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Purple Hibiscus

Teacher Resource
by Nikki Copitch and Kate Hibbs
Purple Hibiscus Scheme of Work HarperCollins Publishers. This page may be photocopied for use in the
classroom. 1
William Collins dream of knowledge for
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%ublished b Collins
An imprint of &arperCollins Publishers
'' ( 8) *ulham %alace +oad
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/rowse the complete Collins catalogue at
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%ublished b Collins 2313.
4#tracts from Purple Hibiscus Chimamanda 5go6i Adichie
Collins Readers Teachers Resources can be downloaded and duplicated as
re7uired for institutional use. &owe!er, this material is copright and under no
circumstances ma copies be offered for sale.
Authors8 5ikki Copitch and 9ate &ibbs.
Purple Hibiscus Scheme of Work HarperCollins Publishers. This page may be photocopied for use in the
classroom. 2
Introduction 4
Wider reading 5
Historical context
!"er"ie# $
%ark &che'e ()*
&e+uence ,- Context and .anguage ,/),,
Resource 0- World 'ap ,1
Resource 2- %ap o3 03rica ,4
Resource C- %ap o3 Nigeria ,4
Resource 5- 6xtracts 7 &etting ,5
Resource 6- 8irst I'pressions ,
&e+uence 1- .o"e ,$),*
Resource 8- 6xtract- .o"e 1/
&e+uence 4- Con3lict 1,)11
Resource 9- I'ages o3 Nigerian li3e 14)15
Resource H- 6xtract 7 In3luence and society 1
Resource I- Key#ord circles 1$
Resource :- 6xtract 7 the'es 1(
Resource K- Word association 1*
&e+uence 4- Identity 4/)41
Resource .- Identity disks 44
Resource %- 6xtract 7 Presenting the narrator 44
Resource N- 6xtract ) Change 45
Resource !- 6xtract ) Change and .ocation 4
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classroom. 3
Contents
Contents
Collins Readers
*rom well-known classics to award-winning contemporar fiction, Collins Readers
are a series of hardback class readers written b leading childrens no!elists and
selected b teachers and educational ad!isors based on their teaching potential
and abilit to inspire our students.
:n line with our brand promise ( Freedom to Teach ( our teachers notes pro!ide a
fun, engaging and comprehensi!e set of resources to sa!e ou time, and help ou
use Collins +eaders more effecti!el in our classroom. *or each no!el we pro!ide
a complete scheme of work, including creati!e lesson plans based on a 3our)part
lesson 'odel, worksheets, ;&"s and ICT acti"ities. All lessons are produced in
<icrosoft Word so that the can be custo'ised according to our needs, and are
focused around specific .earning !b;ecti"es.
0bout the book
Purple Hibiscus is Chimamanda 5go6i Adichies first no!el and was shortlisted for
the ;range %ri6e 233= and the .ohn ,lewelln +hs %ri6e, longlisted for the /ooker
%ri6e and was winner of the &urston1Wright ,egac ward for debut fiction.
*ifteen-ear-old 9ambili>s world is constrained b the high walls of her famil
compound. &er wealth Catholic father, although generous and well-respected in
the communit, is repressi!e and fanaticall religious at home.
When 5igeria begins to fall apart under a militar coup, 9ambili>s father, in!ol!ed in
msterious was with the unfolding political crisis, sends 9ambili and her brother
awa to their aunt>s. &ere she disco!ers lo!e and a life beond the confines of her
father>s authorit. "he !isit will lift the silence from her world and, in time, re!eal
aterrible, bruising secret at the heart of her famil.
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classroom. 4
Introduction
6xtra Reading
8iction
African Short Stories b Chinua Achebe
An Image of Africa / The Trouble with igeria ?%enguin @reat :deasA b Chinua
Achebe
!ouble "o#e b /uchi 4mecheta
Half of a "ellow Sun b Chimamanda 5go6i Adichie
$o%s of &otherhood b /uchi 4mecheta
The Trouble with igeria ?African Writers BeriesA b Chinua Achebe
Things Fall Apart ?%ocket %enguin ClassicsA b Chinua Achebe
Non)3iction
A Histor% of igeria b "oin *alola and <atthew <. &eaton ?2338A
This House Has Fallen' igeria in Crisis b 9arl <aier ?2332A
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classroom. 5
Chimamanda 5go6i Adichie was born in 5igeria in
19''. Bhe is from Abba, in Anambra Btate, but grew
up in the uni!ersit town of 5sukka, where she
attended primar and secondar schools.
