“Learning to read is not a privilege, but a basic and essential human right.”
— OHRC, 2019, Right to Read Inquiry Report
Turning the Page is a collection of drama and dance-based literacy resources grounded in the principles of equity, inclusion, and responsive teaching. Developed in alignment with the recommendations of the Ontario Human Rights Commission’s Right to Read Inquiry Report, this resource affirms that all students deserve access to high-quality, evidence-based literacy instruction—delivered in ways that honour their identities, cultures, and lived experiences.
The foundation of this work is built on a belief that literacy must be taught both explicitly and meaningfully. The Ontario curriculum recognizes that literacy is not limited to the Language classroom, but is developed across all subject areas. Drama and dance provide powerful, embodied entry points for students to engage with language, develop strong oral communication skills, and apply literacy strategies in real and relevant contexts.
Through role play, movement, storytelling, and performance, students explore texts, perspectives, and ideas while building empathy, critical thinking, and a sense of agency. Drama and dance also offer vital opportunities to address systemic and personal biases by centering historically marginalized voices and encouraging students to reflect on power, identity, and change.
This resource is guided by the understanding that strong early reading skills are necessary, but not sufficient. Equity in literacy means creating inclusive environments where students not only learn to read, but see themselves reflected in what and how they learn. When drama and dance are used intentionally, they can spark deep engagement, foster a love of learning, and support the lifelong development of literate, compassionate, and empowered learners.
Turning the Page is both a toolkit and a call to action—an invitation to educators to integrate the arts with literacy in ways that are rigorous, joyful, and just.
About the Lessons
The Turning the Page collection features a series of drama and dance-based lessons designed to support literacy development while centering identity, equity, and social justice. Each resource provides educators with accessible, engaging strategies that respond to the recommendations of the Right to Read Inquiry Report and the broader goals of the Ontario curriculum.
Art is Power invites students to explore Randell Adjei’s poetry through movement and tableau, fostering a deep understanding of the relationship between art, voice, and justice.
Improvising Literacy introduces young learners to improvisation games that build oral communication skills essential for reading success and classroom community.
Redefine, Rewind & Redesign challenges students to examine Canada’s dance history through a critical and embodied lens, deconstructing Eurocentric traditions and exploring their own aesthetic biases.
What’s the Word? empowers students to invent and perform using original vocabulary that reflects their lived experiences and addresses themes of equity and inclusion.
Words Can Break Barriers uses word study and drama structures to help students identify, discuss, and problem-solve around real-world barriers, developing both vocabulary and advocacy skills.
Tapestry of (e)motion engages students in translating picture books and personal stories into movement, affirming the power of dance as a communicative and emotional text.
Together, these lessons offer teachers practical and purposeful ways to uphold every student’s right to read while celebrating the power of expression, connection, and imagination. They complement CODE's existing Critical Literacy resources which can be found by using the "critical literacy" tag in the Resources search filter.
Acknowledgements
Thank you to Cheri-Anne Byrne, the project manager for this project, and Matthew Sheahan, under whose leadership the bulk of this work took place.
Thank you to the lead writers, Brooke Charlebois and Sheri Talosi; the writers, Michael Limerick, Adriana Alfano, Candice Spykers, Jennifer Goodine, Amanda Williams-Yeagers, and Rachael McDonald; and the reviewers, Giselle Paquette, Jaclynn Deveaux-Matthews, and Priya Mohipp.
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