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.
Drama can be used as a bridge to literacy. It engages students through active role-taking in simulated situations. Drama allows students to learn in multiple ways that align with different learning styles such as visual, auditory, and kinesthetic. It also engages the four language skills of reading, writing, speaking and listening in a cognitively demanding context that provides meaning. Drama produces multiple meanings through enactment and interpretation, developing higher-order thinking.
1. The document discusses the power of the arts to empower students and build confidence through techniques like breathing exercises, visualization, and performance arts.
2. It references studies showing that arts education can develop skills like creativity, identity, cooperation, and leadership.
3. The Freedom Theatre in Jenin aims to empower Palestinian youth through theatre by providing opportunities to develop skills and confidence to challenge their situation.
Story sacks for Teaching English through Drama in the Primary ClassSusan Hillyard
This presentation shows the development of a team of teachers in Special Education in Argentina in designing a StorySack each to teach English through Drama for inclusion. It explores the rationale and shows the contents of the StorySack including types of activities used in ELT.
Diversity, Inclusion and the Learning, Speaking Body in the Empty SpaceSusan Hillyard
This presentation explains the development and refinement of the programme English in Action, now established in 20 remedial schools in the City of Buenos Aires, including hospital schools, orphanages and a school for wheel chair users. The theoretical background, based on the notion of The Speaking, Learning Body in the Empty Space and the pioneering work of Heathcote’s Educational Drama, will be discussed and some practical activities will be experienced by the participants.
This document discusses using drama to see the world through other perspectives. It notes how drama can help students understand social situations and explore human intentions. Various drama techniques are described like context building, narrative action, and reflective action. The document also discusses theories related to humanism, aesthetics, and empowering students. It advocates for moving away from a "banking" model of education towards one where students can construct their own understandings. Overall, the document promotes using drama to cultivate empathy and self-actualization in students.
Drama is a valuable tool for teaching English as a second language. It engages students actively in the learning process and fosters their language skills. Through drama activities, students improve their confidence, creativity, and motivation to learn. Drama allows students to use English in meaningful contexts. Some key drama techniques used in ESL teaching include role plays, simulations, improvisation, and dramatizing stories and literature. While drama has benefits, teachers must implement techniques carefully to control the class and ensure activities enhance learning.
The document discusses using drama in the classroom as a powerful teaching tool. It captures students' attention and can transform the classroom into a quasi-real language situation. Drama provides opportunities for personal growth, exploring language aspects practically, and developing communicative skills. The language comes alive in context through improvisation, making learning fun and memorable. Benefits include meaningful interaction, assimilation of pronunciation/prosody, vocabulary/structure acquisition, and confidence in the target language. Drama also improves cooperation, critical thinking, social awareness, and a healthy release of emotion.
Drama can be used as a bridge to literacy. It engages students through active role-taking in simulated situations. Drama allows students to learn in multiple ways that align with different learning styles such as visual, auditory, and kinesthetic. It also engages the four language skills of reading, writing, speaking and listening in a cognitively demanding context that provides meaning. Drama produces multiple meanings through enactment and interpretation, developing higher-order thinking.
1. The document discusses the power of the arts to empower students and build confidence through techniques like breathing exercises, visualization, and performance arts.
2. It references studies showing that arts education can develop skills like creativity, identity, cooperation, and leadership.
3. The Freedom Theatre in Jenin aims to empower Palestinian youth through theatre by providing opportunities to develop skills and confidence to challenge their situation.
Story sacks for Teaching English through Drama in the Primary ClassSusan Hillyard
This presentation shows the development of a team of teachers in Special Education in Argentina in designing a StorySack each to teach English through Drama for inclusion. It explores the rationale and shows the contents of the StorySack including types of activities used in ELT.
Diversity, Inclusion and the Learning, Speaking Body in the Empty SpaceSusan Hillyard
This presentation explains the development and refinement of the programme English in Action, now established in 20 remedial schools in the City of Buenos Aires, including hospital schools, orphanages and a school for wheel chair users. The theoretical background, based on the notion of The Speaking, Learning Body in the Empty Space and the pioneering work of Heathcote’s Educational Drama, will be discussed and some practical activities will be experienced by the participants.
This document discusses using drama to see the world through other perspectives. It notes how drama can help students understand social situations and explore human intentions. Various drama techniques are described like context building, narrative action, and reflective action. The document also discusses theories related to humanism, aesthetics, and empowering students. It advocates for moving away from a "banking" model of education towards one where students can construct their own understandings. Overall, the document promotes using drama to cultivate empathy and self-actualization in students.
Drama is a valuable tool for teaching English as a second language. It engages students actively in the learning process and fosters their language skills. Through drama activities, students improve their confidence, creativity, and motivation to learn. Drama allows students to use English in meaningful contexts. Some key drama techniques used in ESL teaching include role plays, simulations, improvisation, and dramatizing stories and literature. While drama has benefits, teachers must implement techniques carefully to control the class and ensure activities enhance learning.
The document discusses using drama in the classroom as a powerful teaching tool. It captures students' attention and can transform the classroom into a quasi-real language situation. Drama provides opportunities for personal growth, exploring language aspects practically, and developing communicative skills. The language comes alive in context through improvisation, making learning fun and memorable. Benefits include meaningful interaction, assimilation of pronunciation/prosody, vocabulary/structure acquisition, and confidence in the target language. Drama also improves cooperation, critical thinking, social awareness, and a healthy release of emotion.
Drama Techniques: A Powerful Tool in Language LearningMonica Mulholland
This document discusses using drama techniques in language learning. It begins by outlining the traditional teacher-centered foreign language teaching approach focused on grammar drills and memorization, versus a more contemporary student-centered approach emphasizing communication. The document then introduces drama techniques, which engage students physically, emotionally, and mentally in language learning. Examples of drama warm-up games are provided, followed by steps for creating improvised role plays. The document argues that drama techniques promote higher-order thinking skills and confidence, while avoiding the boredom and pain of traditional methods.
Use it or Lose it! Games for the Creative 21st Century LearnerSusan Hillyard
This document provides information about a presentation by Susan Hillyard on using creative games in the language classroom. The presentation will explore teacher beliefs about creativity, challenge myths that creativity is difficult and only for the gifted, and provide strategies for getting students to develop speaking skills through using language creatively. The emphasis will be on competence in speaking through practicing new structures, vocabulary, pronunciation, and communication in a relaxed way. Cooperation among students will also be stressed as important for the 21st century learner. The workshop portion of the presentation will have teachers practicing sample creative activities.
