What are the six objectives that help us accomplish this goal? (p. 22)
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How do the co-teachers help the children cross the threshold and get ready for the story? What specifically does the dooperson do? What does the storyteller do? (p. 28-31, 39-41) *
Your answer
In your own words, describe why we don’t explain to children “what the story means.” What might we risk by this discovery approach and what might we gain? (p. 41-45) *
Your answer
What are the four kinds of Christian language we use in Godly Play? Give a sample wondering question for each. (p. 46-53) *
Your answer
What are the five steps for responding to disruptions in the circle? (p. 56-60) *
Your answer
In your own words, why do we offer response time (or a work period)? Why don’t we assign specific craft projects? (p. 66-68) *
Your answer
How is “feast” more than just a snack? (p. 92-93) *
Your answer
Give three examples of signs that children have become fluent in the language of Godly Play – i.e. that they can use it to make meaning in their lives. Where might we look for signs of fluency? (p. 119-128) *
Your answer
The five steps of the creative process are: inspiration/break, response/scanning, awareness/insight, development/articulation, and closure (soft or hard). At which step in this circular process do you personally tend to get stuck? (p. 146-149) *
Your answer
Pick one chapter in Teaching Godly Play to answer the next four questions. Which part of the chapter did you like best? *
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Which part of the chapter was most important? *
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Which part of the chapter was most about you and where you are in your learning right now? *
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What, if anything, could be left out of the chapter? *
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What are you most excited about when you think about using Godly Play in your setting? *
Your answer
What do you find most confusing or challenging? *
Your answer
What do you want to learn more about during the training? *
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