&er short fiction has been published in literar
Cournals including (ranta, and won the :nternational
%451$a!id Wong award in 233D. Bhe was a &odder
fellow at %rinceton Eni!ersit for the 233)--
academic ear. Bhe li!es in 5igeria.
Adichie won the ;range /roadband %ri6e for *iction
233' with her no!el Half of a "ellow Sun.
0bout the author
Wider reading
The Struggle for Secession) *+,,-*+./' A Personal Account of the igerian Ci0il
1ar b 5tieong 23 A#pan
The 4rothers5 1ar' 4iafra 6 igeria b /oston8 &oughton <ifflin Compan, 19'2
2asic background in3or'ation
"he 5igerian Ci!il War, also known as the 5igerian-/iafran War, arose from the
wake of 5igerias independence from /ritain in 19-3.
"he conflict occurred between 19-' and 19'3.
"he most pointed cause of the war is often identified as the coup and the counter
coup of the summer of 19--, which broke the alread fragile trust that e#isted
among the maCor ethnic groups of the countr.
5igeria at this time had a population of -3 million people consisting of nearl D33
differing ethnic and cultural groups. :t was the cultural, religious, ethnic and
economic differences among these different groups in 5igeria that caused friction in
the wake of independence from /ritish rule.
"he main conflict was between the south-eastern pro!ince of :gboF the self-
proclaimed +epublic of /iafra.
http811en.wikipedia.org1wiki15igerianGCi!ilGWar
http811www.africamasterweb.com1/iafranWarCauses.html
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classroom.
Historical context
http811www.google.co.uk1imgresH
imgurlIhttp811www.blackpast.com1files1blackpastGimages15igerianGCi!ilGWarGGClhus
sGblogGlemonadeGfrG.CpgJimgrefurlIhttp811www.blackpast.com1KD*7
KD$gah1nigerian-ci!il-war-19-'-
19'3JhI)33JwID))Js6ID3JtbnidI%t+)Lse@wM+A5<8JtbnhI1D3JtbnwI92Jpr
e!I1imagesKD*7KD$nigerianK2/ci!ilK2/warJhlIenJusgIGGLm"C-
-'kn%ura58//Ca6Gdlg@EIJeiINCC-B-9f4p-
83gB+=9Cp$MJsaINJoiIimageGresultJresnumI)JctIimageJ!edI3CC=M9M4w/
A
http811news.bbc.co.uk111hi1world1africa1)9-'12.stm
Chinua Achebes reflections on the 5igerian ci!il war8
http811allafrica.com1stories123133=2813D8.html
&tructure o3 this sche'e o3 #ork
"his scheme pro!ides fi!e learning se7uences which are designed to be fle#ible
and to e#tend o!er se!eral lessons at the discretion of the teacher.
4ach se7uence is structured in the same wa with episodes of starter, introduction,
de!elopment and main plenarF howe!er episodes are each substantial learning
acti!ities and usuall ha!e a mini-plenar to consolidate learning.
Be7uence 1 allows students e#plore the nature of the language as a te#t written in
a OWorld 4nglish and to locate the te#t geographicall and sociall.
*ollowing this are three se7uences based on themes from the te#t which can be
used during reading at appropriate points or at the end of the te#t. "he are Ostand-
alone se7uences.
Reading the no"el
"he length and comple#it of reading will depend on the classF howe!er it is
recommended that a good audio book !ersion is used to familiarise the class and
teacher with the rhthm of the te#t and unfamiliar pronunciations. ?&arperCollins
audio book :B/5 9'8-3-33-'2''=)-2A.
Btudents will also benefit from keeping track of the geographical locations of the
te#t using a map of 5igeria ?see Be7uence 1A, keeping a timeline of e!ents as the
narrati!e shifts and keeping a Cournal of their understanding, thoughts and notes as
the no!el progresses. A glossar of unfamiliar language can be collated as a class,
although decoding strategies are an integral part of reading this tpe of te#t.
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classroom. !
!"er"ie#
1hile useful for all students stud%ing this te7t at (CS8) this scheme is specificall%
designed to prepare students for A9A 8nglish :iterature at Foundation and Higher
le0els3
0ssess'ent !b;ecti"es <3or =nit ,2 6xploring Cultures>
0!, respond to te#ts criticall and imaginati!elF select and e!aluate rele!ant
te#tual detail to illustrate and support interpretations.
0!1 e#plain how language, structure and form contribute to writers
presentation of ideas, themes and settings.
0!4 relate te#ts to their social, cultural and historical conte#tsF e#plain how
te#ts ha!e been influential and significant to self and other readers in different
conte#ts and at different times.
