Schon – a type of reflection that is active, in the moment and that professionals should be more transparent about sharing their reflection. Boal and Freire – working in different media but with the shared goals of emancipation in areas where there is unequal dialogue.
Branscombe presentation for jo lle
Using Drama to Reflect,Question and Transform Margaret Branscombe University of South Florida firstname.lastname@example.org
How this fits in JoLLE?Drama is… •Multimodal literacy •Activist literacy •Transformative literacy
Why should we care?Future teachers are being assessed on theirability to reflectBut, do they ‘get’ what real reflection is about?Zzzzzzzzzzzz factor!The call for creativity within all professions isgetting louder
“Art is not a mirror held up toreality but a hammer with which to shape it” Bertolt Brecht
Research QuestionsWhat are the affordances of drama to thepractice of reflecting?What are preservice teacher perceptionsabout the affordances of drama within ateacher education program?
What is ethnodrama?Roots are in ethnography - the study of acultureThe culture being studied is that of thepreservice teacher’s internship experienceA definition “Dramatizing the data” (Saldana,2005, p.2)The data is the preservice teachers’ reflections
Theoretical influencesDonald Schon “The Reflective Practitioner”Augusto Boal “Theatre of the Oppressed”Paolo Freire “Pedagogy of the Oppressed”
“To exist humanly is to name theworld, to change it. Once named, the world in its turn reappears to the namers as a problem and requiresthem a new naming. Human beingsare not built in silence but in word, in work, in action – reflection.” (Freire, 1997)
MethodsCase study (Carroll, 1996)Data: video, semi-structured interviews andwritten accounts of drama experience bypreservice teachers
Analysis Categorization of data1. Drama affordances for reflecting2. Drama affordances within teacher educationprogram
Further analysis of drama affordances into codes: Suited individual’s learning style (SILS) Visual representation of reflections (VRR) Critical stance (CS) Opportunity to share experiences (OSE) Learning about the art form (LAF) What would I do? (WWID) Engagement (E) New perspectives (NP)
ResultsDrama as offering a ‘new perspective’ whenreflectingDrama as an engaging activityUnexpected - the ‘I am not alone’ experience(as both performer and audience member)
DiscussionDrama affordances applied to other methodscourses in education, e.g. classroommanagementEngagement factor applicable to all learningDrama is reflecting in actionA tool to be used by preservice teachers inschools
Boal, A. (1979). Theatre of the Oppressed. London: Pluto PressBowell, P. & Heap, B. (2001). Planning Process Drama. London: David FultonPublishersCarroll, J. (1996). Escaping the information abattoir: Critical and transformativeresearch in drama classrooms. In P. Taylor (Ed.) Researching drama and artseducation: Paradigms and possibilities. London: Falmer Press.Freire, P. (2011). Pedagogy of the Oppressed. New York: ContinuumHeathcote, D. (1984). In Johnstone, L. & O’Neill, C. (eds.). Collected Writings onEducation and Drama. London: HutchinsonHoward, T. C. & Aleman, G. R. (2008). What do teachers need to know? In Cochran-Smith, M., Demer, K. E., Feimer-Nemser, S., & McIntyre, D. J. Handbook of Researchon Teacher Education. New York: Routledge.Saldana, J. (2005). Ethnodrama: An anthology of reality theatre. AltaMira Press: Walnutcreek, CASchon, D. (1983) The reflective practitioner. Basic books, Inc: USA