It is anticipated that students will complete some work in a reading journal over the course of this novel study. They can do this in writing OR using an app or digital platform to record their thoughts, ideas, and responses.
Connecting to prior knowledge
| Learning intention | To actively engage with and share students’ understanding of the conventions associated with the narrative text type. |
| Materials |
|
Present students with a copy of Dirrarn that has been wrapped in paper. They should not be able to see what the book is. The only clue you can give them is that it is a narrative. Prompt students to share their understanding of the conventions associated with this text type, drawing upon their existing knowledge of (1) narrative structure; (2) effective planning and writing techniques; and (3) strategies for reading, analysing, and reflecting on narratives. This could be in the form of an initial brainstorm in which students write down everything they know about these aspects of narrative writing.
| Learning intention | To use comprehension strategies such as predicting and connecting to build inferred meaning. |
| Materials |
|
Present students with some or all of the items listed above. In small groups, they will examine and individually record their thoughts on each item and how it might be connected to the narrative they are studying. Once they have examined all the items, invite them to share their predictions on what the book could be about. Explain that the items will become more relevant as they read through the text.
| Learning intention | To use comprehension strategies such as visualising and questioning to build literal and inferred meaning. |
| Materials |
|
Distribute and/or display the Thinking Pathways template (above), OR instruct students to divide a page into three columns labelled ‘I see,’ ‘I think’, and ‘I wonder’. Slowly peel back the paper covering your copy of the book, starting from the top. Students will note their observations, thoughts, and questions about what they can see so far. Gradually reveal more of the book, giving students time to expand their notes under each heading, until the entire front cover of Dirrarn has been revealed.
Now introduce the back cover and the blurb as students continue to make notes. Challenge them to create a fresh prediction based on this additional information. They can compare it with their initial thoughts from the previous activity to see how their understanding has evolved.
The blurb reveals that Dirrarn is a sequel to Black Cockatoo*. Check with students to see if they know this earlier text by the same authors.
* Reading Australia title
| Learning intentions | To explore and understand the importance of First Nations storytelling traditions, and to acknowledge the diversity of First Nations peoples and cultures. |
| Materials |
|
Ask students to research Carl Merrison, one of the authors of Dirrarn (together with experienced English teacher Hakea Hustler). Merrison is a Jaru and Gija man from Halls Creek, a town on the edge of the Great Sandy Desert in the East Kimberley region of Western Australia. This 2024 Q&A provides some useful background information about his life. Why does Merrison feel it is important to write stories that reflect his experiences growing up in the outback?
On p. 12 of Dirrarn, Mia reflects on a story that her grandmother passed down to her. Check what students already know about storytelling and oral traditions in Aboriginal and Torres Strait Islander cultures. Then, in pairs, ask them to research and make notes about the importance of these practices. The following websites may be useful:
- Queensland Curriculum and Assessment Authority (QCAA):
- Muru Mittigar – Aboriginal Storytelling: Inspiring the Next Generation
Ask students to reflect on the types of stories they are familiar with, either from school or from their own reading. Have them use a Venn diagram to compare and contrast First Nations and Western storytelling traditions. For example:
| First Nations | Both | Western |
| Stories are shared orally
Stories hold important cultural knowledge |
Stories may contain a message or lesson | Stories are written down
Stories may be made up for entertainment |
Next, ask students to research Dub Leffler, who provided the illustrations for Dirrarn (and many other books, including Once There Was A Boy*, Sorry Day* by Coral Vass, and Bindi* and Our Dreaming* by Kirli Saunders). Leffler is descended from the Bigambul and Mandandanji people of southwest Queensland, and also has French, Syrian, and Irish heritage. You can read more of his story on his website.
* Reading Australia title
Have students use the AIATSIS or Gambay First Languages Map to locate Jaru, Noongar, Bigambul, and Mandandanji Countries. Take this opportunity to discuss the diversity of First Nations peoples and cultures, dispelling the notion that they are one homogenous group. Discuss the importance of learning about and respecting different perspectives and experiences, and remind students that each of us brings our own worldview to our reading of texts.
