The Kite Rider by Geraldine McCaughrean - Amazon Web …
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|The Kite Rider by Geraldine McCaughrean |
|The kite rider is a 12-year-old boy, living in China in the 13th century, at the time of the Kublai Khan. The boy rides a kite in a harness, flying high in |
|the sky, making money from the awestruck audience who believe he can commune with their dead ancestors up in the clouds. |
|Reading skill |Suggested activities |Example |
|Using strategies to decode words they don’t |Word families & word patterns |Before reading - establish the need to look |
|know – phonics, syntax, word recognition and |Chunking and breaking down the sounds in a word |for contextual clues when dealing with |
|context |Dictionary activities |unfamiliar words. |
| |Starter activities focusing on word level |Pupils take a page at random – scan text for |
| |Re-writing sentences with different syntax |unfamiliar vocabulary and note words in a |
| |Progress Unit on Phonics |list. Then look closely at the context of the|
| |Cloze |words and attempt a definition. Check in |
| |Reading backwards and forwards |dictionary. |
| |Asking “Does the word make sense?” | |
|Engaging with meaning as well as decoding |Asking questions – who, what, where, when, why |Note questions in reading journals as they |
| |Discussing what has been read |arise. |
| |Matching illustrations to appropriate sections of text | |
| |KWEL charts |KWEL chart on the novel’s historical/cultural|
| |What do I know |context. |
| |What I want to know |KWEL chart about the events of Chapter 1 from|
| |Where will I find the evidence |Haoyou’s viewpoint. |
| |What I have learned | |
| |Focusing on key words (reverse cloze/fridge magnets) |Start to collect verbs of movement (e.g. p5) |
| | | |
| |Role play, hot-seating, thought tracking |Hot-seat “the foreigner”/ Di Chou/ Haoyou. |
| |Summary sub-headings | |
| |Matching quotations to meaning |Storyboard or plot-sequencing activity for |
| | |Chapter 22 |
| | |or |
| | |Small groups assigned sections of this scene |
| | |which are then linked to present a silent |
| | |movie sequence. |
|Sensing miscues and then self-correcting |Guided reading with teacher |Use beginning of Chapter 5 to model |
| |Paired reading – one listening for sense |self-correction. |
| |Using existing knowledge/analogy to decode, then applying to new, | |
| |similar words |Prepared group-readings with narrator and |
| |Opportunities to prepare a passage to read to group/class |read dialogue in parts. |
| |Reading buddies |Tape if possible. |
| |Modelling self correction during reading | |
| |Using tapes to support reading | |
|Tackling extended sentences |Modelling how to identify the main clause in an extended sentence |Find & discuss use of complex sentences e.g. |
| |– good examples in Dickens |p2 “There were acrobats….. |
| |Re-structuring a long sentence on cards |p39 "Suddenly, as…….” |
| |Re-writing a sentence into visual diagram – showing main clause |p44 “The captain, a worried………” |
| |and how other parts of sentences relate to main clause e.g. |Use for clause identification/re-structuring |
| | |exercise and transposition into short |
| | |sentences. |
| | | |
| | |Investigation of sentence variety used to |
| | |open each chapter. |
| |Re-writing an extended sentence as a series of short sentences and| |
| |discussing the difference | |
| |Reading sentences aloud, using intonation to underpin meaning | |
|Using punctuation, paragraphing and text |Identifying paragraph breaks in an unformatted piece of text |Use end of Chapter 4 unformatted. |
|layout as a guide to meaning |Shared reading focusing on punctuation for meaning | |
| |Pacing the classroom/drama studio, changing direction at each |Map the way in which the writer uses |
| |punctuation mark |paragraphing to control the pace in |
| |Sentences Progress Unit materials on how punctuation helps us to |high-tension sections of the text e.g. |
| |read aloud |Chapter 10 from p90 |
| |Selection of novel openings – considering differences of structure|Introduce by giving pupils the task of |
| |Sequencing |writing the paragraph which follows from “One|