Btudents are e#pected to ha!e an understanding of the rele!ant assessment
obCecti!es prior to the start of this scheme.
8ra'e#ork 3or &econdary 6nglish- &trands? sub)strands and ob;ecti"es
re3erenced during sche'e
5 +eading for meaning8 understanding and responding to print, electronic and
multi-modal te#ts
5@1 Enderstanding and responding to ideas, !iewpoints, themes
and purposes in te#ts
Aear ,/
build an interpretation of a
whole te#t, recognising
links between ideas,
themes or characters and
supporting points with
precise analsis, e!idence
and e#planation
Aear ,,
de!elop and sustain
independent
interpretations of te#ts,
making concise e!aluati!e
comments and supporting
points with detailed te#tual
reference and analsis
6xtension
produce original and
sophisticated interpretations
of te#ts in the form of cogent
critical responses,
demonstrating personal
engagement and sustained
critical Cudgment
Enderstanding the author>s craft
@, +elating te#ts to the social, historical and cultural conte#ts in which the
were written
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classroom. "
Introduction %ark &che'e
Aear ,/
make informed
connections and
comparisons between
te#ts and writers that are
different in time, culture
and literar tradition,
e#ploring their influence
on each other and on
culture as appropriate
Aear ,,
analse the !alues and
assumptions of writers b
drawing out connections
and comparisons between
te#ts and their relationship
to social, historical and
cultural conte#ts
6xtension
demonstrate originalit of
analsis and interpretation
when e!aluating te#ts in
conte#t to produce critical
comparisons of the literar,
moral, philosophical and
social significance of te#ts
from a range of cultures and
times
@1 Analsing how writers> use of linguistic and literar features shapes and
influences meaning
Aear ,/
compare and contrast
how writers use specific
literar, rhetorical and
grammatical features to
shape meaning, how
techni7ues differ
between different te#ts
and writers, and the
potential impact on
different readers
Aear ,,
analse how specific
literar, rhetorical and
grammatical features shape
meaning in implicit and
e#plicit was to create
impact, how techni7ues
differ across a wide range of
te#ts and writers, and
e!aluate the potential
impact of these choices on
different readers
6xtension
make original, considered
comments and demonstrate
insight about a writer>s
in!enti!eness in using
language for particular
effects, and how this links to
the o!erall purpose of the
te#t and impact on a range of
readers
@4 Analsing writers> use of organisation, structure, laout and presentation
Aear ,/
compare and contrast
how different writers
shape te#ts through
structure and
organisation and
e#plain the
effecti!eness of their
choices
Aear ,,
make detailed analsis and
comparison of the was
writers manipulate and
shape meaning through a
range of structures and
organisation
National Curriculu'- 6nglish Key Concepts
Cultural understanding
4#ploring how te#ts from different cultures and traditions influence !alues,
assumptions and sense of identit.
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classroom. #
Enderstanding how spoken and written language e!ol!es in response to
changes in societ and technolog and how this process relates to identit and
cultural di!ersit.
Critical understanding
4ngaging with the details of ideas and te#ts.
*orming independent !iews and challenging what is heard or read on the
grounds of logic, e!idence or argument.
Analsing and e!aluating spoken and written language to e#plore their impact on
the audience.
Identity and 5i"ersity 5i'ension
Who do we think we areH
What connects us with and distinguishes us from others in the E9 and the rest of
the worldH
Introducing the context and language
!b;ecti"es
*ramework substrand8
@, +elating te#ts to the social, historical and cultural conte#ts in which the
were written
0ssess'ent !b;ecti"es
0!, respond to te#ts criticall and imaginati!elF select and e!aluate rele!ant
te#tual detail to illustrate and support interpretations.
0!4 relate te#ts to their social, cultural and historical conte#tsF e#plain how
te#ts ha!e been influential and significant to self and other readers in different
conte#ts and at different times.
Resources
+esource A World map ?one per group and1or shared map on :W/A.
+esource / <ap of Africa
+esource C <ap of 5igeria ?large, shared resourceA
+ecource $ "e#t e#tracts on paper for students and on screen if possible
Bmall Omarker ?flag 1 blutacA to place on map
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classroom. 1$
&e+uence ,- Context and language
&tudents should not yet ha"e started reading the no"el@
&tarter
+ead the te#t e#tracts ?+esource $A in groups. 4#tracts can be differentiated
with those gi!ing more clues pro!ided to less able students or used as
support for groups who are struggling.
Btudents use the te#ts to in!estigate where the think the no!el is from,
marking the place on the map when the ha!e come to a decision.
Btudents highlight the clues in the te#t which suggested this location.
