This document summarizes an action research project conducted by a teacher to investigate the effects of using internalized characterization and empathy building strategies in their Grade 10 dramatic arts class. The teacher implemented a month-long process focused on connecting the boys emotionally to selected texts through these strategies. Data was collected through surveys, journals, student presentations, and observations to analyze the impact on the boys' emotional development and confidence. The findings indicated that the strategies increased the boys' psycho-social and emotional awareness. Engaging in this research enhanced the teacher's understanding of how such techniques can be used to promote students' personal growth and emotions.
Ashton- Hay, S. (2005). Drama: Engaging All Learning Styles. Proceedings 9th INGED (Turkish English Education Association) International Conference 'New Horizon in ELT' Economics and Technology University in Ankara, Turkey. Ankara: Proceedings 9th International INGED (Turkish English Education Association) Conference, Economics and Technical University Ankara Turkey .
From play to knowledge By Lucy Atkinson.pdfvideosplay360
This article relates my experiences using playful child-centred research techniques whilst
undertaking research with Congolese refugee children in Zambia. Such techniques generate
rich and varied information, and often in unexpected ways. They also create a format whereby
the researcher and the children can interact and form relationships outside the usual social
relationships of adult and child, researcher and informant. Given play’s classification as
enjoyable, social and educational, play as an aspect of fieldwork can be involved in a range of
different ways of gathering and presenting anthropological knowledge. Through play we build
different kinds of relationships, experience different kinds of interaction and therefore gather
different kinds of information. Play in fieldwork therefore leads to different kinds of
knowledge, but it also leads to knowledge presented in different forms—visual, embodied
performative and experiential. Given the prioritisation of written forms in academia, the way
in which these forms of representation can be used in the presentation of knowledge is not
straightforward. The challenge to anthropology is how these different forms of knowledge are
valued and translated.
Gender Differences in Learners’ Perceptions of an Ideal Primary School INFOGAIN PUBLICATION
The study examined differences in how boys and girls perceive an ideal primary school. 118 students aged 8-10 in Iran were interviewed and asked to draw their ideal school. The study found significant gender differences. Boys' drawings tended to show exterior and aerial views, while girls focused on interior views. Boys included more natural elements, sports fields, and conventional designs. In contrast, girls' drawings had more decorative accessories and unconventional designs. The findings suggest children's views of an ideal school are influenced by their gender and cultural socialization.
The Role of Creative Drama in Creativity Development of Children Aged 5 to 7 ...IJMTST Journal
The creative drama is a branch of the theater that takes care of the child before it draws on the scene,
revealing its demands, desires and abilities by using motion and plays, imitation and replication. The
creative drama, along with emotional games, participation and active communication with the group helps
mental health of the child.The purpose of this study was to examine the application and ability of drama in
the creation of the child's thinking and questioning as well as creative mentality, and to examine the role of
constructive elements (motion-dialogue-play and imagination) and their ability to develop the child's mind
and mental by contemplating the effectiveness of the creative drama on mental activation of person, society
and thinking production. For this purpose, 25 children aged 5-7 years were trained by creative drama. The
research sample has been selected by non-random and accessible (targeted) method. By conducting creative
drama classes, the children's behaviors tested in artistic activities and increase of participation in group
activities. In this research, a researcher-made questionnaire with 25 questions was constructed based on
Likert scale and its reliability was calculated based on Cronbach's alpha using SPSS software. Reliability
was obtained as 0.93% which was estimated at acceptable level. The results show that creative drama has a
significant effect on children's creativity.
The document discusses developing oral communication skills for giving directions through role-playing activities. It notes that some students struggled to give directions in English and were shy speaking. The researcher investigated using role-playing with information gaps to improve skills. Preliminary tests showed the selected students performed poorly in direction-giving tasks and role-plays compared to peers. The researcher planned to use role-playing to increase engagement, vocabulary, and confidence in speaking English to give directions.
The ways in which drama is used today may differ in a number of respects from the ways it has been used in the past. This study was designed to investigate the influence of instructional drama on the development of ECDE learners in Elgeyo Marakwet County. The study was guided by Piaget’s Cognitive development theory and utilized a cross-sectional descriptive survey research design.
English in Action: Teaching English through Drama to SEN StudentsSusan Hillyard
This document discusses using educational drama to teach English to students with learning difficulties in Buenos Aires, Argentina. It provides background on how drama has been used successfully in language education and outlines the conception of a project called "English in Action" which uses drama techniques. The theoretical frameworks discussed include Jarvis' model of learning, Fisher's Triangle of Language Learning, and Cummins' notions of context and cognitive demand. Research supporting the efficacy of drama for language learning is presented.
Ashton- Hay, S. (2005). Drama: Engaging All Learning Styles. Proceedings 9th INGED (Turkish English Education Association) International Conference 'New Horizon in ELT' Economics and Technology University in Ankara, Turkey. Ankara: Proceedings 9th International INGED (Turkish English Education Association) Conference, Economics and Technical University Ankara Turkey .
From play to knowledge By Lucy Atkinson.pdfvideosplay360
This article relates my experiences using playful child-centred research techniques whilst
undertaking research with Congolese refugee children in Zambia. Such techniques generate
rich and varied information, and often in unexpected ways. They also create a format whereby
the researcher and the children can interact and form relationships outside the usual social
relationships of adult and child, researcher and informant. Given play’s classification as
enjoyable, social and educational, play as an aspect of fieldwork can be involved in a range of
different ways of gathering and presenting anthropological knowledge. Through play we build
different kinds of relationships, experience different kinds of interaction and therefore gather
different kinds of information. Play in fieldwork therefore leads to different kinds of
knowledge, but it also leads to knowledge presented in different forms—visual, embodied
performative and experiential. Given the prioritisation of written forms in academia, the way
in which these forms of representation can be used in the presentation of knowledge is not
straightforward. The challenge to anthropology is how these different forms of knowledge are
valued and translated.
Gender Differences in Learners’ Perceptions of an Ideal Primary School INFOGAIN PUBLICATION
The study examined differences in how boys and girls perceive an ideal primary school. 118 students aged 8-10 in Iran were interviewed and asked to draw their ideal school. The study found significant gender differences. Boys' drawings tended to show exterior and aerial views, while girls focused on interior views. Boys included more natural elements, sports fields, and conventional designs. In contrast, girls' drawings had more decorative accessories and unconventional designs. The findings suggest children's views of an ideal school are influenced by their gender and cultural socialization.
The Role of Creative Drama in Creativity Development of Children Aged 5 to 7 ...IJMTST Journal
The creative drama is a branch of the theater that takes care of the child before it draws on the scene,
revealing its demands, desires and abilities by using motion and plays, imitation and replication. The
creative drama, along with emotional games, participation and active communication with the group helps
mental health of the child.The purpose of this study was to examine the application and ability of drama in
the creation of the child's thinking and questioning as well as creative mentality, and to examine the role of
constructive elements (motion-dialogue-play and imagination) and their ability to develop the child's mind
and mental by contemplating the effectiveness of the creative drama on mental activation of person, society
and thinking production. For this purpose, 25 children aged 5-7 years were trained by creative drama. The
research sample has been selected by non-random and accessible (targeted) method. By conducting creative
drama classes, the children's behaviors tested in artistic activities and increase of participation in group
activities. In this research, a researcher-made questionnaire with 25 questions was constructed based on
Likert scale and its reliability was calculated based on Cronbach's alpha using SPSS software. Reliability
was obtained as 0.93% which was estimated at acceptable level. The results show that creative drama has a
significant effect on children's creativity.