Exploring the text in context of our community, school, and ‘me’
Discussion on setting and characters
| Learning intention | To understand the setting of Dirrarn and its impact on both the characters and the narrative. |
| Materials |
|
Begin by discussing the importance of setting in a narrative. Explain that the setting is not just a physical location but also provides clues about a story’s time period, cultural context, atmosphere, and/or mood. The setting also provides a backdrop for the author to introduce key characters to the reader.
Read Chapter 1 of Dirrarn aloud (pp. 7–12) and ask students to individually record any words they hear that relate to a setting OR a character. For example:
| Naya | playground | Charlotte | Mia | back home |
| boarding school | office | Ms Greenhalge | Noongar Country | sickbay |
| office staff | outback community | Country | grandmother | community |
This word bank will be useful for the Rich Assessment Task below.
Discuss the ways in which Merrison and Hustler have introduced their characters, and the techniques they use to show those characters’ personalities and traits (e.g. dialogue and actions). Note that there is not a lot of physical character description in Chapter 1. Ask students:
- How do the authors give readers insight into their characters without physical description?
- Can you relate anything from Chapter 1 to your experiences at school?
Draw attention to the sentences at the top of p. 12, in which Mia reflects on strength, connection, and Country. Being mindful of their wellbeing, ask students to write down any emotional responses they have to these sentences. What does ‘Country’ mean? Why do we capitalise this word? What might it mean to ‘feel strong on Country’? The following websites may be useful:
- AIATSIS – Welcome to Country: What is Country?
- Common Ground – What is Country?
- Reconciliation Australia – Acknowledgement of Country and Welcome to Country: The distinction between ‘country’ and ‘Country’
- Evolve Communities – Connection to Country: Why is Country important to Aboriginal and Torres Strait Islander People?
Ask students to consider why connection to Country may be important for First Nations people. Why might Mia feel disconnected at boarding school? Do the words ‘strong’ and ‘connected’ evoke specific feelings, memories, or contemplations? Ask students to record when, where, and how they feel strong and connected.
This is an individual reflection activity; you can check students’ work at the end of class. Use their responses to inform the content of future lessons so you can address gaps in knowledge without singling students out.
Rich assessment task
Mapping the setting
| Materials |
|
Give each student a large sheet of paper and invite them to create a map representing the setting of Dirrarn from Chapter 1. This should include geographical features (e.g. the gumtree on p. 10), landmarks, and any relevant cultural or historical elements (e.g. a label to indicate that the school is on Noongar Country). Students should also draw relevant characters on the map (e.g. Charlotte and Ms Greenhalge on the playground) and include key dialogue from the text (perhaps in speech bubbles) to reflect those characters’ personalities.
Students may need to re-read Chapter 1 to identify details for their map. They can also refer to the word bank they created in the previous activity. Encourage creativity in the visual representations, including the use of colour to convey different aspects of the setting.
Once they have completed their maps, students should explain (in writing) their choices and how they interpret the setting based on their reading of the text. They should also respond to the following questions, giving reasons for their thinking:
- What do you predict might happen in a narrative that is set in a boarding school?
- What can you relate to in the setting? What is different from your own experiences?
- Which characters have been introduced so far? How do you feel about them?
- Which of the characters do you relate to the most? Why?
Finish with a class discussion about the variations in students’ maps. Explore any differences or commonalities in how students perceive the setting and emphasise the diversity of perspectives in the class. Discuss the fact that readers bring their own historical, social, and cultural perspectives to a text, and may interpret actions and events according to their own experiences, values, and backgrounds.
