps improve the language and
initiates the creative process.)

Why are Sacred Stories Important for Children?

It is assumed that children have already experienced the presence of the mystery
of God. What they need is an appropriate language by which to identify, name,
value, and express in community what such an event means, to remember, to be
aware of it, and to hope for a continuing relationship. Sacred stories help children
find their story.

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Parables:

 The most authentic voice of Jesus

 Include the “I am statements of Jesus as well as the stories he told
 Give us a glimpse of the kingdom
 Create paradoxes that push the language to its limit
 Encourage us to explore life in existential terms
 (issues of death, aloneness, meaning of live, freedom)
 Raise more questions than they answer
 Richness cannot be exhausted
 Are constantly open to new meaning
 Stimulate the creative process
 Use two-dimensional materials to emphasize metaphorical quality
 Engage the listeners in building the metaphor before the telling begins

The Wondering Questions:

 “I wonder what this could really be?”

 “I wonder if (figures) have names?”
 “I wonder how (character) felt about…?”
 “I wonder if you have ever come close to a place like this?”
 “I wonder where this (particular) place could really be?”
 “I wonder where this whole place could really be?”

The wondering can go on and on, and the direction it takes depends on the children and
their needs. It is good to stop just before the wondering begins to run out of energy. This
leaves the children with a taste for more parables in a future class.

Why are Parables Important for Children?

They invite the children to play with the language, to explore life in existential
terms, and to wrestle with the issues of death, aloneness, meaning of life and
freedom. They allow the children to hear the best approximation of the voice of
Jesus during the time of their language formation.

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Liturgical Action:

 Liturgy means “the work of the people”

 Explain the symbols and rites of the Church
 Explain the organization of life in the Church
 Explain the way the Christian community worships God

The Wondering Questions:

These lessons appear to lend themselves to questions with correct answers,

but the wondering can lead the children in a different direction. In the Circle of the
Church Year lesson there are four Sundays in Advent, six Sundays in Lent, and
so on. However it is the dynamic of the year that we are after. The church keeps
time in a special way. Take the whole circle of the year apart and as you put it
back together you wonder at its structure and meaning with the children.

 “I wonder which of these great times you like best?”

 “I wonder how the colors make you feel?”
 “I wonder what the colors make you think about?”

This kind of wondering leads the children more deeply into their personal
responses to the way the church keeps time. The second dimension of these
wondering questions relates to the liturgy, and deals with the connection children
make between what they learn in Christian Formation and their experience of
worship in church with the rest of
the parish family. The wondering probes this connecting link.

 “I wonder if you have ever come close to these colors?”

 “I wonder where else you can find this color in the church?”
 “I wonder who put the color there?”
 “I wonder where the other colors are when you don’t see them?”

Why is Liturgical Action Important for Children?

“In liturgical actions, we mark life, time and space, so children can know the
Holy.” * These lessons help teach children how to become fully participating
members of the Christian community.

*Jerome Berryman, Complete Guide to Godly Play, vol. 1, page 26

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Silence:

 The silence is not empty, but full.

 Supports the creative process
 Gives us an opportunity to contemplate the lesson
 Helps us become aware of the elusive presence of God
 Helps us get ready to hear the still, small voice
 Provides an oasis of calm from the busy and noisy world

The Wondering Questions:

 “I wonder where the silence materials are?”

 “I wonder where the silence is?”
 “I wonder where the silence comes from?”
 “I wonder how silence speaks?”

At every stage of a Godly Play class there is silence: entering, the lesson,
wondering, art and material responses, the feast, and saying good-by. A
comfort with silence is shown and the assumption that silence is not empty
but full is made.

Why is Silence Important for Children?

Children have a growing inability to listen. We can make them be silent, but it is
stillness (from within) that children need if they are going to learn anything. The
ability to contemplate is the foundation for wonder which opens the creative
process which in turn gives us life. Practicing being silent helps children grow
comfortable with silence.