The document discusses developing oral communication skills for giving directions through role-playing activities. It notes that some students struggled to give directions in English and were shy speaking. The researcher investigated using role-playing with information gaps to improve skills. Preliminary tests showed the selected students performed poorly in direction-giving tasks and role-plays compared to peers. The researcher planned to use role-playing to increase engagement, vocabulary, and confidence in speaking English to give directions.
The ways in which drama is used today may differ in a number of respects from the ways it has been used in the past. This study was designed to investigate the influence of instructional drama on the development of ECDE learners in Elgeyo Marakwet County. The study was guided by Piaget’s Cognitive development theory and utilized a cross-sectional descriptive survey research design.
English in Action: Teaching English through Drama to SEN StudentsSusan Hillyard
This document discusses using educational drama to teach English to students with learning difficulties in Buenos Aires, Argentina. It provides background on how drama has been used successfully in language education and outlines the conception of a project called "English in Action" which uses drama techniques. The theoretical frameworks discussed include Jarvis' model of learning, Fisher's Triangle of Language Learning, and Cummins' notions of context and cognitive demand. Research supporting the efficacy of drama for language learning is presented.
Senior Project Research Paper- Jordan New 2011-2012JordanNew
This document discusses the benefits of music, theater, and child care for children's development. It notes that studies have found cognitive and academic benefits to music education, as music stimulates the brain. Theater also benefits children by helping them learn social skills and understand literature. The document argues that budget cuts that reduce access to these programs deprive children of important learning opportunities. It concludes that providing music, theater, and child care from a young age can have long-lasting positive impacts on children's development and future success.
Perceptions and Challenges of using Play Activities as Pedagogy: Perspectives...Premier Publishers
The study investigated the perceptions and challenges in using play activities as pedagogy in public kindergarten schools in the Ablekuma South Metro of the Greater Accra Region. Cross-sectional survey design was adopted for the study. Using the census sampling procedure, 164 kindergarten teachers were sampled for the study. A likert-type scale questionnaire was used to gather the requisite data for the study. The data were analysed using frequencies, percentages and the independent samples T-test. The study found out that teachers had positive perception about using play activities. It also came to light that lack of adequate funding; teaching learning resources, and inadequate qualified practitioners inhibited the use of play in kindergartens. There was ass statistically significant difference between male and female kindergarten teachers on the basis of the challenges encountered in the use of play activities. The study recommended that, the Ablekuma South-Metro, in collaboration with the educational directorate and schools organise in-service training on the significance of play activities to the holistic development of early learners. The educational directorate and the sampled school, with the support of the Parent Teacher Association should provide the basic teaching and learning materials required for children to engage in a meaningful and intellectual play.
Dr. W.A. Kritsonis, National FORUM Journals, www.nationalforum.comWilliam Kritsonis
Donavon's story provides three key lessons for schools based on his experience as an urban high school student. First, listening to student voices can provide valuable perspectives on improving teaching and learning. Second, supportive relationships with caring teachers who have high expectations can help students build resilience. Third, including student voices in school decision-making can strengthen student engagement and school climate.
(1) The document discusses a study examining gender differences in dramatic play among preschoolers. The researcher observed that girls engaged in dramatic play more often than boys.
(2) The study aims to determine if changing the dramatic play area frequently would increase boys' engagement, and if gender stereotypes affect engagement.
(3) A literature review discusses previous research finding gender preferences emerge by age 2, and that play materials and teacher influences can impact gender stereotypes in early childhood.
This document discusses how to incorporate drama across the curriculum. It defines drama and identifies common myths, such as needing acting experience. Drama can be used through various strategies like role-playing, readers theatre, and hot-seating. These strategies help students learn by encouraging communication, cooperation, imagination and critical thinking. The document provides examples of using drama in subjects like history, science, math and ESL. It emphasizes that drama creates an engaging learning environment and helps students learn in fun ways.
Drama techniques like role plays, theater, and drawing can effectively teach English to children by engaging them in interactive and meaningful contexts that promote communication. Traditional grammar-focused teaching fails to develop communicative skills. Drama breaks the monotony and forces children to use English. It increases motivation, self-confidence, pronunciation, vocabulary, and cooperative learning while improving oral and written skills. Teachers should assess students' participation, progress over time rather than the final product, and evaluate their own teaching methods. Specific drama techniques are suggested, including choosing topics, creating dialogs, practicing roles, and assessing students and teaching methods. Websites on using drama in English language teaching are provided.
Learning through play, a review of the evidencevideosplay360
This white paper summarises current evidence on
the role and importance of children’s learning through
play. We first consider what it takes to thrive in a 21st
century context, before defining learning in a broad
sense: both as a deep understanding of content and as
learning-to-learn skills that build on children’s natural
Executive summary
affinity to learn and engage with their world from birth.
We then draw on the science of effective learning,
rigorous play research and neuroscience to explore
the potential of playful experiences for promoting
deeper learning and a breadth of skills.
Intermedia and Literary Arts as a MajorParris Lane
This major combines Intermedia (film, music, poetry, creative writing) and Early Childhood Education to develop curricula and programs that make education more accessible for children with varying abilities. The major provides background in both art and early education to set developmentally appropriate learning goals and provide artistic educational tools for ages 3-6. Research shows integrating arts into standard curriculum benefits cognitive development and accommodates diverse learners. The major draws on the author's experience in educational television and arts programs to advocate for media that teaches through arts. It brings together art and child development in light of research on how arts strengthen brain development in young children.
This document summarizes research on participatory learning and play. It discusses how work and play are often seen as opposites, but play is important for learning. The research team developed five principles for participatory learning: creativity, co-learning, engagement, relevance, and connections across learning environments. The team implemented professional development programs and after school programs to test these principles. Teachers reported successes with and challenges to applying participatory learning in their classrooms.
This document discusses early childhood language development and learning experiences that can promote it. It outlines the stages of language acquisition from birth to age 5 based on research studies. These include babbling and first words by age 1, two-word phrases by 2 years, and competence in the native language by age 5. Theories on language learning are reviewed, with interactionist theory viewed as most accurate, emphasizing the need for children to interact with and be spoken to by others. Suggestions are made for learning experiences to stimulate language development at each stage.
Dance Dance Education Games Learning Society 2008 DubbelsBrock Dubbels
In this phenomenological interview, the lived experience of a successful adolescent learner learning the video game Dance Dance Revolution is presented. The question driving this investigation is “why did she sustain engagement in learning?” The interview provided a narrative that described the process of learning as identity construction and that this process of identity construction, who I am and who I am not (choices), informs motivation and engagement in learning. The intention of the interview and methodology was to explicate and understand the factors that led to her motivation to learn a complex activity in a social space constructed, located, and mediated outside of traditional, formal educational environments. The discourse of the learning contexts that position Play as discourse in contrast to Work provides insight into the Ethos (Sutton-Smith 1996; Wohlwend, 2007) of the experience and inform s the process of extrinsic motivation to engage versus intrinsic, or learner-valued purpose to engage. The phenomenological interview is intended to gather thick descriptions that include thoughts, feelings, perceptions, and experience so that the interviewee moves beyond responding to questions with their reasoning and provides a narrative that provides thick descriptions through what van Manen (2002), called the Fundamental Life World Themes F.L.T.s. In this interview, the young woman, Ellen, initially had difficulty moving beyond reasoning into remembering and describing her experiences. The meaning of These experiences in promoting motivation and engagement were then analyzed using a framework constructed from work that explores issues of identity construction and exploration of literacy as semiotic domains across time and space—specifically, the contextual elements of Communities of Practice and Affinity Groups and the Ethos of the discourse contextualizing the activities, groups, and identity associated with them. These were places in the context of adolescent identity construction as a rite of passage and the powerful role of play in the stages of initiation and transformation are explored to understand the activity and how it informs motivation and engagement and reinforcement through identity construction. Implications of this study include understanding the potential construction of autonomy supporting learning environments and the elements that motivate and sustain engagement in learning and the importance of identity construction for teachers to motivate and engage their students.