*eedback
Where is the no!el setH
What were the clues that told ou thisH
5/ through 7uestioning students should be encouraged to e#plain wh specific
clues lead them to a decision and the reading strategies the emploed to
undertake this task.
Introduction- in"estigating the extracts
:n pairs students choose the e#tract the found most interesting, reaching
consensus through discussion.
/rief feedback can focus on wh specific e#tracts were selected.
5e"elop'ent
Btudents use a Olikes1dislikes1memories17uestions 7uadrant ?+esource 4 -
although this can easil be created b studentsA to e#plore their thoughts on
the te#t8
,ikes - what appeals to ou in this te#tH
$islikes - what has put ou off this te#tH
<emories - does it remind ou of anthingH ?e!ents, things ou!e
seen, other te#ts ou!e readA
Muestions - what 7uestions are ou left with after reading the e#tractH
?these might in!ol!e aspects of character, language, what happens
ne#t, etcA
"ake brief feedback on Olikes and Odislikes with focus for Omemories on
cultural similarities and te#tual similarities. "he O7uestions section can be
collated and referred back to during reading.
Plenary
+eturn to obCecti!e and A;=.
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classroom. 11
+emind students of the importance of place and their in!estigations of the
location of the te#t.
Btudents speculate in writing about what 5igeria will be like using te#tual
references from the e#tracts to back up their points.
Ese feedback to introduce map of 5igeria which will be used to track
geographical locations in the te#t during reading. :f possible use @oogle <aps
Osatellite option to take a closer look at 4nugu and the tpe of compound
where the famil might li!e.
Resource 5
4#tract 1 - from page = setting - 4nugu
4#tract 2 - from page )8 setting - Abba
4#tract D - from page 8- setting - 5sukka
4#tract = - from page )3 setting - 4nugu

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classroom. 12
Resource 0- World 'ap
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classroom. 13
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classroom. 14
Resource 2- %ap o3 03rica
+ead these four e#tracts from the no!el.
Where do ou think the no!el is setH
What clues led ou to our answerH
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classroom. 15
Resource C- %ap o3 Nigeria
6xtract 4
"he had hardl passed us when %apa
5nukwu shouted, P,ook awaQ Women
cannot look at this oneQR
"he mmuo making its wa down the road
was surrounded b a few elderl men who
rang a shrill bell as the mmuo walked. :ts
mask was a real, grimacing human skull with
sunken ee sockets. A s7uirming tortoise
was tied to its forehead. A snake and three
dead chickens hung from its grass-co!ered
bod, swinging as the mmuo walked. "he
crowds mo!ed back 7uickl, fearfull. A few
women turned and dashed into nearb
compounds.
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classroom. 1
Resource 5- &etting
%isli&es
6xtract 4
Chinwe .ide6e came o!er to 46innes table
then. Bhe had a high, birdlike !oice. P: want
to remain class prefect this term, 46i-
/utterfl, so make sure ou !ote for me,R
Chinwe said. &er school skirt was tight at the
waist, di!iding her bod into two rounded
hal!es like the number 8.
P;f course,R 46inne said.
: was not surprised when Chinwe walked
past me to the girl at the ne#t desk and
repeated herself, onl with a different
nickname that she had thought up. Chinwe
had ne!er spoken to me, not e!en when we
were placed in the same agricultural science
group to collect weeds for an album. "he
girls flocked around her desk at short break,
their laughter ringing out often. "heir
hairstles were usuall e#act copies of hers
( black, thread-co!ered sticks if Chinwe
wore isi owu that week, or 6ig6agging
cornrows that ended up in a pon tail atop
their heads if Chinwe wore shuku that week.
Chinwe walked as if there were a hot obCect
underfoot, raising each leg almost as soon
as her other foot touched the floor. $uring
long break, she bounced in front of a group
of girls as the went to the tuck shop to bu
biscuits and coke. According to 46inne,
Chinwe paid for e!erones soft drinks. :
usuall spent long break reading in the
librar.
6xtract ,
4!en though *ather /enedict had been at
Bt. Agnes for se!en ears, people still
referred to him as Pour new priest.R %erhaps
the would not ha!e if he had not been
white. &e still looked new, the colors of his
face, the colors of condensed milk and a
cut-open soursop, had not tanned at all in
the fierce heat of se!en 5igerian
harmattans. And his /ritish nose was still as
pinched and as narrow as it alwas was, the
same nose that had had me worried that he
did not get enough air when he first came to
4nugu. *ather /enedict had changed things
in the %arish, such as insisting that the
Credo and krie be recited onl in ,atinF
:gbo was not acceptable.