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The Storyteller’s Role in the Spoken Lesson

Tells the Story: The key to the spoken lesson is the teacher as the storyteller.
The goal of the story is to engage the wonder and the creative process to help
the adults and children with the existential issues we all deal with: the meaning
of life, death, freedom and aloneness.
 Storyteller knows the story and tells it without notes.
 Storyteller is comfortable moving the materials.
 Storyteller enters the story with authentic wonder.

Supports the Wondering: The goal of this approach of Christian formation is

not to transfer answers or facts. It is not to teach words as ends in themselves.
It is to teach the art of using the language to make meaning and to find direction
in life and death issues. Like any art, this takes practice and it requires learning
by doing.
 Storyteller supports discovery learning.
 Storyteller models wondering by genuinely wondering along with the children.
 Storyteller shares personal insights only when that insight will not hinder the
children’s discovery process.
 Storyteller values and respects the children’s wondering.
 Storyteller takes the lead from the children as to the direction the wondering
should go.

Supports Response Time: This is the children’s time to be with God. This is
the time they do their work which is play. It is a time to “play” with the language
and look for direction and meaning. It might be a time of great revelation or a time
of enjoying the language and being with God.

 Storyteller pays attention to the choices being made by the children.

 Storyteller empowers the children to do for themselves what they can do.
 Storyteller uses wondering questions to discern whether redirection is needed.
 Storyteller does not led the response time, but sits in silence observing.
 Storyteller interacts with the children only when it is necessary.
 Storyteller follows the child’s lead when a child shares his or her work.
 Storyteller is careful not to judge the child’s work.
 Storyteller gives neutral feedback when a child asks for recognition of their work.
 Storyteller is familiar with the creative process

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Doorperson’s Role in the Spoken Lesson

Supports the Telling of the Story: The doorperson supports the story by
helping the children enter the circle “ready”, by incorporating latecomers into
the community without disruption, and by supporting any children who are not
ready to be in the circle.

 Doorperson sets the tone as the children enter.

 Doorperson sends children to the circle only when they are ready.
 Doorperson gives the children all the time they need to be ready.
 Doorperson supports the children who are not ready in a loving and
accepting manner. This is not a punishment.
 Doorperson models entering the story from the door with genuine wonder.

Supports the Wondering: The doorperson supports the wondering by

incorporating latecomers into the community without disruption and by
supporting any children who are not ready to be in the circle.

 Doorperson enters the wondering from the door silently.

 Doorperson continues to support the children who are not in the circle in
a loving and accepting manner.
 Doorperson is respectful of the children’s wondering.

Supports the Response Time: The doorperson supports the response time by
helping the children help themselves. The doorperson should be ready to help when
there is a genuine need, but not do for the child what the child can do.

 Doorperson pays attention to the choices being made by the children.

 Doorperson moves from the door to the art supply area
 Doorperson supports the children as they gather their materials
 Doorperson empowers the children to do for themselves what they can do.
 Doorperson uses wondering questions to discern whether redirection is needed.
 Doorperson does not led the response time, but sits in silence observing.
 Doorperson interacts with the children only when it is necessary.
 Doorperson follows the child’s lead when a child shares his or her work.
 Doorperson is careful not to judge the child’s work.
 Doorperson gives neutral feedback when a child asks for recognition of their work.
 Doorperson is familiar with the creative process.

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The Creative Process

The Five Steps of the Creative Process:

(1) The Break

What we thought was true is no longer true
 Hard break – comes from a tragedy or other crisis
 Soft break – comes from wonder

(2) Scanning
Looking for new meaning

(3) Insight
An “aha” moment

(4) Articulation
Checking out of the new meaning

(5) Closure
The new meaning is incorporated into our belief system

An understanding of this process helps in supporting the response time and

understanding the work the children may be doing. It also gives guidance when
redirecting a child’s work.

Jerome Berryman describes the process in detail in his book Godly Play An
Imaginative Approach to Religious Education, pages 93 – 97.