CHILD DEVELOPMENT OBSERVATION AND REFLECTIONAngel WinslowJinElias52
The document discusses observations of child development across four domains - social-emotional, cognitive, language, and physical. It describes interactions witnessed between children aged 3-5 that demonstrated skills in each domain, such as a boy helping another child in a wheelchair to show social-emotional development. The domains are interrelated, and examples are given of activities involving multiple domains, such as reading aloud developing language and cognitive skills. The author reflects on how the observations improved their understanding of child development.
Educators can use a variety of methods to document children's learning, including anecdotes, audio recordings, diagrams, photographs, and videos. These methods capture children's social interactions, play, creativity, language development, and understanding of concepts. It is best to document learning when children are actively engaged in hands-on experiences. When documenting, educators must respect children's and families' privacy, right to consent or decline participation, and cultural backgrounds.
This document describes a study conducted in a fifth grade classroom in Bogota, Colombia to develop students' oral communication skills in English through play activities. The researcher observed that the English lessons focused mainly on repetitive writing exercises. Students expressed a desire to learn English differently and enjoy activities that are more active and creative. The study aimed to determine how play strategies can encourage oral communication and what constitutes a meaningful learning situation for students. Various games and role-playing activities were introduced in the classroom. Analysis of the results found that these activities helped motivate students and gave them opportunities to practice speaking English more freely.
The document discusses key concepts for teaching young learners including cognitive constructivism, social constructivism, creativity, play, multimodality, teaching materials, designing learning activities, and reflective practice. Cognitive constructivism emphasizes how children interact with their environment to construct new knowledge. Social constructivism highlights the important role of social interactions and culture in learning. Creativity, play, and multimodality are considered the three pillars of early childhood education. Reflective practice is important for teachers to analyze their performance and foster professional development.
INDIGENOUS COOPERATIVE PLAY ON THE SOCIAL SKILLS OF PRESCHOOL PUPILS IN LAGOS...AJHSSR Journal
ABSTRACT :Social skills are very important for early childhood learners, especially in early childhood. We
found that children's social skills are at a low point because they are cut off from their cultural roots by foreign
education laws. Despite this prospect, the literature in this area is severely lacking, making this research focus of
paramount importance. This study therefore focuses on the impact of indigenous cooperative play on the social
skills of preschoolers in Lagos State. The study employs a quasi-experimental design with pre-test, post-test and
control groups. This study used a 2x2x2 factor matrix consisting of two levels of teaching strategy (experimental
and control groups), a self-esteem moderator variable (high and low), and two levels of cultural background
(Yoruba and non-Yoruba). increase. (tribe). A random sample is taken to select 2 municipalities out of all 20
municipalities in Lagos State. Using targeted selection, two private elementary schools for both the
experimental and control groups. The Student Social Skills Rating Scale, the Student Self-Esteem Rating Scale,
the Indigenous Cooperative Play Strategy Teaching Guide, the Traditional Strategy Teaching Guide, and the
Elementary School Teacher Training Guide were the instruments used in this study. The study lasted 6 weeks.
Results indicate that students had a high level of social competence (WA = 2.74). We also found a significant
main effect of treatment on social skills in elementary school students (F(1.24)=4.89; P<0.05; ɳ2=0.17).
Children exposed to the control group had the lowest mean score (49.74). Using culture-based strategies is more
effective than teacher-centered methods of educating children, so teachers should use indigenous cooperative
play to teach children, especially when using languages from adjacent regions. It was also recommended that all
educators should strive to enhance children's self-esteem, especially through indigenous play styles.
KEYWORDS:Indigenous, cooperative play, preschool, pupils, social skills
This document discusses using humor in the classroom to facilitate language learning. It provides theories on how humor can support language development through play, unpredictability, and pushing learners out of their comfort zone. Vygotsky's theory that social interaction and collective action lead to learning is cited, as humor thrives on social interaction. The document also discusses how humor can help develop learner identities and relationships. While some argue humor does not necessarily lead to increased learning, studies show that humor can promote enjoyment, connection between teachers and students, and reduce anxiety, thereby supporting achievement. The type of humor used is important, as offensive humor may not be effective. Overall, humor in the classroom facilitates language learning through social interaction, play, and pushing
Free Writing Paper For Kids With Borders - Lined WritinMichelle Bojorquez
- The idea of justice has been debated by political theorists throughout history, with no consensus on its exact definition.
- Plato viewed justice as each part of society performing its designated function for the greater good. Aristotle saw justice as treating equals equally and unequals unequally.
- Modern liberal theorists like John Rawls focused on justice involving fair and equal treatment of all citizens, and a just society providing for the basic needs of all.
- Different theories of justice prioritize different aspects like individual rights, equality, utility, and social welfare. The role and definition of justice in politics remains an ongoing discussion.
The document provides instructions for requesting and completing an assignment writing request on the HelpWriting.net site. It outlines a 5-step process: 1) Create an account with an email and password. 2) Complete an order form with instructions, sources, and deadline. 3) Review bids from writers and select one. 4) Review the completed paper and authorize payment. 5) Request revisions until satisfied. The document emphasizes that original, high-quality work is guaranteed with the option of a full refund for plagiarized content.
Practice Essay Writing Worksheet. Online assignment writing service.Michelle Bojorquez
The document provides instructions for writing an assignment using the HelpWriting.net website in 5 steps:
1. Create an account and provide login details.
2. Complete an order form with instructions, sources, and deadline.
3. Choose a writer based on their bid, qualifications, and reviews.
4. Review the completed paper and authorize payment or request revisions.
5. Request revisions to ensure satisfaction and receive a refund if work is plagiarized.
This document provides instructions for how to request an assignment writing service from HelpWriting.net. It outlines a 5-step process: 1) Create an account with a password and email. 2) Complete a 10-minute order form providing instructions, sources, and deadline. 3) Review bids from writers and choose one based on qualifications. 4) Receive the paper and ensure it meets expectations before authorizing payment. 5) Request revisions until fully satisfied with the work. The service aims to provide original, high-quality content and offers refunds for plagiarized work.
How To Write A Term Paper. Online assignment writing service.Michelle Bojorquez
Victoria Chemicals is a large chemical company that faces several challenges. It has high costs due to outdated plants and equipment, and faces increasing competition from cheaper foreign producers. Additionally, environmental regulations are increasing costs. The company has four divisions - basic chemicals, petrochemicals, specialty chemicals and plastics - but is overly reliant on basic chemicals which are commodities with thin margins. To address these issues, the company's CEO forms a strategic planning committee to develop recommendations.
The committee recommends investing in modernizing plants, focusing on higher margin specialty chemicals and plastics, and divesting commodity-based basic chemicals
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Senior Project Research Paper- Jordan New 2011-2012JordanNew
This document discusses the benefits of music, theater, and child care for children's development. It notes that studies have found cognitive and academic benefits to music education, as music stimulates the brain. Theater also benefits children by helping them learn social skills and understand literature. The document argues that budget cuts that reduce access to these programs deprive children of important learning opportunities. It concludes that providing music, theater, and child care from a young age can have long-lasting positive impacts on children's development and future success.