This document discusses different types of dramatization that can be used in education, including plays, pageants, pantomime, tableau, and puppetry. It describes various puppet types like shadow puppets, rod puppets, hand puppets, and marionettes. Dramatization is presented as a way to engage students and help convey important ideas about life in a vivid manner. Both the advantages of improving skills like vocabulary and creativity, and the limitations of requiring resources are outlined.
Using Drama Techiniques and ActivitiesYee Bee Choo
This document discusses 18 drama techniques and activities that can be used in the classroom, including role play, improvisation, miming/pantomime, mirroring, freeze frames, hot seating, puppetry, and storytelling. It explains that drama activities help develop children's language skills, social skills, confidence, and understanding of different concepts across various subject areas in an engaging way. The techniques provide opportunities for multi-sensory and kinesthetic learning through embodied experiences.
This document discusses using drama as a creative method for foreign language acquisition. It explores how drama was used in an English language classroom in Albania. The key findings were that drama helped students practice vocabulary, grammar, communication skills and allowed them to explore topics from different perspectives. Students were able to gain a better understanding of literature by dramatizing stories. The teacher took on a facilitator role rather than authority. Overall, drama was found to be an engaging way for students to learn language in a meaningful context.
The document provides useful tips for teachers to keep in mind when telling stories to students. Teachers should engage students with an intriguing opening, keep stories simple, maintain eye contact, use vivid language students understand, incorporate movement, use dramatic pauses, change voices for characters, make the ending strong and memorable, know the ending before beginning, appeal to multiple senses, invite student interaction, use props, set the scene, create sound effects, have students retell the story, use repetition, create a timeline, and avoid revealing too much to maintain mystery.
The document discusses the pedagogical value of using picture books and young adult literature to develop multilingualism and multiliteracies in children. It outlines goals of exploring the potential of stories to develop linguistic and identity skills. A case study is described that analyzes how multilingual families engage with storytelling and reading in their languages. Theoretical frameworks on lexical priming, dynamic multilingualism, and multiliteracies are discussed. Results showed that multisensory teaching using stories in multiple languages and formats best supports children's language development and literacy.
This document discusses using stories in the EFL/ESL classroom. It notes that stories place a high premium on learner involvement, help learners learn language chunks and phrases, and can address cognitive, affective and psychomotor domains. It provides tips for choosing stories based on discourse organization, language use and quality. It also evaluates stories based on engagement, values, discourse organization, dialogue/narrative balance and language use. Finally, it provides ideas for using stories to teach listening, speaking, reading and writing skills through preparation, core and follow up activities.
This document discusses using drama and role plays to make English classes more dynamic and motivate students. It proposes using short dramas or role plays focused on values, stories, science, or other topics to give students opportunities to use English in a pragmatic way. Sample lesson plans are provided, such as a role play of the rhyme "Coffee and Tea" to practice vocabulary through games, memorization, and performance. The conclusion states that drama in the classroom encourages communication and using English in different simulated situations.
The document discusses the process of teaching storytelling to students. It involves 9 steps: 1) choosing and memorizing a story, 2) practicing mime, 3) adding sound effects, 4) incorporating words, 5) getting feedback, 6) using character voices and placement, 7) making eye contact, 8) describing scenes with 5 senses, and 9) surfing the story with expression and pacing. The goal is to help students visualize stories and practice performance skills through physicalization, voices, and engaging an audience.
This document provides guidance on effective storytelling techniques for children's ministry and education. It discusses how stories aid communication and learning. Key points include using stories to build language comprehension, engaging students during read-alouds, techniques for storytelling like involving senses and using student names, choosing age-appropriate stories, and tips for effective delivery like appearance, movements, voice, and pacing. References are provided for further research on the instructional power of stories.
Learning to speak and listen with confidence in a foreign language is the job of a lifetime. An integrated whole language approach promotes the development of speaking and listening as intimately connected, rather than individual mechanistic and separate activities (Andrews, R. 2001). Therefore, the contexts in which speaking and listening takes place are crucially important for its holistic development. ‘Speak, Listen, Laugh!’ will focus on five principle contexts for the acquisition of speaking and listening skills in an EFL context - talk and discussion, play and games, story, improvised drama and poetry. What better way is there to enhance children’s English abilities than through a variety of stimulating, interactive contexts?
The document discusses using drama techniques to teach English. It provides examples of drama activities like role plays, improvisation exercises, mime activities and interactive storytelling that develop language skills through creativity, collaboration and emotional engagement. The document advocates for process over product and suggests drama helps students gain confidence using English while developing fluency, tolerance and creativity.
Dramatization is an effective teaching method in history where students act out roles from the past to make historical experiences feel real. It allows students to learn by doing and assimilate essential facts while developing an emotional attachment to historical figures. There are different types of dramatization, including extempore dramatization which develops students' thinking and imagination, and prepared dramatization where students memorize dialogues. Dramatization has advantages like developing students' creativity and learning through activity, but also limitations such as lack of technical knowledge and difficulties enacting certain historical events.
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.
This document discusses using drama activities and techniques for teaching English. It defines drama as a tool for exploring and expressing human feelings that is fundamental to human behavior and culture. There are many benefits to using drama in the classroom, such as providing motivation, opportunities to use language in varied contexts, and rich language experiences for students. Drama is a highly valued teaching method because it allows students to use their existing knowledge to develop new understanding and helps develop skills like creativity, communication, and appreciation of literature. The document then provides examples of different drama activities that can be used, such as role-plays, improvisation, mime, puppet plays, and radio dramas. It concludes that drama is an appealing strategy that promotes cooperation, collaboration
Teacher Resource Guidebook - Using Role Play, Dialogue, Drama in the Classroom ~ tessafrica.net ~ For more information, Please see websites below:
`
Organic Edible Schoolyards & Gardening with Children =
http://scribd.com/doc/239851214 ~
`
Double Food Production from your School Garden with Organic Tech =
http://scribd.com/doc/239851079 ~
`
Free School Gardening Art Posters =
http://scribd.com/doc/239851159 ~
`
Increase Food Production with Companion Planting in your School Garden =
http://scribd.com/doc/239851159 ~
`
Healthy Foods Dramatically Improves Student Academic Success =
http://scribd.com/doc/239851348 ~
`
City Chickens for your Organic School Garden =
http://scribd.com/doc/239850440 ~
`
Huerto Ecológico, Tecnologías Sostenibles, Agricultura Organica
http://scribd.com/doc/239850233
`
Simple Square Foot Gardening for Schools - Teacher Guide =
http://scribd.com/doc/239851110
This document describes an activity for developing characters in short stories. It discusses developing believable characters by getting to know them through techniques like character profiles and interviews. The activity involves students working in pairs to interview each other and create fictional Facebook profiles for the characters they develop. They then present their characters to the class. The goal is to empower student writing through enjoyable, relevant activities that incorporate performance and relate to students' interests like drama.