Responding to the text
Double entry journal
Read from Chapter 2 to the end of Chapter 7 (pp. 15–61). You could conduct this as a read-aloud OR listen to the Dirrarn audiobook (packaged with Black Cockatoo), which is narrated by Kija, Jaru, Malngin, Bunuba, Nyikina, and Gooniyan woman Haylee Rivers. The audiobook can be purchased outright, accessed through audiobook platforms, or borrowed through libraries.
As you read, ask students to reflect on their own experiences by making different connections:
| Text-to-self | A connection between the text and something from their own life |
| Text-to-text | A connection between this text and another text they have read, watched, etc. |
| Text-to-world | A connection to something that is happening in the community or the world |
Have students construct a double-entry journal (they could also use the existing template from Read Write Think). On the lefthand side they should note significant quotes or moments from the text, and on the righthand side they should record the type of connection they have made to this quote/moment. Afterwards, ask students to reflect on the type of connection they made most and why that might be. They can share these reflections with a partner.
Character interview questions
Chapters 2–7 focus on Mia’s day-to-day interactions and experiences at boarding school, including a visit to Perth Zoo. Ask students to think about the characters they have met so far. If they could interview ONE of these characters, who would they choose and what would they ask?
Tell students that they are going to prepare some interview questions for the character of their choosing. Begin by discussing some principles of effective interview questions (i.e. those that are open- rather than closed-ended) and model a few on the board. Then, working individually or in pairs, students will develop a series of FIVE TO TEN questions that they could ask to learn more about their chosen characters’ perspectives, emotions, and motivations.
Model some of the things you would like to see reflected in the interview questions. These might include:
- Asking the character to describe how they see themselves OR another character
- Asking the character to describe their relationships with other people
- Questions about decisions the character has made, such as:
- Mia deciding not to lunge at Charlotte (p. 8)
- Charlotte mocking Ms Greenhalge behind her back (p. 10)
- Mia and/or Naya deciding not to tell Ms Babel about Charlotte (p. 17)
- Mia confiding in Tilly (p. 26)
- Questions about how the character felt at different moments, such as:
- When Mia describes all the ways she feels sick (p. 12) – what is the difference between these?
- When the P-plater harasses Mia and Naya (p. 34)
- Asking the character how certain events and actions have affected them so far
- Asking the character if they agree with things other people have said or done, and to explain why or why not
Encourage students to be curious, thoughtful, and respectful in composing their questions. They do not need to make up answers (and should NOT attempt to embody the voice of Aboriginal characters if they themselves are not Aboriginal), but they can re-read the text for evidence of how that character might respond based on the authors’ representation. They can also predict what they think will happen next based on what they already know about their character.
Exploring plot, character, setting, and theme
Thematic exploration
Revisit the concept of themes in a narrative. Ask students to identify any recurring themes in the chapters they have read so far. Then ask:
How do these themes contribute to the overall narrative, and what do they reveal about the characters or broader context of the story?
Prompt students to make connections to real-world issues or experiences. For example, if they identify resilience as a theme, then they can reflect on a time that they or someone they know demonstrated resilience. This process supports comprehension and enhances the relatability and relevance of the narrative.
A key theme in Dirrarn is identity. Ask students what they understand about this term and record their responses on the whiteboard or on an anchor chart. Then conduct a class brainstorm on the aspects that contribute to an individual’s identity. Encourage students to consider personal experiences, cultural background, a sense of belonging, place, interests, and relationships.
Discuss the identities of the characters that have been introduced in Dirrarn so far. Use the whiteboard/anchor chart to model how to note down key traits, conflicts, and motivations related to identity. Encourage students to share their own interpretations and observations.
Place sheets of chart paper labelled with various characters’ names around the classroom. Give each student a pad of sticky notes. Ask them to move to one of the anchor charts and jot down key traits, conflicts, or events that have shaped that character’s identity. They can then attach their sticky note to the chart. Once everyone has had an opportunity to contribute to a few charts, ask them to observe which character (if any) has the most sticky notes. Ask them to discuss why that might be.
