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ist Godly Play? Screenplay by Ulrike Labuhn, Uwe Schirmer, and Martin Steinhuser English Translation by Sheila Whittenberg (This screenplay is copyrighted. Please ask permission before copying or reprinting any portion of it.)
Background music plays Narrator: Human beings naturally question, ponder, and marvel at the mysteries of our existence. Even children are spiritually sensitive. However, very often they lack a vocabulary to express their thoughts and feelings.

Background music plays Narrator: Godly Play is a concept for religious education that enables people to develop a language in order to describe intrinsic, individual experiences and knit them together within the context of their own life stories. It encourages both children and adults to theologize by inviting them to look for God's presence in a spiritual game of "Hide-and-Seek".

(Scenes from St. Michaels Church in Leipzig)

Door Person in Leipzig: "Hello! I'm so glad you're here." Narrator: It's Sunday morning at St. Michael's Church in Leipzig and the children are being welcomed to their worship service. Children's Minister Sarah Badstbner takes her time in letting everyone find a place to sit and calm themselves. This is so they can get themselves ready for what they are about to see and hear. Sarah Badstbner: "Welcome to Children's Church! We have quite a large group today. It's great to see you."

(Scenes from Holy Spirit Kindergarten in Wolfsburg)

Narrator: Here, children at the kindergarten of the Holy Spirit Church in Wolfsburg are also getting ready. Everything quietens down as the children eagerly await the story. Swetlana Littau, Kindergarten Teacher: "You can see it in the children's eyes: What's going to happen? What has she prepared for us today? What kind of story will it be? You see the curiosity and eagerness of the children. Sometimes I get goose bumps when I sense their quiet expectation!"

(Scenes from Catholic Center in Neuss)

Markus Rischen: "I'd like to tell you a story now. I wonder, are you ready?" Narrator: The children here at the Catholic Center in Neuss are also beginning a session of focused listening and watching.

Markus Rischen with children: The desert is a dangerous place. The sun shines during the day and the sand soaks up the warmth. Narrator: The children listen intently to Markus, following both his gestures and the small figures in the sand Markus Rischen with children: "They walked a long, long time. Finally they met people coming out from Haran."

Markus Rischen: What I really like about Godly Play is that I can use such simple materials to tell a Bible story in a clear and exciting way. At the same time the children are able to immerse themselves in the story and identify with the figures. It is a great pleasure to accompany the children on this spiritual journey. Markus Rischen with children: "God told him that he would be the father of a great family."

Narrator: Godly Play places itself squarely in the oral tradition of storytelling. Life-giving stories are related in the context of Christian language and symbolism.

Swetlana Littau: "There was once someone who said such wonderful things and did such amazing things that people followed him. As they followed him, they heard him talking about a kingdom . . . " Swetlana Littau: Even in a kindergarten, the daily pace is hectic. Godly Play is a place where the children find rest, where they can process their thoughts, and find ways to express themselves through the stories. They really enjoy it.

(Scenes from Walburgis Catholic Secondary School in Menden)

High school teacher Birgit Fiedler in a classroom: "And today I'd like to tell you a story from the Bible. This story is central to Judaism and has great meaning for Jews even today." Narrator: Schools like the Walburgis Catholic High School in Menden don't usually have a Godly Play room. When religion teacher Birgit Fiedler wants to tell a story, she takes her students into the devotional room. Birgit Fiedler: Of course, it's wonderful to have a Godly Play room. But if you don't have one, it is also possible to pack up everything under your arm and find a place to tell the story. What Godly Play brings to the classroom is worth all this effort. Narrator: Godly Play fits well into lesson plans, says Birgit Fiedler, It allows the students the chance to approach a biblical story from a different point of view than they usually do in the classroom.

Interview with student Marie Heidi Hoppe: "Afterwards I have images in my head and the story stays with me longer than when Im handed a worksheet to read. It's more like an event than a story.

Interview with high school student Luise Steudle: "I like that you are able to go deeper with a story. You can identify with the behavior of the people, and when you admire someone's actions in the story, you say to yourself, "I want to be that way, too." Birgit Fiedler: The children and teenagers develop the story together. They then bring out the things that are important to them, and collectively shed light on the text. And afterwards when they take it to a deeper level by reflecting on it and then integrating what they have learned into their daily lives, it brings great joy to a teacher's heart.