This document provides information about a workshop on Professional Learning Communities (PLCs) led by Susan Hillyard. The workshop will explore definitions of PLCs and models of PLCs. It will discuss the importance of PLCs and how they can be implemented in schools. Exercises are included to help participants understand concepts like connectivism, leadership, motivation theories, and strategies for launching a PLC. Questions are provided to guide discussion and reflection on topics such as the need for change, PLC structures, and participant needs, knowledge and goals regarding PLCs.
This workshop explores the need to use English, with above beginners, as a global language to examine global issues through the practice of critical, comparative, and creative thinking skills related to social values. The framework is based on Robert Fisher’s language learning model of the inter-relatedness of reading, writing, listening, speaking, input, output and metacognition. In this awareness raising session the basic tenet underpinning the action is We are all the Same, We are all Different with the emphasis on teaching for diversity. Questioning ourselves comes before questioning the students, and changing our perceptions is a necessary first step. There will be some theory and plenty of activity.
Drama Techniques: A Powerful Tool in Language LearningMonica Mulholland
This document discusses using drama techniques in language learning. It begins by outlining the traditional teacher-centered foreign language teaching approach focused on grammar drills and memorization, versus a more contemporary student-centered approach emphasizing communication. The document then introduces drama techniques, which engage students physically, emotionally, and mentally in language learning. Examples of drama warm-up games are provided, followed by steps for creating improvised role plays. The document argues that drama techniques promote higher-order thinking skills and confidence, while avoiding the boredom and pain of traditional methods.
Use it or Lose it! Games for the Creative 21st Century LearnerSusan Hillyard
This document provides information about a presentation by Susan Hillyard on using creative games in the language classroom. The presentation will explore teacher beliefs about creativity, challenge myths that creativity is difficult and only for the gifted, and provide strategies for getting students to develop speaking skills through using language creatively. The emphasis will be on competence in speaking through practicing new structures, vocabulary, pronunciation, and communication in a relaxed way. Cooperation among students will also be stressed as important for the 21st century learner. The workshop portion of the presentation will have teachers practicing sample creative activities.
This document discusses different types of dramatization that can be used in education, including plays, pageants, pantomime, tableau, and puppetry. It describes various puppet types like shadow puppets, rod puppets, hand puppets, and marionettes. Dramatization is presented as a way to engage students and help convey important ideas about life in a vivid manner. Both the advantages of improving skills like vocabulary and creativity, and the limitations of requiring resources are outlined.
Using Drama Techiniques and ActivitiesYee Bee Choo
This document discusses 18 drama techniques and activities that can be used in the classroom, including role play, improvisation, miming/pantomime, mirroring, freeze frames, hot seating, puppetry, and storytelling. It explains that drama activities help develop children's language skills, social skills, confidence, and understanding of different concepts across various subject areas in an engaging way. The techniques provide opportunities for multi-sensory and kinesthetic learning through embodied experiences.
This document discusses using drama as a creative method for foreign language acquisition. It explores how drama was used in an English language classroom in Albania. The key findings were that drama helped students practice vocabulary, grammar, communication skills and allowed them to explore topics from different perspectives. Students were able to gain a better understanding of literature by dramatizing stories. The teacher took on a facilitator role rather than authority. Overall, drama was found to be an engaging way for students to learn language in a meaningful context.
The document provides useful tips for teachers to keep in mind when telling stories to students. Teachers should engage students with an intriguing opening, keep stories simple, maintain eye contact, use vivid language students understand, incorporate movement, use dramatic pauses, change voices for characters, make the ending strong and memorable, know the ending before beginning, appeal to multiple senses, invite student interaction, use props, set the scene, create sound effects, have students retell the story, use repetition, create a timeline, and avoid revealing too much to maintain mystery.
The document discusses the pedagogical value of using picture books and young adult literature to develop multilingualism and multiliteracies in children. It outlines goals of exploring the potential of stories to develop linguistic and identity skills. A case study is described that analyzes how multilingual families engage with storytelling and reading in their languages. Theoretical frameworks on lexical priming, dynamic multilingualism, and multiliteracies are discussed. Results showed that multisensory teaching using stories in multiple languages and formats best supports children's language development and literacy.
This document discusses using stories in the EFL/ESL classroom. It notes that stories place a high premium on learner involvement, help learners learn language chunks and phrases, and can address cognitive, affective and psychomotor domains. It provides tips for choosing stories based on discourse organization, language use and quality. It also evaluates stories based on engagement, values, discourse organization, dialogue/narrative balance and language use. Finally, it provides ideas for using stories to teach listening, speaking, reading and writing skills through preparation, core and follow up activities.
This document discusses using drama and role plays to make English classes more dynamic and motivate students. It proposes using short dramas or role plays focused on values, stories, science, or other topics to give students opportunities to use English in a pragmatic way. Sample lesson plans are provided, such as a role play of the rhyme "Coffee and Tea" to practice vocabulary through games, memorization, and performance. The conclusion states that drama in the classroom encourages communication and using English in different simulated situations.
The document discusses the process of teaching storytelling to students. It involves 9 steps: 1) choosing and memorizing a story, 2) practicing mime, 3) adding sound effects, 4) incorporating words, 5) getting feedback, 6) using character voices and placement, 7) making eye contact, 8) describing scenes with 5 senses, and 9) surfing the story with expression and pacing. The goal is to help students visualize stories and practice performance skills through physicalization, voices, and engaging an audience.
