Drama-based Pedagogy , livre ebook

Intellect Books - Bridget Kiger Lee , Katie Dawson

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268 pages

English

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Description

Drama-based Pedagogy examines the mutually beneficial relationship between drama and education, championing the versatility of drama-based teaching and learning designed in conjunction with classroom curricula. Written by seasoned educators and based upon their own extensive experience in diverse learning contexts, this book bridges the gap between theories of drama in education and classroom practice.

Kathryn Dawson and Bridget Kiger Lee provide an extensive range of tried and tested strategies, planning processes, and learning experiences, in order to create a uniquely accessible manual for those who work, think, train, and learn in educational and/or artistic settings. It is the perfect companion for professional development and university courses, as well as for already established educators who wish to increase student engagement and ownership of learning.

Part I: Why Use DBP?

Origins of Drama for Schools’ Drama-Based Pedagogy

What Is Drama-Based Pedagogy?

Introduction to DBP Learning Design

Part II: What Is DBP?

DBP Strategies

Activating Dialogue

Theatre Game as Metaphor

Image Work

Role Work

Part III: How Is DBP Used?

Review of the Dbp Learning Approach

Examples of Dbp Learning Design in Action

Further Considerations in Dbp Learning Design

Sujets

Performing Arts

EDUCATION

Expressive therapy

General officer

General

Informations

Publié par	Intellect Books
Date de parution	14 mars 2018
Nombre de lectures	0
EAN13	9781783207411
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,1500€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