Perceptions and Challenges of using Play Activities as Pedagogy: Perspectives...Premier Publishers
The study investigated the perceptions and challenges in using play activities as pedagogy in public kindergarten schools in the Ablekuma South Metro of the Greater Accra Region. Cross-sectional survey design was adopted for the study. Using the census sampling procedure, 164 kindergarten teachers were sampled for the study. A likert-type scale questionnaire was used to gather the requisite data for the study. The data were analysed using frequencies, percentages and the independent samples T-test. The study found out that teachers had positive perception about using play activities. It also came to light that lack of adequate funding; teaching learning resources, and inadequate qualified practitioners inhibited the use of play in kindergartens. There was ass statistically significant difference between male and female kindergarten teachers on the basis of the challenges encountered in the use of play activities. The study recommended that, the Ablekuma South-Metro, in collaboration with the educational directorate and schools organise in-service training on the significance of play activities to the holistic development of early learners. The educational directorate and the sampled school, with the support of the Parent Teacher Association should provide the basic teaching and learning materials required for children to engage in a meaningful and intellectual play.
Dr. W.A. Kritsonis, National FORUM Journals, www.nationalforum.comWilliam Kritsonis
Donavon's story provides three key lessons for schools based on his experience as an urban high school student. First, listening to student voices can provide valuable perspectives on improving teaching and learning. Second, supportive relationships with caring teachers who have high expectations can help students build resilience. Third, including student voices in school decision-making can strengthen student engagement and school climate.
(1) The document discusses a study examining gender differences in dramatic play among preschoolers. The researcher observed that girls engaged in dramatic play more often than boys.
(2) The study aims to determine if changing the dramatic play area frequently would increase boys' engagement, and if gender stereotypes affect engagement.
(3) A literature review discusses previous research finding gender preferences emerge by age 2, and that play materials and teacher influences can impact gender stereotypes in early childhood.
This document discusses how to incorporate drama across the curriculum. It defines drama and identifies common myths, such as needing acting experience. Drama can be used through various strategies like role-playing, readers theatre, and hot-seating. These strategies help students learn by encouraging communication, cooperation, imagination and critical thinking. The document provides examples of using drama in subjects like history, science, math and ESL. It emphasizes that drama creates an engaging learning environment and helps students learn in fun ways.
Drama techniques like role plays, theater, and drawing can effectively teach English to children by engaging them in interactive and meaningful contexts that promote communication. Traditional grammar-focused teaching fails to develop communicative skills. Drama breaks the monotony and forces children to use English. It increases motivation, self-confidence, pronunciation, vocabulary, and cooperative learning while improving oral and written skills. Teachers should assess students' participation, progress over time rather than the final product, and evaluate their own teaching methods. Specific drama techniques are suggested, including choosing topics, creating dialogs, practicing roles, and assessing students and teaching methods. Websites on using drama in English language teaching are provided.
Learning through play, a review of the evidencevideosplay360
This white paper summarises current evidence on
the role and importance of children’s learning through
play. We first consider what it takes to thrive in a 21st
century context, before defining learning in a broad
sense: both as a deep understanding of content and as
learning-to-learn skills that build on children’s natural
Executive summary
affinity to learn and engage with their world from birth.
We then draw on the science of effective learning,
rigorous play research and neuroscience to explore
the potential of playful experiences for promoting
deeper learning and a breadth of skills.
Intermedia and Literary Arts as a MajorParris Lane
This major combines Intermedia (film, music, poetry, creative writing) and Early Childhood Education to develop curricula and programs that make education more accessible for children with varying abilities. The major provides background in both art and early education to set developmentally appropriate learning goals and provide artistic educational tools for ages 3-6. Research shows integrating arts into standard curriculum benefits cognitive development and accommodates diverse learners. The major draws on the author's experience in educational television and arts programs to advocate for media that teaches through arts. It brings together art and child development in light of research on how arts strengthen brain development in young children.
This document summarizes research on participatory learning and play. It discusses how work and play are often seen as opposites, but play is important for learning. The research team developed five principles for participatory learning: creativity, co-learning, engagement, relevance, and connections across learning environments. The team implemented professional development programs and after school programs to test these principles. Teachers reported successes with and challenges to applying participatory learning in their classrooms.
This document discusses early childhood language development and learning experiences that can promote it. It outlines the stages of language acquisition from birth to age 5 based on research studies. These include babbling and first words by age 1, two-word phrases by 2 years, and competence in the native language by age 5. Theories on language learning are reviewed, with interactionist theory viewed as most accurate, emphasizing the need for children to interact with and be spoken to by others. Suggestions are made for learning experiences to stimulate language development at each stage.
Dance Dance Education Games Learning Society 2008 DubbelsBrock Dubbels
In this phenomenological interview, the lived experience of a successful adolescent learner learning the video game Dance Dance Revolution is presented. The question driving this investigation is “why did she sustain engagement in learning?” The interview provided a narrative that described the process of learning as identity construction and that this process of identity construction, who I am and who I am not (choices), informs motivation and engagement in learning. The intention of the interview and methodology was to explicate and understand the factors that led to her motivation to learn a complex activity in a social space constructed, located, and mediated outside of traditional, formal educational environments. The discourse of the learning contexts that position Play as discourse in contrast to Work provides insight into the Ethos (Sutton-Smith 1996; Wohlwend, 2007) of the experience and inform s the process of extrinsic motivation to engage versus intrinsic, or learner-valued purpose to engage. The phenomenological interview is intended to gather thick descriptions that include thoughts, feelings, perceptions, and experience so that the interviewee moves beyond responding to questions with their reasoning and provides a narrative that provides thick descriptions through what van Manen (2002), called the Fundamental Life World Themes F.L.T.s. In this interview, the young woman, Ellen, initially had difficulty moving beyond reasoning into remembering and describing her experiences. The meaning of These experiences in promoting motivation and engagement were then analyzed using a framework constructed from work that explores issues of identity construction and exploration of literacy as semiotic domains across time and space—specifically, the contextual elements of Communities of Practice and Affinity Groups and the Ethos of the discourse contextualizing the activities, groups, and identity associated with them. These were places in the context of adolescent identity construction as a rite of passage and the powerful role of play in the stages of initiation and transformation are explored to understand the activity and how it informs motivation and engagement and reinforcement through identity construction. Implications of this study include understanding the potential construction of autonomy supporting learning environments and the elements that motivate and sustain engagement in learning and the importance of identity construction for teachers to motivate and engage their students.
CHILD DEVELOPMENT OBSERVATION AND REFLECTIONAngel WinslowJinElias52
The document discusses observations of child development across four domains - social-emotional, cognitive, language, and physical. It describes interactions witnessed between children aged 3-5 that demonstrated skills in each domain, such as a boy helping another child in a wheelchair to show social-emotional development. The domains are interrelated, and examples are given of activities involving multiple domains, such as reading aloud developing language and cognitive skills. The author reflects on how the observations improved their understanding of child development.
Educators can use a variety of methods to document children's learning, including anecdotes, audio recordings, diagrams, photographs, and videos. These methods capture children's social interactions, play, creativity, language development, and understanding of concepts. It is best to document learning when children are actively engaged in hands-on experiences. When documenting, educators must respect children's and families' privacy, right to consent or decline participation, and cultural backgrounds.
This document describes a study conducted in a fifth grade classroom in Bogota, Colombia to develop students' oral communication skills in English through play activities. The researcher observed that the English lessons focused mainly on repetitive writing exercises. Students expressed a desire to learn English differently and enjoy activities that are more active and creative. The study aimed to determine how play strategies can encourage oral communication and what constitutes a meaningful learning situation for students. Various games and role-playing activities were introduced in the classroom. Analysis of the results found that these activities helped motivate students and gave them opportunities to practice speaking English more freely.