Rich assessment task
Creative response: identity collage
Before commencing this task, discuss how visual elements can be powerful tools for representing abstract concepts such as identity. As a class, turn through the pages of Dirrarn and draw attention to the various visual elements. Then discuss the significance of colours, symbols, and images in conveying aspects of a character’s identity.
Explain that students need to pick ONE character from Dirrarn and create a collage that reflects that character’s identity. Provide a range of art and craft materials, including magazines and newspapers. Instruct students to select materials and images that align with their chosen character’s identity. They should refer to the anchor charts from the previous activity to guide their decisions.
Each student will present their finished collage to the class, explaining the choices they made and how the visual elements represent specific aspects of their chosen character’s identity. Prompt students to reflect on the earlier activity involving items that related to Dirrarn (Literature > Connecting to Prior Knowledge). How many of these clues have they encountered in their reading so far? Do they make more sense now?
Conclude with a reflective discussion on the collage process. Encourage students to share insights into the challenges and successes of visually representing abstract concepts, and the effectiveness of using visual elements to convey character traits.
Examining text structure and organisation
Make sure students have finished reading Dirrarn before you commence the next learning sequence.
Plot diagram
| Learning intentions | Students will demonstrate their understanding of the key elements of plot development. They will use a planning table to create a visual plot diagram for Dirrarn, illustrating the story’s progression. |
| Materials |
|
Begin by discussing the importance of plot development in a narrative. Relate this to the metaphor of a journey: understanding the key elements is like having a map that we can use to navigate the story.
Define the key elements of plot development: exposition, conflict, rising action, climax, falling action, and resolution. Discuss each element briefly, providing examples from familiar stories.
Engage students in a discussion about what they have read in Dirrarn. Encourage them to share their observations about how the narrative progresses through different stages. Note that Merrison and Hustler do not spell out the resolution; rather, the reader is left to wonder what Mia will do next.
Introduce the planning table template. Discuss its structure and purpose. You can print and distribute it to the class, have students copy it onto chart paper, or invite them to access a digital copy. Ask students to complete the table and explain how Dirrarn progresses through each stage of plot development. For example:
| Resolution | Talking with Jaja, Mia realises she can make her own decision about whether to return to boarding school or stay on Country. The story ends on a bit of a cliffhanger, as the authors tell us that Mia knows what to do, but they don’t reveal her decision to the reader. |
Afterwards, each student will create a visual plot diagram or storyboard. They can do this in their notebooks OR using a platform like Canva or Storyboard That. Model how to use the chosen platform (if needed), and explain associated visual literacies. Then ask students to populate their diagram/storyboard with images that relate to each stage of the story, using the planning table as a guide. Encourage them to include brief descriptions and/or key information under each stage.
Place students in small groups and have them compare their individual plot diagrams. Encourage them to share insights, identify commonalities, and discuss any differences in their interpretations (and why that might be). Each group will then share ONE observation or insight about plot development in Dirrarn with the rest of the class. Discuss any points of agreement or divergence.
Ask students to reflect on and record what they’ve learned about plot development in their reading journals. Prompt them to consider how visualising the plot enhances their comprehension and understanding of the story.
Examining grammar and vocabulary
First Nations languages
| Learning intention | To investigate the meaning of words in Aboriginal languages. |
Discuss the title of the book. Ask students if they are familiar with the word ‘dirrarn’, its potential meaning, and their guesses about its language of origin (Jaru). Read through the glossary at the back of the book (pp. 107–109) to explore other Jaru, Kriol, Aboriginal English, and Noongar words in the story. Consider the two different words for ‘black cockatoo’: dirrarn and karrak (Noongar). Ask:
- Why do you think there are different words for the same bird?
- Do you know the word for ‘black cockatoo’ in your local language?
- What sound does the double ‘rr’ make in these words?
- NOTE: You might like to play First Languages Australia’s video on common sounds in Aboriginal and Torres Strait Islander languages (04:31–05:21).