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THE UNSPOKEN LESSON

How Does The Organization Of The Space Teach?

(See Tab 5 – The Environment)

The room should have an obvious threshold.

 Teaches the children that they are entering a special place
 Teaches the children that this place is different from the place they just left

The room should have a Focal Shelf that is in a prominent place.

 The Focal Shelf has three shelves - holds the most important materials.
 Teaches the children that there is a special purpose to this place
 Teaches the children what is important in this room

The religious language (the stories) should surround the children.

 Teaches the children that the religious language is spoken here

The materials should be easily accessible to the children.

 Teaches the children that they are capable and valued
 Teaches the children that the stories are for them

The room should be uncluttered, clean, organized, and stable.

 Teaches the children that this place is valued
 Suggests that they will valued and safe in this place
 Teaches the children that this material and the stories are valuable
 Teaches the children that there is a special place for everything in this place
 Teaches the children that they can focus on learning without distractions

How Do The People In The Classroom Teach?

(See Tab 6 – Classroom Management)

By what they bring to the space and time:

Tone of voice Reverence
Body language Silence
Love Blessing
Engagement Acknowledgement that the children
Sense of mystery already know something
Respect Permission to wonder
Openness

By modeling:
How they handle the materials How they enter the story
How to wonder Deep respect for the community

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How Does The Time Spent In The Classroom Teach?
(See Tab 2-page 5 – How Godly Play Follows the Pattern of Christian Worship)

A Godly Play® Session follows the pattern of worship that the Christian tradition
has found to be the best way to be with God in community.

COMING IN:
 Crossing the Threshold
Greeting at the door
Getting ready to enter the circle
 Getting ready to hear the Word of God
Entering the circle
Engaging with the community as the circle grows
Becoming still inside

HEARING THE WORD OF GOD:

 Participating in the lesson
Listening and entering the story
Wondering about the story silently or aloud with the group
 Responding to the lesson
Individual work which is play
May or may not be a time of deep discovery

SHARING HOLY COMMUNION

 Preparing
Putting work material away
Serving the feast
Saying prayers
 Sharing the feast
Enjoying the feast
Sharing within the community
Cleaning up the feast

GOING OUT
 Dismissal
Individual good-bye with storyteller
Individual blessing
 Crossing the threshold
Leaving the circle
Good-bye at the door with doorperson

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Role of the Storyteller in the Unspoken Lesson

Checks the materials for the day’s story are in order and in good repair
 Teaches the children that the material is important
 Teaches the children that the story is valued

Is seated in the circle before the children arrive

 Teaches the children that they are valued
 Teaches the children the importance of being “ready”

Welcomes the children into the circle by indicating a place for them.
Visits quietly until it is time to begin
Starts the story only when everyone is ready
 Teaches the children that there are limits and choices in this room
 Teaches the children that they can trust you to keep them safe
 Teaches the children that you value them and are happy to see them
 Teaches the children the importance of being ready to hear the story

Goes and gets the story materials off the shelf

Knows the story and tells the story without notes
Looks down at the material while telling the story
Models how to “enter” the story
 Teaches the children where to find the materials
 Teaches the children that you value the story
 Teaches the children that the focus is on the story
 Teaches the children how to “enter” the material

Supports the wondering by being comfortable in the silence

Supports the wondering by affirming the children’s responses
Trusts the wondering will emerge in the direction the children need it to go
 Teaches the children that this is a safe environment in which to wonder
 Teaches the children that their wondering is respected and valued
 Teaches the children the importance of silence

Models putting the material away intention and respect for the material
 Teaches the children the way to treat the materials
 Teaches the children that these materials are special
 Teaches the children where the material belongs in the classroom

Goes around the circle asking each child what their work will be
Goes around the circle again if there were children undecided
 Teaches the children that there is time to decide what their work will be
 Teaches the children that their work is important
 Teaches the children that there is order in this space