First published in paperback in the UK in 2018 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in paperback in the USA in 2018 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2018 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Copy-editor: MPS Technologies
Cover designers: Intellect Books
Production manager: Faith Newcombe
Typesetting: Contentra Technologies
Print ISBN: 978-1-78320-739-8
ePDF ISBN: 978-1-78320-740-4
ePUB ISBN: 978-1-78320-741-1
Printed and bound by Short Run Press Ltd, UK
Contents
Acknowledgments
Foreword
Introduction
Part I: Why Use DBP?
Chapter 1: Origins of Drama for Schools’ Drama-Based Pedagogy
Chapter 2: What Is Drama-Based Pedagogy?
Chapter 3: Introduction to DBP Learning Design
Part II: What Is DBP?
DBP Strategies
Chapter 4: Activating Dialogue
Chapter 5: Theatre Game as Metaphor
Chapter 6: Image Work
Chapter 7: Role Work
Part III: How Is DBP Used?
Chapter 8: Review of the Dbp Learning Approach
Chapter 9: Examples of Dbp Learning Design in Action
Chapter 10: Further Considerations in Dbp Learning Design
Epilogue
Appendices
Index
Acknowledgments
First, we want to acknowledge Dr. Sharon Grady’s leadership of the Drama for Schools (DFS) program, where the earliest drafts of this book were created. DFS was developed in response to the transmission-focused teaching approaches of Texas public school educators during the United States’ No Child Left Behind era; its goal was to improve the learning culture of the classroom. Grady was a key teacher and mentor to both authors of this book. Her tremendous intellect, skill and experience continue to be at the foundation of our practice in Drama-Based Pedagogy (DBP).
We acknowledge the significance of our shared undergraduate training in theatre and education at Northwestern University and graduate education at the University of Texas at Austin, as well as Bridget’s additional doctorate degree in Educational Psychology. Our training shaped our understanding of the theories and practices of drama and education.
Katie appreciates the crucial early career faculty support she received from Theatre and Dance Chairs, Richard Issakes, Bob Schmidt and Holly Williams. Current Theatre and Dance Chair, Dr. Brant Pope, continues to offer unfailing support of Drama for Schools and Drama-Based Pedagogy much of the credit for DBP’s international reputation is based on his generous support and efforts. The Dean of the College of Fine Arts, Dr. Douglas Dempster, has also provided tremendous support for the development of Drama-Based Pedagogy, and related work on arts integration, through research funds and operational support for DFS, as has Associate Dean for Arts Education, Dr. Hunter March. The work of former and current faculty within the Drama and Theatre for Youth and Communities program at UT—Dr. Coleman Jennings, Joan Lazarus, Dr. Suzan Zeder, Lynn Hoare, Dr. Megan Alrutz, Roxanne Schroeder-Arce, and Lara Dossett—has shaped our thinking on DBP. Katie particularly acknowledges Megan for her ongoing commitment to DFS as one of many anchor programs in the Drama and Theatre for Youth and Communities MFA degree program.
As a teacher and researcher at The Ohio State University, Bridget acknowledges essential support from Dr. Caroline Clark, who stepped out on a rather shaky limb multiple times to make sure that dramatic inquiry has an ongoing home at OSU. Under Clark’s leadership, OSU faculty members created the first PhD in Education with a specialization in Dramatic and Arts-Based Teaching, which will provide important ongoing research in Drama-Based Pedagogy and its related fields. At OSU, Dr. Patricia Enciso and Dr. Brian Edmiston have both given time, support, and generous feedback throughout the development process of this book. They introduced us to the ways that DBP can be used with Shakespeare’s plays through their work with the Royal Shakespeare Company. They also offered essential mentorship in literacy and sociocultural theories, to help us better understand how drama-based pedagogy can be used to teach complex texts.
Drama-based pedagogy was primarily developed through our partnerships with public school teachers from rural, urban, suburban, and borderland schools across the US and Australia. We acknowledge the many communities, school districts and schools that have engaged in multi-year research projects on the impact of Drama-Based Pedagogy in their schools with one or both of us. We want to thank the educators of Galena City School District in Alaska; Tyler ISD, Victoria ISD, McAllen ISD, Austin Discovery School, and Austin ISD in Texas; the Heartland Fine Arts Leadership Academy in Wisconsin; the Columbus City Schools in Ohio; and the public schools of Adelaide, South Australia. The application suggestions in our strategy descriptions, the featured examples of practice, and model learning experiences in this book are based on collaborations with these amazing innovators.
We offer appreciation to Dr. Brent Hasty of MINDPOP, our partner in Austin’s Creative Learning Initiative, who provided wise counsel and collaboration at crucial points in our development of DBP. Our work with our colleagues in South Australia also helped to refine our thinking; we acknowledge the insights and support of Margot Foster and the Department of Education and Child Development; our colleagues at the University of South Australia including Jeff Meiners, Dr. Robyne Garrett, Prof. Lester-Irabinna Rigney, Prof. Stephen Dobson, Joss Rankin, Dr. Kathy Paige, Leni Brown; and our phenomenal team of Carclew (teaching) artists including Kerrin Rowlands, Eliza Lovell, Jo Naumann Curren, Carol Wellman Kelly, and James Parker, along with the entire Carclew staff. Additionally, national colleague Daniel Kelin offered important feedback on the book’s structure.
We acknowledge the essential research funding that has contributed to our efforts to understand how Drama-Based Pedagogy impacts students, teachers, and teaching artists. We thank the Hewitt Foundation, Victoria ISD, the Department of Education, Austin ISD and the Creative Learning Initiative, MINDPOP, the Carolyn Bartlett Rice Family Foundation, the Heartland Fine Arts Leadership Academy, the UT Longhorn Innovation Fund for Technology, South Australia’s Department of Education and Child Development, the US State Department, Arts South Australia, Creative Classroom Fund, the Rea Charitable Trust, an LRNG grant, the National Endowment for the Arts, and the University of South Australia.
Most importantly, this book would not have been possible without the efforts of the UT graduate students who worked with Drama for Schools over the past fourteen years. Their knowledge and discoveries were crucial in the evolution of the DFS program over time. We want to particularly recognize the contributions of Joshua Streeter, Briana Bower, Lauren Smith, and Stephanie Kent who offered additional editing and indexing of this book. We also thank the tireless editors of Intellect who answered many long and complicated questions with patience and warmth.
Our deepest thanks are reserved to three women whose intellectual and practical “heavy lifting” made the largest impact on the development of Drama-Based Pedagogy: DFS Director of Research, Dr. Stephanie Cawthon; former DFS Professional Learning Coordinator, Sarah Coleman; and, current DFS Professional Learning Coordinator, Lara Dossett. Friends, this book has your heart, wisdom and integrity in each of its pages.
Our final acknowledgment goes to our families.
Katie thanks Bob, and our children Ruby and Lilah. I thank you for the time away to write and work and think. Your willingness to travel across the world to support my learning adventures and your forever support gives me the strength to fail and try and wonder. I’m so glad we are on this life journey together. I’m also thankful for my parents, brothers, and extended family that continually model for me how to listen, love and become an agent for good in our collective world.
Bridget thanks Joshua, who completed his PhD during this book project and still found time to coach soccer, lead cub scouts, and care for our children. To Tivon and Kaia Pax, thank you for your curiosity, imagination, and willingness to play. I love that it’s still “cool” to have mom teach drama to your classmates and friends. I look forward to reading your ideas that you capture in future books, performances, films, or wherever life takes you. Finally, I’m thankful for my mom Judy, a teacher for 39 years, who allowed me to try out my ideas over 20 years ago in her rural small school and has supported me every step of the way.
Foreword
When I first became an English teacher, I knew why I wanted to use drama. Drama was like no other pedagogy. Texts were resurrected as they came to life in voices and moving bodies, students kept asking when they could get out of their seats again, and I had known—occasionally—what flow felt like.
If this book had been on my desk, I would have felt the support I yearned for. If only I had known theoretical reasons why drama can be educational, I would have been able to explain to the principal why the young people wanted—and needed—to move and speak like Grendel, not just read lines from Beowulf sitting down. If only an array of strategies had been documented from practice, I wouldn’t have been stuck with my adaptations of realistic role-play relying on my one book of theatre games. If only there had been plans to guide me, tested in the classroom, and that made sense because I understood the thinking behind