- Why do you think these words are written this way?
- NOTE: You may need to explain that the written words are an attempt to reproduce the sounds of the spoken words using the English alphabet. This essay, shared by the Central Land Council, may be useful for your own understanding (especially p. 4).
This is a truth-telling opportunity to discuss First Languages in the context of oral traditions. Explore the impacts that colonisation has had (and continues to have) on Aboriginal languages (this Common Ground article is an excellent resource). Revisit the AIATSIS or Gambay map to support this discussion. Then ask students:
Why do you think the authors have used Jaru words throughout Dirrarn, and why might it be important to them to do so?
Similes and metaphors
| Learning intention | Students will understand similes and metaphors as literary devices in narratives. |
| Materials |
|
Watch the above video as an introductory hook. Afterwards, have students work in pairs to write their own definitions of similes and metaphors. Emphasise the importance of collaboration and discussion to enhance understanding. Regroup as a whole class and confirm the definitions the pairs have generated.
Now ask the pairs to return to Dirrarn and locate some examples of similes and metaphors. Record them using a table like the one below.
| Chapter | Page | Simile or metaphor? | Text | Annotation |
| 2 | 20 | Metaphor | ‘let the troubles of the day wash away’ | In this sentence, Mia and Naya’s troubles are compared to something physical that can be washed away. These words imply a cleansing action, conveying the idea that you can rid yourself of negative experiences the same way that you might wash off or clean some dirt or grime. |
| 3 | 27 | Simile | ‘like a fly in a spider web’ | |
| 3 | 27 | Metaphor + intertextual reference | ‘the bug in Charlotte’s web’ |
Review the examples that students have identified and explain how these devices enhance the imagery and meaning of the text. Choose ONE metaphor and ONE simile to analyse closely as a class, discussing the literal and figurative meanings and the effect they have on the reader.
Rich assessment task
Life as a painting
| Materials |
|
Revisit the concept of metaphors. Remind students that a metaphor is a figure of speech that compares two unlike things, suggesting that they are alike in some way.
Draw attention to the painting metaphor on p. 103 of Dirrarn. Discuss the imagery of Mia being ‘the creator of her own life’, holding a paintbrush and making choices that shape the strokes on her personal canvas.
Have students use mini whiteboards, mini canvases, or sheets of paper to create a visual representation of this metaphor. Encourage them to draw something with elements that represent choices, decisions, and the act of creating one’s life.
Ask students to think more deeply about the metaphor of life as a painting. Analyse the significance of this metaphor as a class. Have students reflect on their own roles as the creators of their lives, making choices that shape their personal narratives. They can then respond to the following prompts in their reading journals:
- What does the metaphor of life as a painting mean to you?
- How do you interpret the idea of holding the brush and making intentional strokes?
- Consider the choices you make from day to day. How do these choices contribute to the painting of your own life?
Once they have finished, each student should identify ONE specific action or decision they can make to contribute positively to their ‘life masterpiece’. They can record these commitments in their journals.
Reader’s theatre: exploring dialogue
| Learning intention | Students will increase their understanding of dialogue and its role in storytelling through a reader’s theatre activity. |
| Materials |
|
Begin with a discussion about the importance of dialogue in storytelling and how it helps to reveal character traits, advance the plot, and make a narrative more engaging and relatable.
Define ‘dialogue’ as conversation between characters. Provide examples from Dirrarn, emphasising how the characters’ voices and the things they say contribute to the overall narrative and the reader’s perception of events and people. Model how to recite dialogue, using expression and tapping into clues from the text to help with tone and delivery.
Choose key sections from Dirrarn that contain significant dialogue. These should capture important moments in the story or reveal character relationships. For example:
- The exchange between Mia, Naya, and Ms Babel (pp. 17–19)
- The exchange between Mia, Naya, Tilly, and Polly (pp. 48–51)
- The exchange between Mia, Naya, and the principal (pp. 71–76)
List these sections on the board for students to investigate (or allow them to choose their own). They should discuss the tone, emotions, and character traits conveyed through the dialogue, as well as the actions of the characters.