6xtract 1
"he rustling of the coconut fronds woke me
up. ;utside our high gates, : could hear
goats bleating and cocks crowing and people
elling greetings across mud compound
walls.
P@udu morni. &a!e ou woken up, ehH $id
ou rise wellHR
P@udu morni. $id the people of our house
rise well, ohHR
: reached out to slide open m bedroom
window, to hear the sounds better and to let
in the clean air tinged with goat droppings
and ripening oranges. .aCa tapped on m
door before he came into m room. ;ur
rooms adCoinedF back in 4nugu, the were
far apart.
PAre ou upHR he asked. P,ets go down for
praers before %apa calls us.R
: tied m wrapper, which : had used as a light
co!er in the warm night, o!er m nightdress,
knotted it under m arm, and followed .aCa
downstairs.
'i&es
6xploring the the'e o3 lo"e in the text
!b;ecti"es
8ra'e#ork substrand
5@1 Enderstanding and responding to ideas, !iewpoints, themes and purposes
in te#ts
@1 Analsing how writers> use of linguistic and literar features shapes and
influences meaning
0ssess'ent !b;ecti"es
0!,8 respond to te#ts criticall and imaginati!elF select and e!aluate rele!ant
te#tual detail to illustrate and support interpretations.
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classroom. 1!
(uestions )emories
Resource 6- 8irst I'pressions &e+uence 1- .o"e
0!18 e#plain how language, structure and form contribute to writers
presentation of ideas, themes and settings.
Resources
+esource * on :W/1;&"
Card strips and markers
&tarter
:n pairs, re!iew Chapter 1, identifing different Osides of %apa.
:n the same pairs produce a still image showing the two sides of %apa b one
student taking on the positi!e ?publicA image and the other the negati!e
?pri!ate1domesticA image.
*ollowing a brief rehearsal, students choose a short phrase from Chapter 1 to
illustrate each image and place them at the appropriate characters feet.
Btudents hold their still images as a class while the teacher walks around and
reads out some of the 7uotations.
While students are still holding their images the teacher reads or plas the
te#t from +esource * ?displaed on :W/1;&% if possibleA
Introduction
After a brief e#ploration of the idea of lo!e burning 9ambilis tongue, students
Osculpt two students into a still image of %apa and 9ambili at this moment. :n the
te#t, e#plaining the choices the are making with reference to the te#t.
Communal !oice acti!it8 class members take it in turns to stand behind one of
the characters and !oice their thoughts or feelings at this point ?not all students
need to participateA.
;nce this acti!it has been gi!en sufficient time to allow a range of students to
participate, ask the following 7uestions8
Whose feelings are easier to !oiceH
Wh is thisH ?with reference to the authors craftA
Btudents re-sculpt the scene in the same wa but including .aCa.
Ask the group the following 7uestions8
Where is the reader looking during this sceneH Btudents making suggestions
place themsel!es phsicall in the scene, gi!ing e!idence for their ideas.
Where is the writer standingH Btudents making suggestions place themsel!es
as abo!e.
:ndi!iduall, students answer the following 7uestion in a paragraph8
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classroom. 1"
&ow does the author show the comple#it of the lo!e between %apa and
9ambili in this e#tractH
5e"elop'ent
Widening the focus
?"his can be undertaken at the end of reading the te#t or collated during class
reading of the no!el.A
<ind map 9ambilis lo!e relationships in the te#t with a brief e#planation and
te#tual reference.
4#ample8
Esing a different colour, link the characters who ha!e their own lo!e relationships
to de!elop the mind map.
Esing the mind map for support, students answer the following 7uestion8
How does the author show different types of love throughout the text?
*oundation tier students ma need the following prompt8
Write about8
,o!e between parents and their children
,o!e between siblings and cousins
+omantic lo!e
Plenary
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classroom. 1#
Kambili
Jaja
Jaja
Fraternal, unspoken
bond through sufering:
e.g. eye language
:n pairs, students list the strategies the ha!e used to e#plore the te#t during
this se7uence ?e.g. still image, sculpting, placing the reader and writer, mind
mapping, etcA.
:ndi!iduall students reflect on which ha!e been most useful for them in
working towards the assessment obCecti!es for this lesson.
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classroom. 2$
87tract from page ;*3
%apa ignored her and poured his tea, and then he
told .aCa and me to take sips. .aCa took a sip, placed
the cup back on the saucer. %apa picked it up and
ga!e it to me. : held it with both hands, took a sip of
the ,ipton tea with sugar and milk, and placed it back
on the saucer.