The document discusses key concepts for teaching young learners including cognitive constructivism, social constructivism, creativity, play, multimodality, teaching materials, designing learning activities, and reflective practice. Cognitive constructivism emphasizes how children interact with their environment to construct new knowledge. Social constructivism highlights the important role of social interactions and culture in learning. Creativity, play, and multimodality are considered the three pillars of early childhood education. Reflective practice is important for teachers to analyze their performance and foster professional development.
INDIGENOUS COOPERATIVE PLAY ON THE SOCIAL SKILLS OF PRESCHOOL PUPILS IN LAGOS...AJHSSR Journal
ABSTRACT :Social skills are very important for early childhood learners, especially in early childhood. We
found that children's social skills are at a low point because they are cut off from their cultural roots by foreign
education laws. Despite this prospect, the literature in this area is severely lacking, making this research focus of
paramount importance. This study therefore focuses on the impact of indigenous cooperative play on the social
skills of preschoolers in Lagos State. The study employs a quasi-experimental design with pre-test, post-test and
control groups. This study used a 2x2x2 factor matrix consisting of two levels of teaching strategy (experimental
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main effect of treatment on social skills in elementary school students (F(1.24)=4.89; P<0.05; ɳ2=0.17).
Children exposed to the control group had the lowest mean score (49.74). Using culture-based strategies is more
effective than teacher-centered methods of educating children, so teachers should use indigenous cooperative
play to teach children, especially when using languages from adjacent regions. It was also recommended that all
educators should strive to enhance children's self-esteem, especially through indigenous play styles.
KEYWORDS:Indigenous, cooperative play, preschool, pupils, social skills
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Ibsc Action Research Paper On Cultivating Emotional Intelligence In Boys Through Drama
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2. Page 2 of 18
Abstract
I embarked on a month-long process in October/November 2011 with my Grade 10 Dramatic Arts
classes at St John’s College, Johannesburg, whereby they worked towards performing a realistic
character using internalised characterisation techniques (see Glossary) using texts that echo the boys’
lived and current experience and engaging them through empathetic strategies (see Glossary). The
intervention was intensively focused on connecting boys emotionally to the selected texts, and to
ascertain what effect, if any, the project would have on the boys’ emotional development. This process
and its accompanying strategies had been used previously with the senior Dramatic Arts classes (Grades
11 and 12) to great effect and their inclusion into the Grade 10 curriculum was based on my hunch that
the younger boys would benefit from increased confidence and in performing in a realistic style. Despite
facilitating a comparative analysis of change through a quantitative survey, it was the qualitative data
that revealed the core effect of these strategies on the boys. A question set in the final November
examination on the process was also included in my data collection. The findings indicated that the
strategies of internalised and empathetic characterisation techniques [see Glossary] increased the boys’
psycho-social and emotional awareness. In addition, the process of engaging in action research has
enhanced my understanding of how the purposeful inclusion of techniques such as these can be used and
improved upon to grow boys’ personal realisation and emotional lives.
Rationale
My research was conducted at St John’s College, Johannesburg, located in South Africa. St John’s is an
independent boys’ school from Pre-preparatory to Secondary and also comprises of a Sixth Form (Year
13) for boys and girls. The total population of the College is over 1300 students. There is a balance of
male and female teachers and class sizes are an average of 22. The College operates on a three term year
of approximately three months per term and has weekly and termly boarding facilities for approximately
250 Secondary and Sixth Form students.
As the teacher of Dramatic Arts at St John’s College, I have instituted previous course programmes with
my Grade 11 and Grade 12 students that involved specific strategies through which they played a
character with credibility and subtext. By definition, the strategies encourage boys to tune into their
emotions through the processes encompassed within these programmes. The strategies have proved
valuable and both the final product and the boys’ verbalised reactions have shown that they have grown
in confidence, ability and perception. More important is the fact that the programmes have, in some
way, enhanced their emotional growth and development.
Having observed the transformative effect of the programmes in Grades 11 and 12, my hunch was that
bringing these strategies into the Grade 10 course programme would benefit the younger boys as they
3. Page 3 of 18
lacked confidence in general, but particularly in the performance style required for portraying a
believable character. An action research project to gauge the degree of transformation, if any, on my
Grade 10 boys was developed using specific empathetic and internalised characterisation techniques.
This project worked with texts that echo the boys’ lived and current experience and so engaged them
through empathy. The programme was intensively focused on engaging boys emotionally with the texts.
It is of immense interest to me to investigate the impact of Drama on the emotional lives of boys and to
begin articulating my findings in an attempt to extend my understanding of the ways boys learn. Action
research is principally a form of qualitative inquiry that enables me to research and refine my own
practice as a teacher; it is a means to formalise this process and so better my, and possibly others’,
pedagogy.
Research Question:
What effects will strategies focused on internalised characterisation and empathy building have on boys'
emotional development?
Literature Review
Recent and current research on teaching boys attests to the importance of schools devising strategies to
nurture and develop emotional intelligence in boys. Kindlon and Thompson (1999) argue that “Boys
need an emotional vocabulary that expands their ability to express themselves in ways other than anger
and aggression” and that “they need to experience empathy at home and at school and be encouraged to
use it if they are to develop conscience” (p. 7). Cox’s study (2011) on boys and locating significance in
their lives noted that when asking his focus groups what they would most like their schools to teach
them, emotional intelligence led the field. Norfleet James (2007) argues that boys are full of emotion but
“lack the skills or freedom” to articulate these emotions (p. 116), while Biddulph (1998) argues the
necessity for “a new kind of man” capable of emotional mastery (p. 62).
The use of Drama to enhance personal understanding and emotional mastery has elicited mixed
responses from theorists and practitioners. Most are in agreement with the notion that role-playing,
whether ‘real time’ or through the portrayal of a believable character, has a degree of emotional benefit,
but that is where the similarity ends. McGregor, Tate and Robinson (1977) argue that “There is a danger
in saying that drama is to do with the life of feeling” (p. 22), while O’Toole, Stinson and Moore (2010)
state that “Educating the emotions is a very popular claim for drama, but rather a double-edged sword”
(p. 81).
Despite the misgivings of some, Drama has long been acknowledged by leading theorists, researchers
and practitioners in the field of Drama-in-Education as having a transformative effect on young people.
4. Page 4 of 18
Both Slade (1958) and Way (1967) were two of the earliest practitioners to propose this view, whilst
Heathcote (in Wagner, 1979) has been engaged with establishing and asserting the relationship between
drama and social development throughout her distinguished career. Hodgson (1972) sees drama as a
“social and educational force” (p.11) and McGregor (1976) sees it “as a means of understanding various
aspects of behaviour, including interpersonal relations, feelings and the exploration of social issues” (p.
1).
The drama classroom can be a site of immense change for boys. Sanders (2003) argues that Drama has a
“notable influence on [boys’] social, personal, emotional and intellectual development” (p. 244). She
argues further that Drama “can assist boys in connecting to the inner core of their emotional lives as
they explore multiple dimensions of their own and others lived masculinities” (p. 268).
Existing dramatic texts that express the lives of psychologically complex characters can be used
successfully to engage boys with the lived experience of those characters and so possibly enhance their
emotional intelligence (Bolton, 1998). The theories of drama practitioners such as Stanislavski,
Rodenberg, Meisner and Hagen are acknowledged practices that, when combined with a carefully
selected series of supportive exercises related to the voice and body, can lead to personal realisation.
