Spinning rope has no chance to catch my dancing feet

As you know, the range in human character is remarkable!
Some people prize order while others finding order tedious,
prefer less structured exploration to live into unpredicted discoveries.

Perhaps this character difference explains why some of us "use"
The Science of Reading to bless training through direct,
carefully sequenced instruction on the 44 sounds made by the 26 letters,
while others prefer discovering sound patterns in poetry & word play.

In the first instance, Structured Practice, emerges from
the alphabet's glorious system;
whereas, when put on display in a well-played poem,
the letters sing to the spirit of being inspiring inquiry
into the song's phonetic structure.

Research shows that some students and teachers thrive in predictable settings while others wilt when asked to do or teach drills.
What's nutrition for one is poison for another.

Thus, in selecting how we do Structured Phonics Practice,
we must be conscious of our freedom to choose between
systematic order and playful exploration.

The wise will choose by being true to the needs of their students--

Though, might we wonder if there's a middle path
where predictable structure meets playful expression and inquiry?

Consider the heart and drum beat
where poetry begins in sensory experience danced into language.

Here's a two-line stanza built around the chant's simple song using just 3 CVC letters and then expanded by the second line:

Ran, ran, ran
I ran ____

We could fill in the blank with "I ran to Dad"
or I ran" to ask Dad”
if our focus is short /a/,
or “I ran fast”, or "as fast as __".

Or we can leave it to the student to tell us where or why or how they ran.

As the chant expands it can become this
kinesthetically lively language dance:

Jump, jump, jump
Jump, skip, hop
Feels like I’ll never ever stop

Jump, jump, jump
Jump, skip, hop
to the spin, spin, spinning
beat, beat, beat

Spinning rope
has no chance
to catch my dancing feet

Please consider all the possible phonics lessons in this embodied, playful poem built on Total Physical Response (TPR).