| |Providing titles for chapters or sections of the novel |of the Mongol women was calling a name over |
| |Highlighting topic sentences in paragraphs |and over………… “ Review pupils’ writing. |
| |Removing the punctuation from an extract and asking pupils to make|Read pages 90-91 and reveal the writer’s |
| |their own choices |technique of suspending the action. |
| | | |
| | |Topic sentences: a useful extract is |
| | |pp130-131 |
| | | |
| | |After completing each chapter, assign a |
| | |title. |
|Developing a mental map of the text as they |Flow chart of events |Thought map of key themes: obedience; |
|read |Thought map of key ideas |sacrifice; betrayal; courage. |
| |Drawing and labelling a map of the setting | |
| |Drawing a family tree |In pairs, pupils draw a map of Dagu: Harbour;|
| |Tracking a character or theme using post-it notes in book |Lotus Tea Rooms; Don’t Go-Near House; |
| | |warehouses; Jade Circus encampment; Qingan’s |
| | |board-built house; paddy fields; Di Chou’s |
| | |houseboat |
|Visualisation and other sensory responses |Drama: guided tour; sculptured freeze frames; hot seating |Pupils assemble miniature prop boxes to |
| |Thought maps, Venn diagrams; role on the wall |represent characters e.g. for Haoyou: Dog |
| |Plot lines, tension graphs |Wu; a model kite; a scrap of red silk; a |
| |Colouring over words which refer/appeal to the senses |sketch of Wawa; a piece of straw from |
| |Prop box or pictures |Gou-Pei’s jacket; Mipeng’s red horse-hair |
| |Drawing |bracelet; a message for the Spirits from |
| |Walk-in debates |Yangcun |
| |Casting the film of the novel | |
| |Story mapping/living graphs |Time-line of Haoyou’s journey (this could be |
| |Creating sound effects |constructed on an interactive whiteboard and |
| | |annotated at intervals as starter activity) |
| | |Add details of each kite ride as it occurs in|
| | |the story. Include the emotional impact on |
| | |Haoyou. |
| | | |
| | |Guided tour of Dagu – p189 multi-sensory |
| | |details. |
| | | |
| | |Mask-making (cross-curricular link) |
| | |Pupils design appropriate masks for their |
| | |chosen character capturing key qualities |
| | |through use of symbol and colour. Use in |
| | |text-based drama activities. |
| | | |
| | |Draw the view from the kite of the paddy |
| | |fields, Dagu town, Kublai Khan’s pavilion. |
| | | |
| | |Pupils find photos or film-clips of chosen |
| | |actors – justify choices with quotations from|
| | |the novel. |
|Prediction, retrospection and speculation |Identifying the ‘turning point’ and predicting outcomes of the |Make a large kite. Pupils tie their |
| |storyline |predictions to its tail. |
| |Gathering predictions (you can tape these!), returning to them |Look particularly at the ends of Chapter 1, |
| |later to discuss why the author chose particular resolutions |6, 8, 17 etc. |
| |Looking for clues in last chapter as a first activity to predict | |
| |what will happen in the novel |Pupils invent a scene showing what has |
| |Starting in the middle and considering what might have led to this|happened to Haoyou’s mother in his absence. |
| |situation | |
| |Reading the first few chapters and suggesting what might happen |Note clues about the characters of Mipeng and|
| |next. Recording ideas in reading journal. Highlighting clues which|Miao and their relationship throughout |
| |led to those predictions (evidence base) then filling in reading |reading. |
| |journal to reflect on original predictions | |
| |Drama activity – pupils act out their predictions. Rest of class | |
| |assess whether they are realistic / feasible | |
|Questioning |Shared reading and targeted questions – modelling thought |Before reading –analyse images on front |
| |process/answers either orally or on OHP |cover- brainstorm/thought map associations. |
| |Identifying questions you want answered in the next few chapters | |
| |Questions based on front cover/title of book, extend to include |Key moments for suggested hot-seating |
| |‘blurb’ on back re. expectations raised |activities: |
| |Hot-seating – question the characters - conscience tunnels |Haoyou and Mipeng leaving Dagu |
| |Thought/speech bubbles for characters at key moments (inner voice)|Uncle Bo joining the Jade Circus/finding out |