P"hank ou, %apa,R : said, feeling the lo!e burn m
tongue.
Considering the exploration and presentation o3 con3lict
i. 9amibilis internal conflict for identit
ii. %olitical conflict as a metaphorical reflection of 9ambilis internal conflict
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Resource 8- .o"e &e+uence 4- Con3lict
!b;ecti"es
8ra'e#ork substrands-
5@1 Enderstanding and responding to ideas, !iewpoints, themes and purposes
in te#ts
@, +elating te#ts to social, historical and cultural conte#ts in which the were
written
@1 Analsing how writers use of linguistic and literar features shapes and
influences meaning
@4 Analsing writers use of organisation, structure, laout and presentation
0ssess'ent !b;ecti"es
0!,8 respond to te#ts criticall and imaginati!elF select and e!aluate rele!ant
te#tual detail to illustrate and support interpretations.
0!18 e#plain how language, structure and form contribute to writers
presentation of ideas, themes and setting.
0!48 relate te#ts to their social, cultural and historical conte#tsF e#plain how
te#ts ha!e been influential and significant to self and other readers in different
conte#ts and at different times.
Resources
+esource @ - images associated with the te#t
+esource & - te#t e#tract on :W/ and produced on paper for students
+esource : - o!erlapping circles produced onto A= sheet for students #2
+esource . - te#t e#tract on :W/ and paper for students
+esource 9 - word match
Btudents ma ha!e read all of the te#t for this se7uence or be at a position within
the te#t that allows them to analse the e#tracts that support this teaching
se7uence.
&tarter
Esing the images ?+esource @A, students should work in small groups to
generate a bank of words that the infer from the images. Btudents can
either ha!e all of the images to annotate or the images can be passed around
the room where each group contributes to each image. Btudents should be
encouraged to consider the images literall and metaphoricall.
;nce the images ha!e been annotated, ask students to draw links between
images. Are there an similarities e.g. power, authorit, establishment,
tradition etcH Btudents should Custif their points.
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Introduction
Esing +esource &, model for the students how to e#plicate the presentation of
influence and societ. Analsis should consider faith, communit, wealth,
status, belief, power and influence. :n!ite pupils to contribute whilst leading
the analsis.
Esing +esource :, students should place generated kewords in one of the
circles and identif 7uotes to support a point e.g. :nfluence I Obest /ig <an.
4ncourage students to consider what the opposing circle could hold e.g.
weakness !s. influence.
5e"elop'ent
Esing +esource ., students should work in pairs to e#plore the e#tract. Ask
students to consider how themes are at pla in this e#tract. Btudents should
consider oppression, loss, denial, weakness, death etc
;nce the independent analsis has been completed, students should add
new information to the o!erlapping circles with 7uotations to support. Ask students
to consider the links between the e#tracts and e#plain their additions to the
o!erlapping circles.
,inking back to the crisis and conflict that 9ambili has e#perienced, ?e#plored
through the pre!ious se7uence of teachingA ask pupils to consider this in the
light of the conflict that is presented through the te#t e#tracts from this
teaching se7uence. What are the metaphorical links between 9ambilis
struggle for identit and the conflicts that e#ist within the societ that
Adichie presents.
%ro!ide the students with another cop of +esource :. "he students should
place the points that are in opposition for 9ambili e.g. paternal lo!e !s. lo!e
for *ather Amadi in different bo#es. "he should consider what could be placed
in the cross o!er section.
"ake feedback on the parallels that students ha!e identified.
Btudents should now write a response to the 7uestion8
Consider ho# 0dichie presents con3lict as a 'etaphor 3or Ka'biliBs internal
struggle 3or identity@
Plenary
:n groups of = and using +esource 9 students should match the words through
discussion making links. Bome words ma match with more than one other.
Btudents should be encouraged to e#plore the pathwas that crosso!er within the
te#t
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Resource 9- Nigerian li3e
"raditional clothes for men and
women in 5igeria
A church in AbuCa, 5igeria.
"raditional housing
<ilitar 1 police presence
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87tract from page */;3
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We left Abba right after 5ew Lears. "he wi!es of the umunna took
the lefto!er food, e!en the cooked rice and beans that <ama said were
spoiled, and the knelt in the backard dirt to thank %apa and <ama.
"he gate man wa!ed with both hands o!er his head as we dro!e off.
&is name was &aruna, he had told .aCa and me a few das before, and
in his &ausa-accented 4nglish that re!ersed P and F, he told us that
our pather was the best /ig <an he had e!er seen, the best emfloer
he had e!er had. $id we know our pather faid his childrens school
peesH $id we know our pather had helfed his wipe get the messenger
Cob at the ,ocal @o!ernment oppiceH We were luck to ha!e such a
pather.