Scripting and performing scenes
Now place students in small groups and ask them to write a short, original script inspired by a scene from Dirrarn. The setting and action can be similar to the book (e.g. an argument on the playground, a class trip to the zoo), but students should come up with new dialogue and characters based on the size of their group (this could be as simple as playing a different version of themselves). Importantly, they should NOT attempt to embody Aboriginal characters if they themselves are not Aboriginal.
Remind students to consider the tone, emotions, and character traits they want to convey through their dialogue and actions. They could write their scripts in their journals OR on YouMeScript. Demonstrate the functionality of this platform and allow time for students to experiment before drafting their own scripts.
Students should read the draft script aloud, editing as necessary. Once they have finished, allow time for each group to rehearse their scene. Encourage them to focus on delivering their lines with appropriate tone, expression, and pacing. Also remind them of the importance of clear and expressive delivery, and the use of actions and movement. For added engagement, students could use simple props or costumes to enhance their performances. These should be relevant to the characters and/or the setting (e.g. a handball for a scene set on the playground).
Finally, each group will perform their scene for the rest of the class. After each performance, invite the audience to share their observations on how the dialogue contributed to their understanding of the characters and events being depicted. Finish by discussing the overall experience of the activity and any challenges, discoveries, or insights students have gained about the role of dialogue in storytelling.
Individual reflection
Ask students to individually reflect on the reader’s theatre activity. They should write a paragraph in their reading journal about what they learned. A useful prompt may be:
How did writing, performing, and watching the scenes enrich your understanding of how authors use dialogue to shape stories and characters?
Rich assessment task
Innovating on the ending
Revisit students’ initial brainstorm about narratives (Literature > Connecting to Prior Knowledge). Ask them to review what they know about narrative structure and how best to plan and write an entertaining story. Let them know they will be tapping into this knowledge for their final task.
Re-read the final paragraph of Dirrarn on p. 104. As a class, discuss what these lines suggest about Mia’s future and potential directions for her story from this point. Ask students to list or brainstorm some ideas about what could happen next for Mia and why. Invite them to share their ideas with the class.
NOTE: You might like to tell students that a sequel to Dirrarn, titled Ngurra Home, was published in 2025. If you do not have a copy, you can display the publisher’s book page. In Ngurra Home, Mia is a young adult. She is finishing university, working part-time as a vet nurse, and volunteering at a wildlife sanctuary. Did anyone come close to predicting Mia’s future? Do they think it suits her character? Why or why not?
Ask students to think about their own lives. Have they ever had trouble making an important decision? If they had to make an important decision today, who would they talk to for advice? Is there anything else that could help them make up their minds?
For their final task, students will plan and write an original story inspired by the ending of Dirrarn. They can write about themselves OR a completely fictional character/situation (again, they should NOT attempt to embody the voice of Aboriginal characters if they themselves are not Aboriginal). The story should focus on an important decision such as picking a high school, being honest with a friend, or following a dream. It should explore the main character’s conflicts or questions about their decision, and should include the final lines from Dirrarn somewhere in the text once they make up their minds. Students will need to adapt these lines to reflect the details of their own story (i.e. their character’s name).
The story can be handwritten, typed, or created using a platform like My Storybook. Demonstrate the functionality of this platform if it is not already familiar to students. Allow time in class for them to plan, draft, and edit their work. They should also come up with a title for their story.
Once they have finished, invite students to share their stories with the class. Discuss the variety of ideas and how each student approached the prompt to write about an important decision. How did they feel about adapting the final lines from Dirrarn? Why did they feel that way? Discuss any other challenges, discoveries, and insights they may have gained about the writing process.
You might like to collect the finished stories and compile them into a class book. This could be displayed in your classroom or school library.
Loading...