This document provides guidance on effective storytelling techniques for children's ministry and education. It discusses how stories aid communication and learning. Key points include using stories to build language comprehension, engaging students during read-alouds, techniques for storytelling like involving senses and using student names, choosing age-appropriate stories, and tips for effective delivery like appearance, movements, voice, and pacing. References are provided for further research on the instructional power of stories.
Learning to speak and listen with confidence in a foreign language is the job of a lifetime. An integrated whole language approach promotes the development of speaking and listening as intimately connected, rather than individual mechanistic and separate activities (Andrews, R. 2001). Therefore, the contexts in which speaking and listening takes place are crucially important for its holistic development. ‘Speak, Listen, Laugh!’ will focus on five principle contexts for the acquisition of speaking and listening skills in an EFL context - talk and discussion, play and games, story, improvised drama and poetry. What better way is there to enhance children’s English abilities than through a variety of stimulating, interactive contexts?
The document discusses using drama techniques to teach English. It provides examples of drama activities like role plays, improvisation exercises, mime activities and interactive storytelling that develop language skills through creativity, collaboration and emotional engagement. The document advocates for process over product and suggests drama helps students gain confidence using English while developing fluency, tolerance and creativity.
Dramatization is an effective teaching method in history where students act out roles from the past to make historical experiences feel real. It allows students to learn by doing and assimilate essential facts while developing an emotional attachment to historical figures. There are different types of dramatization, including extempore dramatization which develops students' thinking and imagination, and prepared dramatization where students memorize dialogues. Dramatization has advantages like developing students' creativity and learning through activity, but also limitations such as lack of technical knowledge and difficulties enacting certain historical events.
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.
This document discusses using drama activities and techniques for teaching English. It defines drama as a tool for exploring and expressing human feelings that is fundamental to human behavior and culture. There are many benefits to using drama in the classroom, such as providing motivation, opportunities to use language in varied contexts, and rich language experiences for students. Drama is a highly valued teaching method because it allows students to use their existing knowledge to develop new understanding and helps develop skills like creativity, communication, and appreciation of literature. The document then provides examples of different drama activities that can be used, such as role-plays, improvisation, mime, puppet plays, and radio dramas. It concludes that drama is an appealing strategy that promotes cooperation, collaboration
Teacher Resource Guidebook - Using Role Play, Dialogue, Drama in the Classroom ~ tessafrica.net ~ For more information, Please see websites below:
`
Organic Edible Schoolyards & Gardening with Children =
http://scribd.com/doc/239851214 ~
`
Double Food Production from your School Garden with Organic Tech =
http://scribd.com/doc/239851079 ~
`
Free School Gardening Art Posters =
http://scribd.com/doc/239851159 ~
`
Increase Food Production with Companion Planting in your School Garden =
http://scribd.com/doc/239851159 ~
`
Healthy Foods Dramatically Improves Student Academic Success =
http://scribd.com/doc/239851348 ~
`
City Chickens for your Organic School Garden =
http://scribd.com/doc/239850440 ~
`
Huerto Ecológico, Tecnologías Sostenibles, Agricultura Organica
http://scribd.com/doc/239850233
`
Simple Square Foot Gardening for Schools - Teacher Guide =
http://scribd.com/doc/239851110
This document describes an activity for developing characters in short stories. It discusses developing believable characters by getting to know them through techniques like character profiles and interviews. The activity involves students working in pairs to interview each other and create fictional Facebook profiles for the characters they develop. They then present their characters to the class. The goal is to empower student writing through enjoyable, relevant activities that incorporate performance and relate to students' interests like drama.
This document provides information about a workshop on Professional Learning Communities (PLCs) led by Susan Hillyard. The workshop will explore definitions of PLCs and models of PLCs. It will discuss the importance of PLCs and how they can be implemented in schools. Exercises are included to help participants understand concepts like connectivism, leadership, motivation theories, and strategies for launching a PLC. Questions are provided to guide discussion and reflection on topics such as the need for change, PLC structures, and participant needs, knowledge and goals regarding PLCs.
This workshop explores the need to use English, with above beginners, as a global language to examine global issues through the practice of critical, comparative, and creative thinking skills related to social values. The framework is based on Robert Fisher’s language learning model of the inter-relatedness of reading, writing, listening, speaking, input, output and metacognition. In this awareness raising session the basic tenet underpinning the action is We are all the Same, We are all Different with the emphasis on teaching for diversity. Questioning ourselves comes before questioning the students, and changing our perceptions is a necessary first step. There will be some theory and plenty of activity.
Introduction: Are you a Manager or a Leader?Susan Hillyard
This document outlines an upcoming workshop that compares leadership skills with traditional management skills. The workshop will examine theories of change management and leadership styles. Participants will engage in reflective exercises exploring McGregor's Theory X and Theory Y, models of innovation adoption, and the importance of trust in organizations. The goal is to help coordinators and department heads analyze their school's readiness for change and determine how to forge effective relationships through communication and natural authority.
Dramathink: Teaching Thinking Skills through DramaSusan Hillyard
This document discusses using drama to teach thinking skills. It provides (1) a framework for different levels of cognitive processes from simple to complex, (2) contexts that support language development, and (3) parallels between high quality thinking and high quality drama, noting they both involve complexity, multiple solutions, interpretation, and uncertainty rather than routine processes.
It has become widely understood that effective language learning involves more than the four integrated skills of ELT. The missing link is the fifth dimension ........that of teaching thinking. This PIPP will explore the cognitive processes employed by learners in a drama lesson and see how they relate to the development of higher order thinking skills. Reference will be made to Fisher's model of language learning, Heathcote's premise that drama IS education, Baldwin’s cross reference chart and Cummins´ quadrant of cognitive processes. There will be some theory and lots of activity.
Content with your Content? Why Teach Global Issues in ELT?Susan Hillyard
The first part of this paper aims to examine the concept of the globalised world from a number of different angles and poses questions related to the relevance and validity of the curriculum currently presented to EFL students. A number of methodological suggestions related to the field of education with a big E will be observed such as motivation, metacognition, learner autonomy, use of widely accessible resources and “The University of Life”. Thus the role of the teacher in ELT will shift towards that of faclitator and educator, raising awareness in self and in students of the need to become global citizens who are lifelong learners and putting the learner at the centre of the educational process. The second part of this paper examines the overriding factor of using English as a global language to examine global issues through the practice of critical, comparative and creative thinking skills. The framework for the paper is based on Robert Fisher’s thinking skills language learning model.