%apa started the rosar as we dro!e onto the e#presswa. We had
dri!en for less than half an hour when we came to a checkpointF there
was a traffic Cam, and policemen, man more than was usual, were
wa!ing their guns and di!erting traffic. We didnt see the cars in!ol!ed
in the accident until we were in the thick of the Cam. ;ne car had
stopped at the checkpoint, and another had rammed into it from behind.
"he second car was crushed to half its si6e. A bloodied corpse, a man
in blue Ceans, la on the roadside.
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Resource H- In3luence and society
87tract from
pages <<+- <;/3
Aunt :feoma came
home that afternoon with
the news of the riot. :t was the worst one since the became
commonplace some ears ago. "he students had set the sole
administrators house on fireF e!en the guest house behind it had
burned to the ground. Bi# uni!ersit cars had been burned down as
well. P"he sa the sole administrator and his wife were smuggled out
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Resource I- In3luence circles
in the boot of an old %eugeot =3=, o di egwu,R Aunt :feoma said,
wa!ing around a circular. When : read the circular, : felt a tight
discomfort in m chest like the heartburn : got after eating greas
akara. :t was signed b the registrar. "he uni!ersit was closed down
until further notice as a result of the damage to uni!ersit propert and
the atmosphere of unrest. : wondered what it meant, if it meant Aunt
:feoma would lea!e soon, if it meant we would no longer come to
5sukka.
$uring m fitful siesta, : dreamed that the sole administrator was
pouring hot water on Aunt :feomas feet in the bathtub of our home in
4nugu. "hen Aunt :feoma Cumped out of the bathtub and, in the
manner of dreams, Cumped into America. Bhe did not look back as :
called to her to stop.
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Resource :- The'es
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6xploring the the'e o3 identity in the text
!b;ecti"es
8ra'e#ork substrand8
5@1 Enderstanding and responding to ideas, !iewpoints, themes and
purposes in te#ts
@1 Analsing how writers> use of linguistic and literar features shapes and
influences meaning
Identity and cultural di"ersity
Who do we think we areH
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&e+uence 4- Identity
Resource K- Word association
What connects us with and distinguishes us from others in the E9 and the
rest of the worldH
0ssess'ent !b;ecti"es
0!, respond to te#ts criticall and imaginati!elF select and e!aluate rele!ant
te#tual detail to illustrate and support interpretations.
0!1 e#plain how language, structure and form contribute to writers
presentation of ideas, themes and settings.
0!4 relate te#ts to their social, cultural and historical conte#tsF e#plain how
te#ts ha!e been influential and significant to self and other readers in different
conte#ts and at different times.
Resources
+esource , photocopied onto card
+esource < copied for students
+esource 5 copied for students
+esource ; as :W/ page or on ;&"
Bcissors and split pins
&tarter
:ndi!iduall, students make their own Oidentit disks using the instructions on
+esource C.
"he disks rotate to pro!ide a !isual aid to show the relationship between
students identities and the !arious influences which ha!e created them.
:n groups of D or =, students use this as a tool to support an oral e#planation
of the features of their identities and influences. As a group the need to
identif commonalities and differences. 9e 7uestions to support this might
be8
What are the dominant influences in our groupH Wh might this be the
caseH
Are the main features of identit nouns ?e.g. Oan athleteA or adCecti!es
?e.g. OcaringA
"his ma result in brief group feedback8 What1 who has made ou what ou
areH
Introduction
$ispla passage from +esource $ on :W/1 ;&%.
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<odel analsis of the wa Adichie presents the identit of the narrator,
9ambili, in this passage. "he following prompts ma be of use8
"he use of first person and its effect
"he use of short, simple sentences and simple language when the
narrator talks about her own feelings
"he more comple# sentence structure and tense when she refers to
her father
"he effect of the contrast between these two language uses
"he repetition of the word PneededR and its effect
"he contrast between the positi!e language used b the nuns when
the describe 9ambili and the negati!e tone of %apas reported speech
"he use of the phrase Pstained b failureR to demonstrate the wa
9ambilis identit and language are dominated b her father.
5ote8 Bupport with modeled reading is in the 5ational Btrategies OPedagog% and
Practice, Enit -8 P<odelingR, a!ailable at
http811nationalstrategies.standards.dcsf.go!.uk1node11'=-93
Btudents identif three features of 9ambilis identit and what has created
them. "his should reflect knowledge of the whole te#t or the te#t read so far
as appropriate. "hese can be collated as a class.