Reichert and Hawley (2010) acknowledge the role lessons that effect personal realisation play in the
lives of boys (p.137), while Sanders (2003) states that “What is unique about the drama classroom is its
capacity to act as an agent of change in boys’ lives by inviting them to explore meaning through
dramatic form” (p. 274). More importantly, she asserts that “The opportunity for students to reflect on
life experiences and associated emotions both inside and outside the dramatic event is one of the
powerful educational aesthetic experiences we can offer boys” (p. 274).
Based on the above, it seemed possible that a strategy specifically geared towards boys using existing
dramatic texts containing characters that reflect the boys’ lived experience, and working through a
process that employs carefully selected dramatic techniques coupled with internalised characterisation
and empathy strategies and combined with guided reflection, might be transformative in terms of boys’
emotional growth and development if situated in the course programme of Grade 10 Dramatic Arts.
Research Method
Action research was the method selected to determine whether dramatic strategies such as empathy
building and internalised characterisation, if brought in earlier in the curriculum, could enrich boys'
emotional development at a stage when they are at the ‘gates’ of manhood. This methodology, I feel,
works best for teachers who want to engage with their pedagogy through intense scrutiny in the hope
that they can better the actions they perform as teachers and so enhance their lifelong learning and the
learning of their pupils (McNiff, 2010).
5. Page 5 of 18
I had been aware for quite a while that the Dramatic Arts curriculum for the Grade 10 boys needed
tweaking, particularly with respect to their practical work. The dimension lacking was one that engaged
the boys with internalised performance techniques that locked into lived experience, as opposed to more
exaggerated, stereotyped processes that relied on externalised performance techniques, the main acting
skill development at this level. I believed at Grade 10 level, the boys were ready for such experiences,
and could handle the strategies for such experiences using age appropriate realistic monologues. In
addition, many of the boys lacked the confidence with performance in general, which led me to consider
that I ought to find ways to remedy the two problems. Having worked with the older boys on processes
that engaged them with performing realistic characters from existing texts, I was aware that these had
often led to increased confidence and had also provided the boys with a more mature and sophisticated
approach to Drama. More importantly, I had witnessed the effect these strategies had had on many of
the boys in terms of increasing their emotional awareness. I decided to trial a project with my Grade 10
boys with these factors in mind.
Permission for conducting the project was sought initially from the Headmaster and, thereafter, from all
prospective participants and their parents/guardians. A comprehensive letter was sent out detailing the
project and permission slips and both the boys and their parents/guardians signed the permission slips.
Anonymity and confidentiality were guaranteed in terms of all the related activities, such as videoing
and recording discussions. All boys and their parents/guardians agreed to participate. Thirty-six boys
participated in the research project, all of whom were Grade 10 Dramatic Arts students averaging at 16
years old. The boys ranged in ability from exceptionally strong in both the theory and practical
components, to those who excelled in practical but struggled with theory, to those who struggled in both
areas.
Data Collection and Data Analysis
The reflective process embodied by the paradigm of action research was foundational to my project as I
believe that the qualitative process of reflection that action research allows is essential to best practice. I
felt that it was essential for the boys to actively reflect upon their experience. On a basic level, it was
important to me to establish whether or not they had understood and were attempting to harness the
necessary skills; more important, however, was my desire to find ways to assess the effect of the process
on their emotional development, if any. I was guided by the views of Edmiston and Wilhelm (1996)
who argue that “listening carefully to what puzzles students enables us to shape work around their
concerns and explore ideas with them” (p. 85). It was essential to me that all of my actions were
supported by reflection and so I devised numerous reflective strategies, using a variety of techniques, to
ensure triangulation of data with rigour and validity.
6. Page 6 of 18
Questionnaires
As my only data collection instrument for quantitative research, I set up a survey on Google Docs to be
completed by the participants prior to initiating the intervention, the function of which was to establish a
baseline set of responses linked to levels of skills acquisition and confidence with performance in
general and with respect to creating and performing a realistic character. In addition, having not
experienced performing a realistic character using the specific strategies necessary to do so effectively, I
used the survey to attempt to ascertain if the participants had preconceptions of what it would be like to
perform the lived experience of a real person. It was against this initial set of data that I was able to
compare their responses to the same survey at the conclusion of the project, allowing a comparative
analysis between pre-experience and post-experience. Not only was the questionnaire a valuable way
for me to gauge my initial assumptions about the boys’ levels of understanding, skills acquisition and
confidence, but it also allowed a way in for the boys to at least begin thinking about these issues from
the outset. It was a successful exercise and the results (Appendix 2), while not overwhelmingly
conclusive, proved interesting and assisted in guiding me in my interpretation of the anomalies
identified in the data collected from the qualitative research instruments discussed hereafter.
Journals
I felt that the experiential learning process instituted in my project would be best supported by a journal
that each boy completed individually after every lesson or lesson series. In designing the questions for
journal, I deliberately focused on two areas: first, the skills that were being developed in each lesson or
lesson series; and second, open-ended questions to ascertain how they felt after each lesson or lesson
series. These questions proved valuable in establishing both the levels of understanding and skills
acquisition, as well as the felt experience of each boy as he moved through the process. The journals
were analysed once completed by each boy to establish thematic similarities. I grouped the questions
under the following themes: skills development; levels of understanding; levels of confidence; and
emotional connection to the process. I worked through each area of the journal systematically, noting
differences, variances and similarities by employing a key of different colours.
Visual presentations and examination question
I presented the boys with an open-ended task that asked each boy to create a visual presentation, in the
form of an A4/A3 poster or a Powerpoint presentation, which captured the essence of what he had
learned throughout the process he had followed to create his realistic monologue in performance. In
addition, I asked each boy to focus specifically on his own personal learning journey. These
presentations were a wonderful way for me to confirm the thematic trends I had established in the
journals, but were also highly valuable in encapsulating the effect the process had had personally on
7. Page 7 of 18
each boy. I derived great enjoyment from viewing these, but more importantly, I was able to confirm
initial analyses with respect to personal discovery and growth. The open-ended question I posed in the
final November examination enabled me to further verify the degree to which each boy had
educationally and personally grown from bringing in these dramatic strategies earlier into the
curriculum.
Other techniques
I took field notes and still photographs throughout the process, thus recording my observations of how
the boys were affected, both individually and as a group, as they immersed themselves in the lessons. I
recorded observations such as how each boy was engaging with the progress and how they were
connecting to one another. We began and ended each lesson with discussion and sharing, which added
to the body of knowledge I was accumulating through my own observations. After each lesson, I would
interrogate my observations and group them under the themes identified above. This was a valuable way
for me to establish whether or not my observations were supported by the boys’ individual observations
in their journals. At a later stage, my colleague in the Drama department took over the facilitation of
some lessons and I was then able to observe from a more critical distance. The boy’s performances were
videoed which gave me a further chance to analyse changes in the boys’ confidence and empathetic
understanding of their character. I also met with a group of 10 boys in a one and a half hour focus group
discussion two days after they had performed and recorded our conversation which I later transcribed
and analysed in a similar way to that which I analysed my field notes. There were some enormously
valuable insights I gained into the effect of the process on the boys simply by observing them closely
and engaging them in sincere and honest discussion. These added considerable value to the other
findings made through the reflective instruments already discussed.
Findings and Discussion
Teaching is first and foremost about equipping students with the necessary skills to cope with the
demands of the subject areas in which we work. There is no doubt that one of my objectives with this
project was to do exactly that and I spent a great deal of time on the lesson design and the sequencing of
lessons to ensure that the process was clearly scaffolded and one which led the boys in a structured and
non-threatening way towards the performance of their monologues.
The online pre-survey analysis confirmed my initial sense that the boys were largely lacking in
understanding and confidence in expressing themselves emotionally (see Appendix 1, questions 1-6).