This document discusses using effective and affective literature in English language teaching. It begins by asking questions about key concepts like what is real, authentic, effective and affective. It then discusses considerations for the Argentine context and possibilities for exploiting literature in exams. Various strategies are proposed for using literature, including keeping reading diaries, storytelling projects, drama activities and asking real questions in circle time. Websites with related resources are also listed.
PLCs for a Change? Setting up and Maintaining a Professional Learning Communi...Susan Hillyard
In this workshop we will explore the meaning of “Professional Learning Communities”, analyse a number of models and consider the value of planning and launching a PLC in the context of the ICPNA school environment. We will define PLCs and why they are considered to be important, basing some of these concepts on recent theories of connectivism and trust. Leadership will be seen as a shared experience in a change-ready school. The skills for motivating and inspiring a whole school culture through reference to Maslow and McGregor will be examined while the concept of both Heads and Teachers as learners in their own right will be stressed. Finally, strategies for launching a PLC in your school will be discussed.
This document discusses the use of drama in education. It defines drama as role-playing situations that aim to create discovery through pretending rather than focusing on characters. Drama puts students in active roles where they can develop communication skills and test their understanding through improvisation. The document contrasts drama with theatre, noting that drama is student-centered and focuses on the learning process rather than a final product. It emphasizes that drama allows students to employ their life experiences and work together to understand concepts on a deeper level.
This is a summary of an essentially practical session for dealing with discipline differences in the middle years. Drama is used as a means to train students in conflict resolution techniques and explore their own emotions and reactions. Fight techniques are developed, confrontations improvised and characters in crowd scenes role played.
Introduction: Are You a Manager or a Leader?Susan Hillyard
This introductory workshop for coordinators and heads of departments, compares new leadership skills with old management skills in the administrative office. We will look at existing structures and consider the current calls for change in educational settings. We will analyse the needs of organizations, the nature of the change process and question to what extent you and your school are on the change-ready paradigm. We will examine a number of theories through the reflective process and look at the notion of creative leadership.The thrust is on forging sound relationships through listening, developing a system of effective communication and modelling natural authority rather than authority by position.
This presentation explores the varieties of Content and Language Integrated Learning (CLIL) programmes that go under this umbrella term and explains the original four Cs of CLIL: content, communication, culture and cognition. The advantages and disadvantages of implementing a CLIL approach in the curriculum will be compared and some of the learning strategies to develop the cognitive domain while teaching a foreign language will be explained. The changes required in terms of professional development for teachers and changing roles for students will be explored and the efficacy of introducing a CLIL approach for bilingualism in a globalised world will be promoted.
Creating Spheres of Interculturality through Paerformative ActivitySusan Hillyard
Performativity will be shown to replace more abstract conceptions of language as a structure of meaning or as a symbol system and one way of introducing the concept of spheres of interculturality into ELT. The emphasis will be on the role of language in the concrete, particular transactions of the speaking body in specific contexts and in specific moments of time. It focuses on language as action, and also on meaning as the effect of embodied processes of meaning-making.
This workshop explores the need to use English, with above beginners, as a global language to examine global issues through the practice of critical, comparative, and creative thinking skills related to social values. The framework is based on Robert Fisher’s language learning model of the interrelatedness of reading, writing, listening, speaking, input, output and metacognition. In this awareness raising session the basic tenet underpinning the action is We are all the Same, We are all Different with the emphasis on teaching for diversity. Questioning ourselves comes before questioning the students, and changing our perceptions is a necessary first step. There will be some theory and plenty of activity.
This experiential workshop considers dramatic techniques and games to help students to enjoy literature, to understand more and to develop competent literacy skills. The aim is to offer teachers the tools to lift the text off the page so that it becomes "live" for the students in a meaningful fashion. The kinaesthetic approach, collaborative group work, thematic studies, presentation techniques and interactive learning and teaching will be modelled. By the end of the session the participants should have new ways of approaching literature classes and a number of adaptable practical techniques for classroom use whatever the material or age of the students. The teachers should be able to make literature live for their students.
Este documento describe la larga tradición del uso de procesos teatrales en la educación inglesa y su expansión a nivel mundial. Resalta los beneficios del teatro dramático para el aprendizaje y la enseñanza de idiomas, y cómo promueve la comunicación, expresión, interacción y aprendizaje multisensorial. También destaca la fundamentación del teatro dramático como herramienta pedagógica holística y su reconocimiento a nivel de políticas educativas en países como España.
Games for the 21st Century Creative Learner: Use it or Lose it!Susan Hillyard
This presentation, on creative games in the language classroom, will explore teacher beliefs about the nature of creativity, break down myths about creativity being difficult and only for the gifted few and will suggest strategies for getting students started on the process of creative speaking. There will be lots of strategies modelled for teachers to find their creative selves and to tap into the creative nature of all students. This will be a reflective plenary which will offer teachers food for thought for changing their classroom practice.
This document discusses using drama to teach English to students with diverse needs. It describes teaching English in remedial schools, hospital wards, orphanages, and home visits to students with disabilities, diseases, poverty, behavioral issues, and lack of prior education. Drama is presented as a holistic teaching method that develops students socially, physically, intellectually, creatively, and emotionally. It engages multiple intelligences and learning styles. The benefits of drama for language learning, empowerment, fluency, literacy, and thinking are outlined. Drama techniques are described for teaching pronunciation, body language, interaction, role-playing, and making language fun and meaningful.
The document is a questionnaire answering questions about translanguaging as a pedagogical tool based on a chapter from the book "Translanguaging with Multilingual Students" by Ofelia Garcia and Trevor G. Kleyn. The questions cover topics such as how Garcia defines named languages and their relationship to linguistic systems, the two views of bilingualism, the origins of translanguaging, Cummins' Interdependence Hypothesis, code-switching vs translanguaging, the importance of recognizing students' full linguistic repertoires, elements of a translanguaging design, the importance of assessment, and supporting translanguaging in multilingual classrooms.