"he teacher models answering the following 7uestion ?similar to part ?aA on
the e#am paperA8
How does Adichie use language to show the main influences of Kambilis
identity?
:n pairs students answer the following 7uestion ?similar to part ?bA on the e#am
paperA8
&ow has 9ambilis identit changed throughout the no!elH
!r
How does Kambilis identity change throughout the novel?
Write about8
"he influence of 9ambilis father on her identit
"he importance of religion in her life
"he influence of other famil members
Belect one or two responses to share as appropriate.
5e"elop'ent
:n pairs read e#tract ?+esource 4A and annotate te#t to show the following8
What has become important to 9ambili at this point in terms of identitH
&ow has 9ambilis language changed between the two e#tractsH
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What does this show the reader about the was in which 9ambili has
changedH
:ndependentl students answer either or both of the following ?dependent on abilit
and point in class reading of te#tA8
&ow does Adichie use details to describe what is important to 9ambili at this
point in the te#tH
&ow has 9ambilis identit de!eloped across the te#tH ?*oundationA
Write about-
"he changes in the wa that 9ambili thinks
"he changes in the wa that 9ambili speaks
!r
&ow does the author create the sense of a de!eloped identit in the te#tH
?&igherA
Choose one response ?anonmisedA to model use of the mark scheme for Enit 1,
Bection / ?a!ailable on AMA websiteA. "his can lead to self-assessment using the
mark scheme with students setting targets for their ne#t theme focus.
Plenary
+eturn to the map of 5igeria and remind students of the passage on +esource * ?if
the ha!e finished reading the te#tA.
*ollowing paired discussion, label the map as a class to reflect the changes in
9ambilis identit in different locations in the no!el
Identity disks
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Resource .- Identity disks
87tract from pages <=-;+3
"hose were the words : said to mself as : took m e#ams the following
week. : repeated them, too, as 9e!in dro!e me home on the last da of
school, m report card tightl pressed to m chest. "he +e!erend
Bisters ga!e us our cards unsealed. : came second in m class. :t was
written in figures8 P212).R < form mistress, Bister Clara, had written,
P9ambili is intelligent beond her ears, 7uiet and responsible.R "he
principal, <other ,uc, wrote, PA brilliant, obedient student and a
daughter to be proud of.R /ut : knew %ap would not be proud. &e had
often told .aCa and me that he did not spend so much mone on
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Instructions
Cut out the circles and fx them
together with a split pin through
the centre of each so that A
spins on top of B
In each segment of circle A write
a word or phrase that represents
your identity (athlete, sister,
friend, etc)
In the boxes on circle B, list the
infuences which hae made you
who you are (a parent, friend,
Resource 9- Presenting the narrator Resource %- Presenting the narrator
$aughters of the :mmaculate &eart and Bt. 5icholas to ha!e us let
other children come first. 5obod had spent mone on his own
schooling, especiall not his @odless father, our %apa-5nukwu, et he
had alwas come first. : wanted to make %ap proud, to do as well as he
had done. : needed him to touch the back of m neck and tell me that :
was fulfilling @ods purpose. : needed him to hug me close and sa that
to whom much is gi!en, much is e#pected. : needed him to smile at me,
in that wa that lit up his face, that warmed something inside me. /ut :
had come second. : was stained b failure.
87tract from page *.=3
&e brought peeled oranges and water wrapped into tight cone shapes
in plastic bags from his car. "he all settled down on the grass to eat
the oranges, and : watched *ather Amadi laugh loudl with his head
thrown back, leaning to rest his elbows on the grass. : wondered if the
bos felt the same wa : did with him, that the were all he could see.
: held on to his tank top while : watched the rest of the pla. A cool
wind had started to blow, chilling the sweat on m bod, when *ather
Amadi blew the final whistle, three times with the last one drawn out.
"hen the bos clustered around him, heads bowed, while he praed.
P@ood-be, *atherQR echoed around as he made his wa toward me.
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Resource N- Change Resource N- Change
"here was something confident about his gait, like a rooster in charge
of all the neighborhood hens.
87tract from pg <++3
As we dro!e back to 4nugu, : laughed loudl, abo!e *elas stringent
singing. : laughed because 5sukkas untarred roads coat cars with dust
in the harmattan and with stick mud in the rain season. /ecause the
tarred roads spring potholes like surprise presents and the air smells of
hills and histor and the sunlight scatters the sand and turns it into gold
dust. /ecause 5sukka could free something deep inside our bell that
would rise up to our throat and come out as a freedom song. As
laughter.
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Resource !- Change and location
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