Oddly, questions 7-12 (see Appendix 1), which focused on perceptions about ability and levels of
comfort and confidence when working with a character’s and their own emotions, suggested that the
8. Page 8 of 18
boys were generally a great deal more comfortable and confident – a case of blissful ignorance, I
wondered?
A comparative analysis of the pre-survey and the post-project survey once the process had been
completed and the boys had submitted their responses (Appendix 2) yielded fairly logical results for
questions 1-6, with some very interesting anomalies for questions 7-12 which puzzled me initially, but
were better understood once I had engaged in an intensive analysis of the qualitative data. These
findings will be discussed towards the end of this analysis.
Critically for this project, the process of skilling the boys towards performing a realistic character was
integrated with an absolute focus on working with feeling and emotion and the questions posed in the
reflective journals after each lesson and lesson series were designed to interrogate this relationship:
“What did you learn about in this lesson?”
“What did you learn about yourself, and whatever was focused on in that particular lesson, such
as “your body”, “your voice” etcetera, in this lesson?”
More directed questions when linked to processes like the final preparations for the performance,
such as, “How have you gone about preparing for your monologue?” and, “Have you found this
process easy or difficult? Why?”
A final question, posed after every lesson and lesson series, “Any other comments you would like
to make?” allowed boys to respond further if they chose to.
The boys’ responses in their journals to the first two questions above clearly revealed the marriage of
skills acquisition and emotional realisation. For example, Participant 4, after the first lesson on the body
and centreing, stated, “I learnt how to relax. And just how good it feels when you’re relaxed and still. I
learnt how the body by just a few simple exercises can really be at peace with itself.” Participant 12,
after the consolidation lesson of the initial lesson series focused on releasing the body and voice,
provided an overview of what he had learned and stated, “In today’s lesson we learnt how to connect
[with emotion]… we did this by splitting into twos and had the chance to imagine a scenario in which
we wanted to release emotion … We also had a group discussion about the last time we cried, moments
we felt inspired, etc.” This same participant’s view of what he had learned about himself after the initial
lesson series was fascinating: “I learnt that I have a difficulty to tell people how I feel. As well as the
fact that I have a lot of bad things stuck in me because of my inability to release emotion.”
Many of the boys, nearly two-thirds, isolated similar areas of concern with respect to working with their
emotions, but what was interesting was that their understanding of the reasons for their inability to
connect with and release emotion was absent. Vague responses, such as those from Participant 20, “I
9. Page 9 of 18
don’t connect with his [the character’s] emotion and what he is going through” and Participant 33, “I
struggle to get in touch with the emotion of the piece” abounded.
There were, however, 13 boys who were very clear as to the reasons for this ‘block’ and I was able to
identify four specific areas of concern from their responses:
1. Fear of humiliation from their peers.
2. Embarrassment and a lack of confidence.
3. A fear of and/or discomfort with revealing private thoughts and feelings.
4. A reluctance to dredge up feelings from their past.
Participant 2 explained, “I do not want to show my true emotions and feelings; I think that’s how it is
with most boys. I sublimate a lot of my emotions and just reading over it [the piece he selected] …
brings them to the surface. It may force me to face my greatest fear, to show how I truly feel and break
down this façade I have.” Participant 8 stated, “… it is not easy to let emotions run freely; we are
always trying to shadow our true emotions and prevent ourselves to be open with one another.”
Participant 11 asserts, “Drawing back into past emotions can be difficult because it can make me
uncomfortable because I feel like my privacy is being compromised.” Lastly, Participant 10 revealed,
“… I find it hard to draw back on anger … it was just extremely hard because I didn’t want to
remember.”
As the project progressed, it became clear to me from my observations and field notes that the boys
were becoming increasingly comfortable with working with their emotions. The skilling was assisting
the boys in gaining confidence, which spun off into their emotional connection with and responses to the
process and which was gratifying for me to witness. The boys’ journal reflections indicated a growing
emotional awareness and understanding. Participant 12 stated, “This really challenged me and in the
end I concluded real men shouldn’t be afraid to open up.”, while Participant 7 noted, “I learnt that I
should stop worrying what people think and embarrassing myself … your friends are doing the same
therefore there is no reason to be embarrassed.” A compellingly insightful response came from
Participant 2 who revealed that he had been “opened up … to experiences that [he] had subconsciously
or possibly consciously chosen to sublimate” arguing further, “This release of that has emotionally
liberated me and made me content with myself.” Participant 21 described the process as “therapeutic”.
10. As
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Page 10 of 18
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11. Page 11 of 18
attention of the audience, even though I shouldn’t have had one focal point.”, while Participant 36
revealed, “I was quite frustrated with myself because I never set a focal point before the performance
and so my eyes were all over the place and my head was down which I think affected my vocal quality
and was probably very distracting for the audience.”
My sense that the process had been enormously beneficial to each boy in terms of skills and confidence
was reinforced by their final journal entries, as well as the visual presentations and November
examination responses. These three areas confirmed that all but one boy found the process valuable;
Participant 27 noted in his journal, “In all honesty, I believe that I have not learned as much, either
about acting or myself, as I would have liked. I did, however, find it a useful process to have in my
dramatic arsenal and will use aspects of it to enhance my performances in later exploits.” This single
dissenting voice was countered by all of the others; Participant 23, for example, stated, “I think that this
process has helped me to identify the emotion of the character better than I could before. It has helped
me to portray a believable character and subtext. This process has helped me immensely with my
confidence when performing a monologue.”, and Participant 8 revealed, “I have found this process an
immense help … In the past I had little to no idea on how to go about this process … It is a skill I will be
able to draw on throughout my schooling career and beyond.” The post-project survey reinforced the
above. When drawing comparisons between the pre-project survey, questions 2, 4, 6 and 11 revealed
significant shifts in increased confidence levels, for example, from 31% (often and always) to 63%
(often and always) for question 6 (I am confident about the process of working on creating a believable
character).
It is self-evident that when a boy’s levels of confidence improve, so too does his emotional life. So,
simply by giving each boy the necessary skills to improve and enhance achievement is a means to
develop a boy emotionally. However, the critical issue for me with this project, was to deliberately
infuse the skilling with emotional engagement on every level, in an attempt to establish whether or not
the emotional development went further than confidence and so I turned again to the final journal entry,
the visual presentation and the examination response and was delighted to find that 12 of the participants
had commented directly on this with immense candour. Participant 14 noted, “Emotionally it [the
process] helped me to unlock and grapple with memories that I would otherwise have left locked up in
my memory and never touched”, and Participant 2 revealed, “I learnt that there are many experiences
that I have not fully dealt with … I have learnt how to deal with them and confront them … this is what I
enjoyed the most, the connecting with myself and my centre.” Participant 5 was phenomenally articulate
when reflecting on the process, reinforced by his visual presentation below: “I believe that before this
entire process, I was severely lacking in confidence, maturity, self-belief and happiness … I went
through an emotional journey and came out a happier person as I was able to purge myself of past
12. rej
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Page 12 of 18
ue) … Last
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13. Page 13 of 18
It was quite clear that the boys’ sense of themselves and one another was enhanced by this project and I
was humbled by their honesty and trust in both me and their peers. My relationship with each boy has
been enhanced and will benefit us all in innumerable ways as we move through their senior years at the
College. At St John’s College we are tasked with “knowing and loving” the boys under our care; I
certainly have got to know each boy much better and so am better able to value and honour their
individuality.
Implications of the Study
Engaging deliberately in an action research project made me aware of the fact that I already practised
this pedagogy subconsciously as a teacher, reflecting informally on and seeking ways to increase the
effectiveness of my teaching. Now that I have formalised this practice, I will always work within a more
conscious action research paradigm.