The document discusses the benefits of using storytelling in language education programs. It notes that children who are exposed to storytelling through reading aloud or listening to stories exhibit improved literacy skills like listening skills, vocabulary development, and ability to organize narratives. Interacting with stories is a social experience that helps advance children's oral language development. For language classes with unmotivated or struggling students, well-chosen stories can help change attitudes towards the language by making it enjoyable and comprehensible while introducing vocabulary and language forms in context.
The document discusses principles of teaching speaking to children. It defines teaching as helping others learn and facilitating the learning process. When teaching speaking to children, lessons should focus on interaction, meaning, and fluency rather than accuracy alone. Children respond best to meaningful, engaging materials that catch their interest. The document also discusses three approaches to language acquisition: behaviorism, cognitivism, and constructivism. It notes that teaching speaking involves developing four competencies: grammatical, sociolinguistic, discourse, and strategic. Finally, it outlines Brown's eight principles for effectively teaching speaking to English language learners.
The document discusses principles of teaching speaking to children. It defines teaching as helping others learn and facilitating the learning process. When teaching speaking to children, lessons should focus on interaction, meaning, and fluency rather than accuracy alone. Children learn best through authentic materials that capture their interest and motivate them to use the language. The document also examines theories of language acquisition, including behaviorism, cognitivism, and constructivism. It describes the four components of communicative competence that are important for teaching speaking: grammatical, sociolinguistic, discourse, and strategic competence. Finally, it outlines Brown's eight principles for teaching speaking, such as conversational discourse, pronunciation, accuracy and fluency, and genres of spoken language.
Literacy is defined as the ability to communicate using printed symbols and to use reading and writing to achieve goals and participate in society. It involves a continuum of learning and is a human right. Literacy can be basic, involving recognizing letters and words, comprehension involving understanding meanings, or functional involving using reading for everyday tasks. Early childhood literacy focuses on emergent literacy skills like oral language, print awareness, and phonological awareness. Effective preschool literacy instruction uses interactive read alouds, print referencing, interactive conversation, literacy rich environments, and small group instruction. Adult literacy includes basic literacy skills and knowledge needed for civic participation, health, and work.
This document summarizes research on using Montessori-inspired multi-sensory manipulatives in an adult ESL classroom. It describes how Montessori found that "hands-on" materials helped children learn abstract concepts. The researcher adapted Montessori grammar and language materials for use with 10 adult ESL students ages 18-60. Observations showed the adults were engaged with the materials and increasing their vocabulary, understanding of English terminology, and ability to make connections between concepts. The document reviews literature supporting the idea that multi-sensory experiences aid second language acquisition by reducing language load and making abstract ideas more concrete.
The document discusses issues that teachers face regarding language pedagogy. It argues that traditional approaches which focused on enabling students to join new language communities are no longer adequate and that teachers now must train students to shuttle between communities by developing a repertoire of communication strategies. It also asserts that assessment should evaluate students' negotiation abilities and pragmatic competence rather than only formal grammatical knowledge. The document advocates for pedagogical flexibility and critical analysis of teaching contexts in order to open up possibilities for effective English language teaching.
Multiliteracies in the secondary english classroomAqyn Ikhwan
This document summarizes a research article about two secondary English teachers, Helen and Scott, who worked to incorporate multiliteracies into their classrooms. The teachers aimed to expand students' understanding of literacy beyond just reading comprehension and writing. Through case studies of the teachers' classrooms, the researchers examined how each teacher conceptualized literacy, incorporated multiliteracies into their teaching, and engaged students. The researchers found that while conceptions of literacy have expanded, traditional print literacy remains dominant in many classrooms. They argue secondary English teachers must help students develop competencies across diverse literacies to prepare them for the 21st century.
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 .
06. tp n°6- translanguaging as a pedagogycal toolRodrigoAlcazar5
1) Garcia defines named languages as socially constructed categories like English or Spanish that refer to entities with real effects, while an individual's linguistic system is shaped by social interactions and allows them to communicate, comprised of words and structures that may differ from named languages.
2) Garcia rejects the view that bilinguals have two separate linguistic systems, arguing they have a single, unified system and inviting thinking of them as having a single repertoire rather than separate named languages.
3) Translanguaging originated as a term coined by Cen Williams to describe allowing students to use both Welsh and English for input and output in education to better acquire knowledge and communicate information across both languages.
Garcia defines named languages as socially constructed categories like English or Spanish that refer to entities with real effects, especially negative ones on minority languages. She argues bilinguals have one unified linguistic system, not two separate ones. Translanguaging originated from Cen Williams who had students use Welsh and English interchangeably in learning. Cummins' interdependence hypothesis supported bilingual education by showing learning transfers between languages. Garcia's theory of translanguaging differs from code-switching in seeing bilinguals as having one linguistic system rather than two, and features belonging to their repertoire rather than named languages. Translanguaging builds a more equitable society by valuing all linguistic repertoires.
This document summarizes a journal article that analyzes the oral communicative competence in English of primary school students in Spain. The study aims to determine the level of oral competence achieved, compare competence between different school types (rural vs urban, ordinary vs bilingual), and examine the influence of gender and private language lessons. The methodology used a questionnaire with 265 student participants from public schools across an Spanish province. The results found generally high competence levels, with slight advantages for girls and students from urban bilingual schools.
This document contains a lesson plan for teaching a story called "DogFish" to 5th grade students. The objectives are to introduce vocabulary about pets and feelings, listen to and understand the story, reflect on the value of adopting pets, and allow students to create their own pet. The lesson involves introducing prior knowledge about pets, watching a video of the story, discussing it, having students draw and write about real or imaginary pets, and sharing their work. The skills of listening, speaking, writing, and reading are emphasized using vocabulary like dog, goldfish, feelings, and descriptive adjectives.
RESEARCH INTO THE NEW MODEL OF COLLEGE ENGLISH TEACHING-A MULTIMODALITY APPROACHIJITE
Currently, the application of the network resources and various means of teaching such as multimedia into
the classroom has led to the demonstration of multimodality in college English teaching. This paper
analyzes the current status of college English teaching and the existing problems, elaborates the research
trends of the theory of multimodal discourse analysis, and aims to explore the question as how to construct
college English teaching model from the perspective of multimodal discourse. Under the multimodalitybased college English teaching model, teachers should concentrate on cultivating students’ multi-literacy,
coordinating different modalities, to achieve the teaching objectives.