| |Extracts out of context – what questions do we need to ask about |Miao’s identity |
| |this text? |Miao on his way to Xanadu |
| |Asking pupils to think of the questions they want to ask at |Haoyou landing with Bukhur’s daughter |
| |particular points in the text | |
| | | |
|Passing mental comments and savouring the |Poster of the book |Review predictions. |
|text |Interviewing each other about reactions on ‘where we’re up to in | |
| |the book’ | |
| |Presentation of a ‘favourite bit’ to a small group – or the class |Advocate best moment in the novel. |
| |– with some commentary about why it’s dead good! | |
| |Using post-it-notes to jot down thoughts and keep as markers in | |
| |the text | |
| |Cultivating reading journal responses, using a range of strategies| |
| |to capture responses, ideas, questions, visualisation tools | |
| |Using symbols on post-it-notes e.g. | |
| |? ! to come back to or discuss with a partner ☺ | |
|Empathising |Questioning – (how do you feel about…..?) l |Diary: |
| |Diary extract |Haoyou’s after rescuing the girl |
| |Role-play (character or theme based) |Mipeng’s after a month with the Jade Circus |
| |Hot-seating |The foreigner’s after watching the kite |
| |Thought tunnel |flight (supported by analysis |
| |Letter from one character to another | |
| | |Hot-seat: |
| | |Aunt Mo |
| | |Miao after leaving Haoyou |
| | |Haoyou after leaving the Jade Circus |
| | | |
| | |Letter: |
| | |Haoyou’s to his mother |
| | |Mipeng to Haoyou (final chapters) |
|Establishing a relationship with the narrator|Hot-seating the narrator |Rewrite Chapter 1 from the viewpoint of the |
| |Annotating a stick man with words that define the narrator |foreigner, Di Chou. |
| |Rewriting part of a third person narrative in the first (or |Model the highlighting of sections according |
| |second) person |to narrative viewpoint, and then ask pupils |
| |Drama – placing the narrator in a sculpted scene |in pairs to do so with the remainder of the |
| | |chapter. |
|Re-reading, re-evaluating and other |Guided work on a section they have read previously |Model the analysis of descriptive passage |
|clarification activities |Timeline, plot mountain, sort events into chronological |using descriptors of the figurative language |
| |order/order of significance |techniques used. Pupils annotate second |
| |Re-evaluating the way a character is presented or seen |passage in groups. |
| |Close questioning | |
| |Annotation |Pupils invent and design a board game |
| |Comparing passages from different sections of the novel |incorporating the sequence of events in the |
| | |novel. |
| | | |
| | |Compare passages to show the development of |
| | |the character of Haoyou or passages |
| | |describing the different flights |
| | | |
| | | |
|Reading between the lines and other |Shared – then group – then paired – then individual annotation of |Explore the symbolism of the kite and of |
|interpretation activities |passages from the text to build independence and confidence with |flight through thought mapping |
| |reading between the lines |Link with final passage of “Flight” by Doris |
| |Discussion (following the pattern above) about the symbolism of |Lessing or similar text. |
| |places, objects, or names if appropriate | |
| |Choice of symbolically and metaphorically dense text which is |Select, illustrate and evaluate examples of |
| |multi-layered |similes, exploring the ways in which they are|
| |Role play/thought tracking to understand a character’s motivation |used to convey emotion e.g. |
| | |money spider p 6 |
| | |rabbit overshadowed by a hawk |
| | |the corner of his mother’s apron p 75 |
|Relating the text to one’s own experience and|Drawing explicit links between texts with similar themes, issues, |Discuss or debate attitudes to obedience to |
|knowledge, including other literature |location, characters, narrative structures etc |parents or the fallibility of adults. |
| |Teacher to lead on links to own experience. Then draw out pupils’ | |
| |own reactions. Handle sensitively! |Links with other fantasy adventure/ |
| | |coming-of-age stories. |
| | |e.g. The Curious Incident of the Dog in the |