I will continue to look for ways in which drama can enhance emotional intelligence. Having now
worked through this process formally, I can honestly say that it works, and so I am convinced that there
must be many more ways to use drama to develop boys’ personal realisation and emotional maturity.
I would hope that my work in this field will inspire others to engage with processes that enhance boys’
emotional development.
Reflection
“Rewarding” and “empowering” are two words that come to mind when I reflect back on this action
research project, not just for myself, but the boys as well. I am at my most content as a teacher when I
know that the boys are benefitting beyond the confines of the drama curriculum and so can honestly
state that I have seldom felt as affirmed and satisfied with my practice as I have through doing this
project. It was hugely challenging, at times daunting, but so affirming at the end of the day. I will
always value this experience and hopefully, by sharing my feelings about it with my colleagues, will
cause a shift in the way they too think about their teaching and their boys’ learning, no matter what
subject they teach.
Glossary
Internalised characterisation – performing a character from a realistic perspective and the taking on of
a character’s psychological truth. Attempting to portray the three-dimensional, psychological
complexity of a character.
Empathetic strategies – these are strategies that the actor works with to engage with and take on the
character’s psychological truth. The intellectual understanding of character is followed by an
14. Page 14 of 18
internalisation of the character that is reflected both vocally and physically to portray the believability
and felt experience of the character.
References
Biddulph, S. (1998). Raising boys. Sydney: Finch.
Bolton, G. (1998). Acting in classroom drama: A critical analysis. London: Trentham Books.
Hodgson, J. (1972). [ed]. The uses of drama: Acting as a social and educational force. London: Eyre
Methuen.
Kindlon, D., & Thompson, M. (1999). Raising Cain – Protecting the emotional lives of boys. London:
Penguin Books.
McGregor, L. (1976). Developments in drama teaching. London: Open Books.
McGregor, L., Tate, M., & Robinson, K. (1977). Learning through drama: Schools council drama
teaching project (10-16). London: Heinemann.
Mcniff, J. (2010). Action research for professional development: Concise advice for action researchers.
Dorset: September Books.
Norfleet James, A. (2007). Teaching the male brain – How boys think, feel, and learn in school.
California: Corwin Press.
O’Toole, J., Stinson, M., & Moore, T. (2010). Drama and curriculum: A giant at the door. Australia:
Springer.
Reichert, M., & Hawley, R. (2010). Reaching boys, teaching boys. San Francisco: Jossey-Bass.
Sanders, T. (2003). Where the boys are: The experiences of adolescent boys and their female teacher in
two single sex drama classrooms. Nathan, Qld.: Griffiths University.
Slade, P. (1958). An introduction to child drama. London: University of London Press.
Taylor, P. (1996). [ed.]. Researching drama and arts education: Paradigms and possibilities. London:
RoutledgeFalmer.
Wagner, B. (1979). Dorothy Heathcote: Drama as a learning medium. London: Hutchinson Press.
Way, B. (1967). Development through drama. London: Longman.
15. Page 15 of 18
Appendices
APPENDIX 1:
INITIAL SURVEY RESULTS QUESTIONS 1-6
Questions:
1. I am aware of my strengths and shortcomings when I perform in front of an audience.
2. I am confident about performing in front of an audience.
3. I understand the process of working on a monologue from a play.
4. I am confident about the process of working on a monologue from a play.
5. I understand the process of working on creating a believable character.
6. I am confident about the process of working on creating a believable character.
Results:
0
10
20
30
40
50
60
70
Question 1 Question 2 Question 3 Question 4 Question 5 Question 6
p
e
r
c
e
n
t
a
g
e
s
Pre‐Project : QUESTIONS 1‐6
NEVER RARELY OR SOMETIMES OFTEN OR ALWAYS
16. Page 16 of 18
INITIAL SURVEY RESULTS QUESTIONS 7-12
Questions:
7. I am able to access and understand the character's psychological truth.
8. I am able to use my own life experience when portraying a believable character.
9. I am able to use my own feelings to assist me in portraying a believable character.
10. I am comfortable with using my own feelings to assist me in portraying a believable character.
11. I am confident about portraying a believable character in a naturalistic way in front of an
audience.
12. I am able to portray the character's psychological truth convincingly.
Results:
0
10
20
30
40
50
60
70
80
Question 7 Question 8 Question 9 Question 10 Question 11 Question 12
p
e
r
c
e
n
t
a
g
e
s
Pre‐Project : QUESTIONS 7‐12
NEVER RARELY OR SOMETIMES OFTEN OR ALWAYS
17. Page 17 of 18
APPENDIX 2: COMPARATIVE TABLE OF SURVEY RESULTS
Pre-project Post-project
QUESTION 1
I am aware of my strengths and shortcomings when I perform in front of an audience.
Never 0%
Rarely 6%
Sometimes 53%
Often 38%
Always 3%
Never 0%
Rarely 0%
Sometimes 13%
Often 58%
Always 29%
QUESTION 2
I am confident about performing in front of an audience.
Never 0%
Rarely 13%
Sometimes 25%
Often 31%
Always 31%
Never 0%
Rarely 8%
Sometimes 25%
Often 46%
Always 21%
QUESTION 3
I understand the process of working on a monologue from a play.
Never 3%
Rarely 9%
Sometimes 25%
Often 53%
Always 13%
Never 0%
Rarely 0%
Sometimes 17%
Often 58%
Always 25%
QUESTION 4
I am confident about the process of working on a monologue from a play.
Never 6%
Rarely 3%
Sometimes 44%
Often 38%
Always 9%
Never 0%
Rarely 0%
Sometimes 34%
Often 58%
Always 8%
QUESTION 5
I understand the process of working on creating a believable character.
Never 0%
Rarely 19%
Sometimes 41%
Often 34%
Always 6%
Never 0%
Rarely 8%
Sometimes 17%
Often 58%
Always 17%
QUESTION 6
I am confident about the process of working on creating a believable character.
Never 6%
Rarely 16%
Sometimes 47%
Often 25%
Always 6%
Never 0%
Rarely 8%
Sometimes 29%
Often 54%
Always 9%
18. Page 18 of 18
QUESTION 7
I am able to access and understand the character's psychological truth.
Never 0%
Rarely 9%
Sometimes 44%
Often 41%
Always 6%
Never 4%
Rarely 4%
Sometimes 46%
Often 38%
Always 8%
QUESTION 8
I am able to use my own life experience when portraying a believable character.
Never 0%
Rarely 22%
Sometimes 25%
Often 31%
Always 22%
Never 0%
Rarely 13%
Sometimes 29%
Often 33%
Always 25%
QUESTION 9
I am able to use my own feelings to assist me in portraying a believable character.
Never 3%
Rarely 13%
Sometimes 19%
Often 38%
Always 27%
Never 0%
Rarely 21%
Sometimes 25%
Often 33%
Always 21%
QUESTION 10
I am comfortable with using my own feelings to assist me in portraying a believable character.
Never 0%
Rarely 19%
Sometimes 16%
Often 28%
Always 37%
Never 8%
Rarely 13%
Sometimes 25%
Often 21%
Always 33%
QUESTION 11
I am confident about portraying a believable character in a naturalistic way in front of an audience.
Never 0%
Rarely 6%
Sometimes 34%
Often 38%
Always 22%
Never 0%
Rarely 4%
Sometimes 29%
Often 54%
Always 13%
QUESTION 12
I am able to portray the character's psychological truth convincingly.
Never 0%
Rarely 19%
Sometimes 53%
Often 22%
Always 6%
Never 4%
Rarely 8%
Sometimes 42%
Often 46%
Always 0%