RESEARCH INTO THE NEW MODEL OF COLLEGE ENGLISH TEACHING-A MULTIMODALITY APPROACHIJITE
Currently, the application of the network resources and various means of teaching such as multimedia into
the classroom has led to the demonstration of multimodality in college English teaching. This paper
analyzes the current status of college English teaching and the existing problems, elaborates the research
trends of the theory of multimodal discourse analysis, and aims to explore the question as how to construct
college English teaching model from the perspective of multimodal discourse. Under the multimodalitybased college English teaching model, teachers should concentrate on cultivating students’ multi-literacy,
coordinating different modalities, to achieve the teaching objectives.
Currently, the application of the network resources and various means of teaching such as multimedia into the classroom has led to the demonstration of multimodality in college English teaching. This paper
analyzes the current status of college English teaching and the existing problems, elaborates the research trends of the theory of multimodal discourse analysis, and aims to explore the question as how to construct college English teaching model from the perspective of multimodal discourse. Under the multimodalitybased college English teaching model, teachers should concentrate on cultivating students’ multi-literacy,
coordinating different modalities, to achieve the teaching objectives.
RESEARCH INTO THE NEW MODEL OF COLLEGE ENGLISH TEACHING-A MULTIMODALITY APPROACHIJITE
Currently, the application of the network resources and various means of teaching such as multimedia into
the classroom has led to the demonstration of multimodality in college English teaching. This paper
analyzes the current status of college English teaching and the existing problems, elaborates the research
trends of the theory of multimodal discourse analysis, and aims to explore the question as how to construct
college English teaching model from the perspective of multimodal discourse. Under the multimodalitybased college English teaching model, teachers should concentrate on cultivating students’ multi-literacy,
coordinating different modalities, to achieve the teaching objectives.
Research into the New Model of College English Teaching - A Multimodality App...IJITE
Currently, the application of the network resources and various means of teaching such as multimedia into
the classroom has led to the demonstration of multimodality in college English teaching. This paper
analyzes the current status of college English teaching and the existing problems, elaborates the research
trends of the theory of multimodal discourse analysis, and aims to explore the question as how to construct
college English teaching model from the perspective of multimodal discourse. Under the multimodalitybased college English teaching model, teachers should concentrate on cultivating students’ multi-literacy,
coordinating different modalities, to achieve the teaching objectives.
Interaction and second language acquisition: an ecological perspectiveVera Menezes
This document discusses interaction and second language acquisition from an ecological perspective. It argues that interaction is essential for language acquisition, as humans have an innate drive to socially interact. While classroom interaction is important, experiences outside the classroom through interaction in natural environments and mediated interactions enabled by technology can also greatly contribute to second language acquisition. The conclusion advocates for teachers to help students broaden their opportunities for interaction beyond the classroom to explore new linguistic worlds.
Mutiple intelligence presentation by asmaRaja Khaqan
The document discusses Howard Gardner's theory of multiple intelligences. It begins by explaining that traditional views of intelligence are limited but Gardner proposes that there are eight different types of intelligence that account for a broader range of human potential. These include linguistic, logical-mathematical, spatial, musical, bodily-kinesthetic, interpersonal, intrapersonal, and naturalist intelligences. The study aims to understand how the theory of multiple intelligences can help foreign language teachers address the different linguistic and cognitive backgrounds of students in the classroom. It also discusses implications and applications of MI for improving foreign language teaching and learning.
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Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
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Chapter 4
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9
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English in Action: Teaching English through Drama to SEN Students
1. Theoretical Background
Teaching English through Educational Drama to
Students with Learning Difficulties
Susan Hillyard B.Ed. (Hons)
Ministry of Education, Buenos Aires, Argentina
March 2010
Since the pioneering work of Dorothy Heathcote (1984) in the sixties in Britain,
educational drama has been developed into a curriculum subject in mainstream
education in some parts of the world and, with the research that has been conducted and
the texts written, its success as a holistic subject for personal growth has gained strength.
In addition a number of research papers have pointed to its efficacy as a methodology
for teaching languages. It is not, however, a curriculum subject in the state school
system in Argentina, although many of the private institutes and bilingual schools can
attest to its success. In order to comply with the requirements of the new Law of
Inclusion the Ministry of Education required an innovative project to provide access to
foreign languge learning for all and, more critically, to help students, currently in
special education, to begin English classes and be propelled into a level of language
proficiency at their age level when they were to be included in mainstream. Thus the
project English in Action, teaching English through drama to SEN students, was
developed.
Marsh et al (2005 p. 23) on language teaching provision for SEN in Europe, states,
Both the diverse approaches to diagnosis, and shifts towards inclusion, are a substantial
transformation process across Europe. This has direct consequences for the teaching of a variety
of subjects, including foreign languages. During such a period of major structural change it is
essential for stakeholders to ensure that foreign language learning provision is available for the
widest possible range of pupils.
The range of students with SEN in the city of Buenos Aires is diverse indeed but this
research will be conducted at level B (mild SEN) of the total Special Education
provision throughout the City of Buenos Aires. Typically, these establishments include
Remedial Schools, Hospital Schools, Shanty town schools, Boarding Orphanages,
2. Foundations for Transplant cases and their families, and Home Tuition for young
learners with lasting or terminal illnesses or immobility which will keep them away
from school for more than 30 days. The school populations will be of varying sizes and
with different needs but likely to include students suffering from disease, cerebral palsy,
dyslexia, DOD, AHDD, physical challenge, deafness, school phobia, poverty and
problems of conduct, behaviour and adaptation to formal educational settings. Many
will be immigrants mainly living in the shantytowns which abound in the city centre or
on the outskirts.
Conception of the project
Firstly, drama as education was considered a solid framework to begin remediation at a
whole class level and to establish the primary personal skills for learning a totally new
subject. In this connection, referring specifically to dyslexic students, Miles and Miles
(1999 p. 124) state, “There is now an extensive literature on study skills development;
there are programmes aimed at improving more general thinking skills.” Dorothy
Heathcote, even in early writings, mentioned the power of drama to develop Bloom’s
taxonomy of the HOTS, the higher order thinking skills.