| | |Night-time.-Mark Haddon |
| | |Sunday –Ted Hughes |
| | | |
| | |Link Coleridge’s Kublai Khan and p131 |
|Adopting an appropriate reading stance |Keeping a reading journal to develop and express your unfolding |Pre-reading activity. Using “The Elephant’s |
| |responses |Pillow” picture book (ISBN0-7112-1956-7) or |
| |Creating a ‘freeze frame’ tableau and then invite the reader to |similar, establish expectations about |
| |physically place themselves in the scene |landscape, people, occupations, costume, |
| |Annotating the text (marginal notes) with responses/chat back |Buildings, transport and names. |
| |Creating “recipe” of each genre | |
| |e.g. horror / sci-fi etc |Position of women – link with non-fiction |
| |Exploring the book cover for evidence of what it is about / what |extract from Wild Swans – on subject of |
| |kind of text it is / what questions you could ask |foot-binding. |
| |Historical context / social context research | |
| |Asking questions about the voice in the text after reading first |Possible areas of research using ICT and the |
| |paragraph |library: |
| | |importance of kites in China |
| | |Mongol invasion of Cathay |
| | |Marco Polo |
| | |Kublai Khan |
| | |status of women in ancient China |
| | |masks |
|Developing judgements and preferences |Providing provocative statements on cards for discussion/advocacy |Statements about parent/child conflict; |
| |Comparison with other texts |arranged marriages; other cultures. |
| |Asking “How would you change the novel?” |Link with RE. |
| |Reading journal to compare texts on similar themes /same author | |
| |‘Sell’ the book to others |Research other novels by Geraldine |
| |‘Statementaire’ to argue / discuss |McCaughrean –find reviews on Internet. |
| |Selecting extracts which represent the whole text’s qualities | |
| | |Shared reading - match examples of |
| | |McCaughrean’s style with similar passages |
| | |from: |
| | |Journey to the River Sea or Not the End of |
| | |the World. |
| | | |
| | |Power-point sales pitch for this author. |
| | |Pupils to select extract/annotate and present|
| | |on interactive whiteboards. |
|Sensing of the writer at work, the artifice |Activities which focus on language - |Descriptions of flying: match emotions (e.g. |
|of the text |highlighting/circling/annotating sections of texts |fear, helplessness, excitement) to writer’s |
| |Cloze, e.g. remove powerful verbs or adjectives and compare to the|choice of vocabulary. |
| |writer’s original choice | |
| |Filling in ‘gaps’ in the story – alternative |Living Photograph – pupils place characters |
| |endings-sequels-prequels – maintaining style, character dialogue |in hierarchical ranking for funeral family |
| |as in the original |snapshot- photograph and use (projected on |
| |What would you ask the writer if s/he was here? |whiteboard?) as backdrop for following |
| |Planned questioning and DARTS to move pupils from personal to |activity: |
| |critical response |Placing “texts” within the drama (Drama |
| |Creative writing that imitates the style of the writer |Objectives Bank p 83 ) |
| | |Scene: At the funeral of Gou-Pei |
| | |Texts from other characters placed around |
| | |Mipeng |
| | |e.g. letter Di Chou’s wife; a page from Uncle|
| | |Bo’s account book; |
| | |Haoyou’s warning to his mother. |
| | |Activity supported by appropriate Chinese |
| | |music. |
| | |Follow-up: Iceberg mapping of Mipeng’s |
| | |thoughts before contacting Gou-Pei’s spirit. |
| | | |
| | |Prepositions: |
| | |Show video clip of action sequence e.g. car |
| | |chase / “Quidditch”/aerial dog-fight |
| | |Set preposition spotting challenge. |
| | |Link to Jade Circus passage p 62-63 and |
| | |through shared reading observe how the |
| | |writer, like a film director, continually |
| | |shifts the reader’s focus. |
| | | |
| | |Descriptive writing - an exciting spectacle |
| | |modelled on McCaughrean’s style. |
| | |e.g. sporting event, bullfight, carnival, |
| | |funfair, fireworks. |
| | | |
| | |Writing inspired by Impressionist paintings |
| | |e.g. Turner or Monet modelled on descriptions|
| | |of the sky. |
| | | |
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