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Remains seated in the circle unless children need help or redirection
Keeps down at the child’s level
 Teaches the children that they are respected
 Teaches the children that their work is respected and valued
 Teaches the children that their work is important
 Teaches the children that they are trusted to make good choices
 Teaches the children that there is help available if they need it

Alerts the children a few minutes before the response time will end
Assures the children that unfinished work can be finish later if they wish
Tells the children when response time is over
Sits in the circle and welcomes the children back into the circle
 Teaches the children that their work is important
 Teaches the children that their work is respected
 Teaches the children how to transition from one activity to another

Helps facilitate the serving of the feast

Reminds the children to wait till after the prayer to begin the feast
 Teaches the children the importance of the feast
 Teaches the children that they are capable

Invites each child to pray

Reminds the children there are many ways to pray
Ends the prayer time by saying a prayer
 Teaches the children that prayer is valued
 Teaches the children that there are many ways to pray
 Models for the children how to pray

Enjoys the feast with the children and visit with them
 Teaches the children the value of community

Gives each child a blessing as they leave the circle

Takes time to enjoy saying good-bye and makes eye contact with the child
 Teaches the children that they are important to you
 Teaches the children that they are valued
 Teaches the children that their work is valued
 Teaches the children that they are part of the community

Checks to make sure the story shelves are in order

 Teaches the children the way the material should be treated
 Teaches the children where the material belongs
 Teaches the children that this material has value and is respected

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The Role of the Doorperson in the Unspoken Lesson

Is at the door “ready” before the children and parents arrive

Greets the children and parents
 Teaches the children that they are welcomed and valued
 Teaches the children the importance of being ready

Invites children who are ready to join the circle

Supports the children who are not ready to join the circle with a positive attitude
Sits with the children who are not ready for the circle
 Teaches the children that importance of “getting ready”
 Teaches the children they have all the time they need to get ready

Greets and incorporates latecomers into the community without disruption

Supports any child who must leave the circle in a welcoming manner
 Teaches the children that all are welcome
 Teaches the importance of the community
 Teaches that the circle and work of the circle are valued and important
 Teaches the children that they must be ready to be in the circle

Avoids casual eye contact and talk with the storyteller

 Teaches that the adults in this room value and respect them and their work
 Teaches that the focus is the lesson and work of the community

Enters the story with the children by the door

Entes the story from the door even if all the children are in the circle
 Teaches the children that the focus is on the story
 Teaches the children that the doorperson values the story
 Teaches the children that the story is for them also
 Models how to get ready and enter the story

Supports the children as they gather the materials for their work
Assists the children only when there is a genuine need
 Teaches the children that they are capable

Does not intrude on the community of children while they work

Stays down at the eye level of the children whenever possible
 Teaches the children that their work is important and is respected

Supports the children as they put away their work and return to the circle
Chooses three children to help with the feast

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Supports the children helping with the feast
 Teaches the children that they are capable

Sits by the door during the feast

 Teaches that the community is valued and protected from intrusions

Greets the parents

Tells the storyteller whose parents have arrived
Reminds the children to say good-bye to the storyteller if they forget
Gives a blessing to the children as they leave
Remembers to return items left at the door upon entering
 Teaches the children that they are valued
 Teaches the children that the sacred space will not be intruded upon
 Teaches the children the importance of the good-bye
 Teaches the children that they are valued
 Teaches the children their things are respected and that their things will be
returned

Checks the art shelves making sure they are well stocked and organized
 Teaches the children respect for the materials and where they belong

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Disruptions in the Circle

♦ First Level of Intervention:

Both storyteller and doorperson check themselves to be sure they are deeply
involved in the presentation. The storyteller and the doorperson’s
concentration on the lesson usually will bring back wandering attention by
example. The storyteller’s deepening concentration shows the disruptive child
that the misbehavior will not be supported. By not acknowledging the
behavior, the storyteller is telling the child that the lesson is much more
important.

