Drama in Education

Exploring Key Research Concepts and Effective Strategies

Ása Helga Ragnarsdóttir, Hákon Sæberg Björnsson, Ása Helga Ragnarsdóttir, Hákon Sæberg Björnsson

• Publisher: Routledge
• Year: 2019
• eBook ISBN: 9780429877087
• Edition: 1
• Topic: Education
• Subtopic: Education General

As schools have become more aware of their role in addressing personal and social issues, the importance of 'values and attitudes' have begun shaping education and curricula worldwide. Drama in Education explores the six fundamental pillars of the national curriculum guide of Iceland in relation to these changing values and attitudes.

Focusing on the importance of human relations, this book explores literacy, sustainability, health and welfare, democracy and human rights, equality and creativity. It demonstrates the capability of drama as a teaching strategy for effectively working towards these fundamental pillars and reflects on how drama in education can be used to empower children to become healthy, creative individuals and active members in a democratic society.

Offering research-based examples of using drama successfully in different educational contexts and considering practical challenges within the classroom, Drama in Education: Exploring Key Research Concepts and Effective Strategies is an essential guide for any modern drama teacher.

1    Introduction

Fundamental pillars of education

Ása Helga Ragnarsdóttir

Education is a lifelong process. It is important that schools encourage their pupils’ initiative, their enjoyment and enthusiasm for studying and thus promote their education. Various ways described on how to achieve this goal in the National Curriculum Guide of multiple countries are common for preschool, compulsory school and upper secondary schools. Emphasis is on flexibility and continuity in the educational system, both in content and working methods. Additional emphasis is on school development and general professionalism of teachers at all levels.

The role of teachers is crucial for any education system as they undertake various important tasks within schools, such as teaching, administration, upbringing, counselling, research and development (The Ministry of Education, Science and Culture, 2011). The quality of education and the success of the school system is first and foremost based on well-educated and enthusiastic teachers at all school levels. Teacher professionalism is vital for pupils, their education and welfare. Teachers have the obligation to share knowledge with students, provide them with the opportunity to acquire knowledge and nurture their creative and critical thinking.

Extensive societal changes have taken place in the 21st century. With the expansion of globalisation, the ever-growing importance of the Internet and the exponential growth in computing power, the world is changing fast. The opportunities and challenges for young people today are radically different from those faced by previous generations. The same is true for modern education. As a result, a paradigm shift can be seen in educational research and practices, with increased emphasis on creativity, critical thinking and cooperation rather than rote learning.

As schools have become gradually more aware of their role in addressing personal and social issues, the importance of these ‘values and attitudes’ mentioned above has begun shaping education and curricula worldwide. As a result, schools around the world have introduced certain fundamental pillars which are intended to become the guiding light in the general education and be visible in the content of subjects and subject areas. The fundamental pillars refer to social, cultural, environmental and ecological literacy so that children and youth may develop mentally and physically, thrive in society and cooperate with others. The fundamental pillars also refer to a vision of the future, ability and will to influence and be active in maintaining society, change it and develop. They should cover all school activities and shape practices and schooling with the goal of delivering well-educated pupils into the community, reduce discrimination and class divisions and ensure all participation in a democratic society.

An example of these fundamental pillars can be found in the national curriculum guide in Iceland. The curriculum guidelines are based on six fundamental pillars which are interrelated and interdependent in education and school activities. These fundamental pillars of education are: literacy, sustainability, health and welfare, democracy and human rights, equality, creativity (The Ministry of Education, Science and Culture, 2011) – all subjects that almost every country cares about and wants to flourish in their schools.

This book is divided into six parts, corresponding to the aforementioned fundamental pillars. Each part includes research-based chapters by experts in the field of drama in education, linking drama in education with the respective pillar. Subsequently, the experts provide practical examples of how drama in education can be used effectively in accordance with the research findings. The book’s purpose is to demonstrate the capability of drama as a teaching strategy when studying important personal and social issues while simultaneously making it accessible for everyone interested in using it.

The research findings in this book suggest that using drama as a teaching strategy provides teachers and other educators with a basis for working towards the aforementioned pillars. Learning through drama gives students ample opportunity to exercise critical thinking and creativity through cooperation while simultaneously allowing them to reflect on, and gain a deep understanding of themselves, their peers and society as a whole. Furthermore, it seems that drama charms the students and gives them increased satisfaction and interest in the studies that take place in schools. If the use of the drama contributes to the increased satisfaction and joy of students in solving tasks, as many of the chapters indicate, it would be desirable for drama to have more space in schools and hopefully be a motivation for teachers to use drama more and more in their work.

References

Ministry of Education, Science and Culture. (2011). The Icelandic national curriculum guide for compulsory schools, general section. Reykjavík: Ministry of Education, Science and Culture.

Part I

Literacy

Literacy is traditionally defined as the ability to read and write. Although these are essential components of literacy, the modern definition of the term encompasses much more such as the ability and willingness to engage with language and to acquire, construct and communicate meaning in all aspects of daily live. Thus language is explained as a socially and culturally constructed system of communication.

So what makes literacy so important? Does it matter in our rapidly changing world? It seems that effective literacy skills can open the doors to more educational opportunities so it is possible for pupils to pull themselves out of poverty and underemployment by being literate. In a rapidly changing technological world, where ways to distribute and receive information have never been greater, it is essential for schools to educate pupils to become critical and ethical consumers and producers of information. Everyone needs adequate literacy skills to participate and function happily within society.