(Scenes from a special education class in Mssingen)

Special Ed Teacher Martina Grass: The stories inside here, the parables, are old. Older than you. And older than all of us together. Child: Older than Niklas? Martina Grass: Yes, even older than Niklas.

Narrator: Children with special needs also find meaning in the simple language with which the stories are told.

Martina Grass with children: "And when the lost sheep is found, I put it on my back and carry it back safely to the sheepfold." Interview with Martina Grass: Any special needs child can keep track of what is going on by watching the movement in the story. It's told in a neutral tone, so that each person at his or her own developmental pace can get something out of it.

Narrator: Theologian Wolfhard Schweiker has assisted Martina for several years as a volunteer. What impresses him about Godly Play is that the language contains so many visual elements.

Wolfhard Schweiker: What the students see is a picture language, so to speak - the story is told in pictures. There is also a non-verbal form of communication made up of gestures and mime. Through these different linguistic forms, the children can easily figure out what is going on in the story.

Markus Rischen with children: And then your mothers and fathers had children - you. Now you are a part of that great family which has become as many as the stars in the sky and the grains of sand in the desert."

Markus Rischen: I wonder what part of the story is your favorite? I wonder what part did you like best? Narrator: Now begins the Wondering time. Up until now, the children have only listened. Now they are invited to share their thoughts and feelings with one another. There are no "right" or "wrong" answers. Markus Rischen: When I first ask the question, "I wonder what you like best in the story?", many kids answer, "Everything!" But after the second, third or fourth time, a few children begin to realize that there really is something they like most of all.

Markus Rischen with children: I wonder what you think is the most important thing in the story? Child:"When they both died." Rischen: "Ah, when they both died?" Child: because you think about Jesus . . . it could be . . . because he had been dead, too.

Markus Rischen with children: Do you think there's a part of the story that tells something about you? Child: The part where they die and the birth. Because we were also born and we'll die sometime, too. Markus : Yes, we'll also die at some point.

High School student in Menden: Next year we'll finish high school and start on a new path. We don't know what the future holds or exactly where we'll be. Narrator: It's especially important in a school setting for the students to be able to talk about the story. Diane Lindberg, student in Menden: Small children may simply listen to a story, but we bring life experience into it and make connections. Narrator: And the students value the freedom to express their thoughts and opinions. Maria Heidi Hoppe, student in Menden: Everyone can really say what they think without being afraid of getting laughed at. There is not a right or wrong answer. You just say what's on your mind.

Christiane Zimmerman-Frb: Almost nothing grows in the desert . . . Narrator: And how do adults experience Godly Play? Do they feel under-challenged by it? Annette Schmid: Whether you are young or old, the stories are told in a simple manner, but they are not childish. As a result, you can easily bring your thoughts and emotions into it. It leaves plenty of open space.

Unnamed Participant: I've moved 20 times and been to seven different schools. The wandering from place to place, finding God in a new place, as well as a new church community . . . so that we can experience a little stability . . . I understand all of that.

David Ruddat: Eight months ago I became a father for the third time. This time the father of twins . . . we now have four children at home . . . Its always about getting ready to start on a new path with my wife, the same way that Abraham did with his wife. Always looking at things anew and thinking, how is it going to be this time?

David Ruddat: I go quickly and deeply into the story. I find it fascinating how the Bible has become so personal to me. And even when I hear the same stories over and over again, I hear them differently each time. They touch me again and again.

Narrator: Life and death are existential boundaries. Jerome Berryman, the founder of Godly Play, names three other existential limits that children and adults are confronted with: freedom, aloneness and meaning.

Child: And they built a nest.

Narrator: In order for children to open up about existential themes, trust is needed. A safe place, time and relationship are also essential, says Delia Freundenreich. In her academic work on children's spirituality, she analyzes and builds upon the research done by Rebecca Nye and David Hay in Great Britain.

Delia Freudenreich: Rebecca Nye discovered that spirituality in children is directly related to confidence in relationships. When you are aware of this, you have to consider which relationships the children will go to. They will go to other children, but they also go to adults that they know they can be open with. Narrator: Adults are facilitators in this process. They support and encourage the children to have their own spiritual experiences. This changes the roles that are usually determined by age.