♦ Second Level of Intervention:

The storyteller briefly looks up from the lesson and says to everyone, “We
need to get ready again. Watch. This is how we get ready.” The storyteller
then returns to concentrating on the lesson. The storyteller has not reinforced
the misbehavior. The whole community has been helped to refocus. The
community of children’s focus on the lesson may help the disruptive child to
decide to join the community.

♦ Third Level of Intervention:

The storyteller looks up and says, “No, that is not fair. Look at all these
children who are taking part in the lesson. They are ready. You need to be
ready too. Let’s try again.” The storyteller shows all the children how to sit and
get ready and then returns to the lesson. The storyteller’s voice should be
neutral. The storyteller must not get “hooked” by the child and respond with
an emotional outburst or an argument.

♦ Fourth Level of Intervention:

The storyteller asks the child to go across the room slowly and carefully to sit
by the doorperson. No explanation or argument is required. This response
also is done from a neutral feeling position. The storyteller repeats the
request if the child resists, adding that it will be easier to be ready if you sit by
the door.

♦ Fifth Level of Intervention:

If the child still resists going over to the doorperson, the storyteller says, “It is
time for you to go now.” If the child still does not go, the storyteller asks, “May
I help you?” The choice for the child is to go on his or her own or to be helped
by the storyteller. There is no option of staying in the circle. The doorperson
should stay by the door. The distance between the child and the doorkeeper
is important. Once the child is with the doorkeeper, then it’s the doorkeeper’s
job to help the child get ready.

This is a brief description. See Jerome Berryman’s book Teaching Godly

Play The Sunday Morning Handbook, pages 42 –48 for more details.

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Disruptions during the Response Time

♦ Methods for working with disruptions:

 Retell the story

 Help the child connect his work to material in the room by wondering
 Give two concrete choices of work
 Teach the child how to use the art materials
 Support the cleaning up of spills by asking the child, “Do you know where
the things are we use to clean up?”

Examples:

A child is misusing the story material

 Help the child reconnect with the story by wondering with the child
 Offer to retell the story
 Redirect to other material.
A child is acting inappropriately or doing inappropriate work
 Wonder with the child to make certain the work is inappropriate
 Redirect the inappropriate behavior by engaging in dialogue with the child
 Redirect to other material by giving two choices
A child is unfocused and/or unable to decide what to do
 Walk around the room with the child looking for material that attracts the child.
 If necessary give the child two concrete choices.
A child is misusing an art material –
 Teach the child the proper use of the material by modeling.

Each disruption is a teachable moment to show children how communities of

Christian people work together.

The storyteller and the doorperson work together to:

 Show the children that they are safe, and that there are limits.
 Show the children that the adults in the room communicate well with each other.
 Show the children that the adults in the room understand children.
 Show the children that the adults in the room understand how the class works.
 Show the children that the adults in the room know their roles.
 Show the children that the adults in the room are comfortable in their roles.
 Show the children that the adults in the room work well together

Jerome Berryman gives an example of the way he redirects children during response time
in Teaching Godly Play, pages 53 – 54.

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Additional Resources – Spoken Lesson/Unspoken Lesson

Complete Guide to Godly Play by Jerome W. Berryman

Volume 1: Chapter 2 You are a Storyteller

Chapter 4 The Nuts and Bolts of Godly Play

Chapter 6 Entering the Tradition

Volumes 2 – 4 Introduction

Volume 5: Chapter 1 Help with Telling the Stories

Chapter 2 Help with Managing Time

Chapter 3 Help with Managing Space

Chapter 5 Nurturing Relationships

Chapter 6 Going Deeper with Godly Play

Teaching Godly Play – the Sunday Morning Handbook

By Jerome W. Berryman

Godly Play – An Imaginative Approach to Religious Education

By Jerome W. Berryman

Chapter 2 An Adult at Play

Gathering and Preparation
The Lesson
The Response of Wondering Time
The Play and Art Responses
The Feast
Saying Good-bye

Chapter 3 Children at Play

Chapter 4 The Spoken Lesson

Chapter 5 The Unspoken Lesson

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