The first two chapters in this book concern literacy. The first one is titled ‘Language learning through drama’ written by Rannveig Björk Thorkelsdóttir and Ása Helga Ragnarsdóttir. The authors offer a pedagogical design that frames the ways in which drama can be used to teach language in the classroom. They introduce findings from two research projects which studied the educational use of drama, using drama-teaching methods, for language learning in Icelandic primary schools. The objective was to better understand how children develop literacy and to create a curriculum that actively engages them in studies that develop their vocabulary and language skills. The second chapter is titled ‘Performing literacy and social media’ by Kristian Nødtvedt Knudsen and Daniel Schofield. In the chapter, the authors explore how drama in education can respond to the challenges posed by ‘new media practices’ in everyday life in general, and by social media in particular. The authors stress the importance of being able to perform and express oneself on social media and to reflect in diverse and varied ways is crucial in today’s media-dominated culture.

2 Learning language through drama

Rannveig Björk Thorkelsdóttir and Ása Helga Ragnarsdóttir

Introduction

Learning creatively

In recent years, there has been a growing focus on creativity in schools which relates to rapid social changes and a shift in the labour market toward creative solutions and creative individuals as a desirable addition to the labour force (Craft, 2003). The educational task is demanding. It is important to create educational facilities and environments for creative teaching by providing opportunities for students to practise critical thinking and engage in creative activities. This calls for a variety of creative teaching methods as individual students learn in different ways. But what characterises creative schools? Jóhannsdóttir et al. (2012) recommend an open and flexible study plan where students have the opportunity to influence what takes place in the classrooms – for example, which study materials should be used and the planning of the lessons. The emphasis on the creative school requires teachers to develop an atmosphere that encourages students’ curiosity and critical thinking. Jóhannsdóttir et al. (2012) add that it is important for students to discover that a question can have many answers and that everything is possible in the creative process. For example, you can compose a poem about a green sky or write a life story about an inanimate object. In a creative school the students should have the opportunity to use their imagination, show initiative, seek cooperation and to work independently.

The educational emphasis should be on using teaching methods that demand creative practices and take each student’s abilities and skills into account (Amabile & Kramer, 2011). Torr (2008) argues that many elements have to work together, for example education, intelligence, ability and environment.

In creative work students learn how to make decisions where they can evaluate different possibilities and assess the consequences of their choices. Students often develop in cooperation with others which, in turn, strengthens their independence and self-knowledge (Jeppesen & Ragnarsdóttir, 2004; Ragnarsdóttir & Thorkelsdóttir, 2010). Engaging students in critical discussions prepares them for participation in the cultural discourse of our society. Through creative activity and problem solving, students are able to influence their environment and take part in shaping culture.

According to Sternberg (1985), creativity is related to originality and independent thinking. A creative person feels a need to challenge her own convictions and reach beyond personal limits while engaged in creative work, and even though she might contradict prevailing attitudes, she believes in what she has to offer. Gylfadóttir (2013), states that certain personal characteristics are common amongst creative individuals. They have an inner motivation and drive, they are sceptical and tend to ask questions about recommended cultural practices and sometimes set their own rules to follow. These characteristics play an important part in a constantly changing society; it can perhaps be said that creative learning in a supportive environment gives promises like a treasure chest just within reach.

Learning in, through and about the arts

Learning in, through and about the arts is important for the artistic, social and intellectual development of students. When specific skills and techniques are taught, for example in drama, students are learning ‘in’ the arts. However, when these techniques are used to teach concepts such as math, science and literacy, students learn ‘through’ the arts. Other art experiences like school plays allow students to learn ‘about’ the arts. Art in education supports the individual’s capacity to integrate the physical, intellectual and creative skills that contribute to a productive relationship with culture (UNESCO, 2006, pp. 4–5); these are valuable skills in a rapidly changing world. Society relies on flexible and creative thinking, multifaceted expressions, and creative problem solving methods, and it is therefore desirable that the educational system reflect these factors (Craft, 2003; Egan, 2005; Eisner, 2002; Robinson, 2001). According to Kampylis and Berki (2014), creative thinking can be defined as the thinking that enables students to apply their imagination to generate ideas, questions and hypotheses, and experiment with alternatives and evaluate their own and their peers’ ideas, projects and processes.

Dewey pointed out that school is a small society and he thought it important for students to do things and try them out in school to learn about society (Dewey, 2000). Furthermore, Dewey argues that lessons in schools should inspire the students’ minds, create tension and expectations. Bandura (1997) agrees and claims that knowledge acquired by individuals through social interactions is based on the individual’s contextual interpretation at any given time. In short, knowledge arises from experience. Drama in education uses teaching methods based on the experiences of everyone involved as well as imagined ones, often played out through improvisations where the student experiments with different situations, and in that way, approaches the person he is interpreting (Jeppesen & Ragnarsdóttir, 2004; Ragnarsdóttir & Thorkelsdóttir, 2010; Kempe & Ashwell, 2000).

Another imperative aspect that influences what students experience in art is imagination. Eisner (2002) argues that the power of imagination is unique and stresses the importance of encouraging students’ imagination. In his book The Arts and Creation of Mind, he provides examples of classroom applications, for example short stories, as tools for teachers to augment students’ imagination:

Close your eyes and imagine you are driving in an open car on a beautiful country road on a sunny day in May. The sky is blue and punctuated by large white cumulus clouds overhead. As you drive down the road you see a green field with a dark brown horse far in the distance. You slow down, stop the car at the side of the road, and get out to get a better view … and while this is happening white wings on the back of the horse appear, and as they appear,...

Table of contents

• Cover
• Half Title
• Title Page
• Copyright Page
• Dedication
• Table of Contents
• List of figures
• List of tables
• Acknowledgements
• Notes on contributors
• Foreword by Peter Duffy
• 1. Introduction: Fundamental pillars of education
• PART I: Literacy
• PART II: Sustainability
• PART III: Health and welfare
• PART IV: Democracy and human rights
• PART V: Equality
• PART VI: Creativity
• Index