Martina Grass: When I began to teach Godly Play, I had to learn to hold back and not interpret a certain topic that I think might be good for the students.

Narrator: The complex inner workings going on during a Godly Play sessions require intense observation and analysis. As a result, it is important that Godly Play storytellers have further training opportunities. Like here in Brandenburg . . . Christiane Kle: Today I had my first experience in telling a story to a larger group, namely the Creation Story. I had the first honest feedback - something that I wouldn't trade for anything. Tomorrow, I'll have the opportunity to observe how others tell stories and talk with them about their experiences.

Sarah Badstbner: Bjrn-Erik, what would you like to do today? Child: Play with the ark! Sarah Badstbner: Then, go get it and take it where you can play with it.

Narrator: After the Wondering time, the children have the opportunity to be creative. They are allowed to choose their own activity for the day. (Musical break) Narrator: Some children play with the variety of story materials on the shelves, choosing either materials from the story they just heard or one from several weeks ago. Delia Freudenreich: Through the medium of play the children can express themselves more intensely than otherwise. They use their imagination to get inside the story and make their thoughts and feelings tangible.

(Creative Phase in Wolfsburg) Narrator: The children absorb themselves in their work and let their imaginations flow. (Creative Phase in Wolfsburg) In the free response time and the open learning space, the roots and influence of Montessori education become evident.


Delia Freudenreich: Maria Montessori called this phenomenon the "polarization of awareness" . . . these are episodes of intense concentration where someone is completely engaged in an activity.

(Creative Phase in Mssingen) Wolfhard Schweiker: Vanessa goes to the shelf, discovers the Communion picture and looks at it intensely. I have no idea what she is thinking, but a process is definitely going on in her head. That's when I think, something here is really working!

Swetlana Littau: Bon appetit, everyone! Narrator: And then it's time to say good-bye to the children. Markus Rischen: May the good Lord bless you. Narrator: Finally, the participants celebrate a small feast. It is a part that the children never want to miss. Child: Can I take that home? I'll bring it next week. Markus: No, sorry! . . . May God bless you. Farewell scenes in Leipzig, Mssingen and Neuss Narrator: The diverse material for Godly Play is produced by the Lindenwerksttten in Panitzch, a workshop run by the Social Work Ministry of the Lutheran Church in Leipzig. Mathias Eichner: Godly Play is an ideal way to practically fulfill our social work mission. Narrator: This means that adults with special needs are able to find work and community here. Narrator: In order to further the work of Godly Play in German-speaking circles, a small association was formed in 2004. The founding chairman is Martin Steinhuser. He envisions the future of Godly Play in Germany as follows: Prof. Dr. Martin Steinhuser: I am hopeful that Godly Play will become familiar to teachers in both primary and secondary schools, religious educators in churches, and those in institutions of higher learning. (Musical break) I also believe there will be a broader basic understanding of the theory behind Godly Play and that it will continue to be adapted in our context, so that many people will be able to test and

see what Godly Play actually has to offer. (Musical break) Prof. Dr. Martin Steinhuser: I also hope that, in addition to the many other valuable approaches to religious education out there, Godly Play will find its place and gain acceptance among religious work with youth and children. (Interviews as the credits roll) Martina Grass: And then the children took the Parable of the Good Samaritan off the shelf and put the figures next to Mary and Joseph on the path. I asked what they meant by this and they replied, "Well, Mary had a big tummy and couldn't get up on the donkey by herself. And the wounded man also couldn't get up on the donkey by himself and needed the Samaritan to help him. Don't you see? It all fits together!"
Wolfhard Schweiker:

The way the children laugh. I love it when they hear a story, discover something and get excited!
Swetlana Littau:

I've been doing Godly Play for 4 years now and still see the children from 4 years ago. They see me at school and want to know if I still teach Godly Play. "Do you remember the story of Jonah?" they ask. Then, I know that I am on the right path in teaching, because they remember so much. That's how it should be.
Birgit Fiedler:

GP is a wonderful enrichment tool for Religious Education classes. A real highlight for me. The way the story is told, how the children wonder, and how they creatively express themselves afterwards - these are the things that will stay with them in the long run. It is also enriching for the teacher as well as the students. You just have to get up the courage to start doing it. Even with older students. I highly recommend it!