Secondly, drama deriving from purpose built ActionSacks was considered as a bridge to
literacy and essential to move these students forward in language awareness skills, even
though some are illiterate in their mother tongue. In her book, With Drama in Mind,
Patrice Baldwin refers to the success of drama in developing literacy through explaining
the theory and practice in seven chapters headed 1) Drama in Education, 2) The Brain,
3) Play and Learning, 4) Intelligences, 5) Thinking, 6) Creativity and Imagination, and 7)
Drama, Thinking and Talk.
Thirdly, drama was seen as the appropriate vehicle for teaching English language to
students who had already experienced learning difficulties in their own language in
conventional and traditional educational settings. Also, drama is about learning by
doing rather than listening to the teacher and appeals to the needs of young learners,
“(the child) actively tries to make sense of the world……asks questions……wants to
know…..Also from a very early stage, the child has purposes and intention: he wants to
do” (Donaldson, 1978 p. 86). “Children bring to language learning their curiosity and
eagerness to make sense of the world. They will tackle the most demanding tasks with
3. enthusiasm and willingness. Too often these early gifts are turned to fear and failure”
(Cameron, 2001 p. 246).
Fourthly, drama is to be regarded as both process and product in that drama techniques
will be used as a learning medium and the students will be encouraged to produce short
presentations in English as a right to have access to the performing arts.
Drama and theatre are not mutually exclusive. If drama is about meaning, it is the art
form of theatre which encompasses and contains that meaning. If theatre is about expression,
then it is the dramatic exploration of the meaning which fuels that expression. (Morgan &
Saxton, 1987 p.1).
For the purposes of this research educational drama is defined very broadly and includes
all aspects under the broad umbrella of drama: language games, voice work, body
movement and body language, singing, storytelling, storyreading, poetry, chants, role
play, improvisation, playing with sounds and rhythm, acting out, process drama
structures and frames.
Drama is especially significant for students with SEN who may have had very few
diverse experiences in their lived lives. “The significance of drama as an expressive
form of thinking and feeling lies in its concern with the process of personal engagement
with the objective world” (Bolton, 1979 p. 20). In explaining her levels of student
involvement in the meaning frame Dorothy Heathcote says, “I must first attract their
attention. If I have their attention, I can gain their involvement. Then I have a chance for
their investment and from that their concern. If I have their concern I have hope for their
obsession” (in Morgan & Saxton, 1987 p. 22). As drama is the discipline of self control
in all its aspects and moves students into both real and imagined worlds it has a
profound effect on all the growth processes of the young learner. Drama works at all the
learning requirements at the same time: social, physical, cognitive, creative and
emotional. “The most significant kind of learning which is attributable to experiences in
drama is a growth in the pupils’ understanding about human behaviour, themselves and
the world they live in” (O’Neill & Lambert, 1982 p.13)
4. Learning English, in this project, is subsumed under the broad definition of learning,
combining a number of models which I have found approriate through experience. In
Jarvis (Jarvis, 1992 p. 71) change to the person is seen as essential through practising
strategies and spiralling through situations facilitated by the teacher such as instruction
through experiences, practising, scaffolding, application in new situations, evaluating in
the public forum, reasoning and and the student emerging with new, additional
observable skills. In Jarvis’ model of learning the learner is at the core of the process:
See fig 1 above.
In addition Fisher’s Triangle of Language Learning (1998) indicates that it is vital for
students to “perform” in order to develop proficiency. By this he means that students
need to have ample opportunities to use the language and not just understand how it
works in a simply receptive manner. Students need to have a need to use the language in
a variety of near to true life situations especially if they have little exposure to the
language in their reality outside the classroom. Fisher suggests that students must move
from the receptive to the productive where the language joins with thought and the
double process acts as a means towards developing higher order thinking skills and a
higher competence in language proficiency.
5. METACOGNITION
(thinking/inner speech)
reading writing
KNOWLEDGE PERFORMANCE
(learning input) listening speaking (linguistic output)
(Fisher, 1990, p.16)
The third model which supports the positive effects of using drama in learning relates to
Cummins’ notions of context embeddedness and cognitive demand.
“Research has convincingly shown that that the determining factor in children’s ability
to perform particular intellectual tasks is the context in which the task is embedded”
(O’Neill, 1995 p.vii, Heathcote & Bolton, 1995).
Cognitively Demanding
Context B D Context
Embedded A C Reduced
Cognitively Undemanding
(Cummins & Swain, 1986:43)
As drama is polysemic (multiple meanings through multiple signs) it becomes an
enabler of multiple literacies. By using drama techniques the teacher can cope more
readily with placing words in a context to enhance their meanings and allow for
different possible interpretations. This conforms to the horizontal axis of Cummins Four
Quadrants for Language Learning where he advises embedding the language in
literature, realia, real contexts, first hand experiences and moving the learner, both
physically and internally, rather than using the spoken or printed word only. Drama, by
6. its very nature, embeds the language in role play, improvisation, interpretation of a
script or transformation of a different form of text into a dramatic act. Not only this, but
according to Cummins it is important for language learners to be stretched to employ
higher order thinking skills or as he terms it, more cognitively demanding tasks, and it
could be argued that drama in all its guises pushes students to move out of the arena of
lower order thinking skills into greater heights. Patrice Baldwin (2004) presents new
insights into the relationship between drama and thinking skills, and therefore more
sophisticated literacy skills, in her chart comparing high quality thinking with high
quality drama.
The research into drama as an effective methodology for language teaching is positive
though scant. Those on the shop floor see that it works and do not need convincing. “As
mutually exclusive evidence confirms, however, all drama forms appear to be effective
in English language learning. Ample research shows that developmental drama allows
children to enhance not only their intellectual but also their physical, social, emotional
and spiritual abilities and provides them with psychological support that is not found in
other areas of the curriculum” (Wilkinson, 2000 p.1). The reasons are attributed to the
holistic nature of drama,
No field, especially one dealing with human behaviour, advances when the whole is
forgotten. Foreign language teaching deals with the full range of human behaviour and should
be considered a behavioural discipline (...) It is important to remember that the basis of human
interventions with language is not only cognitive, it is social and personal as well. To speak is to
be human and to learn how to speak a new language is to find new ways to express that
humanity. (Di Pietro, 1987 p.12) and its very nature as a firsthand experience.
A meta-analysis of drama and language research (Wagner, 1998), listing 55 pages of
empirical studies, indicates repeatedly that dramatic forms of expression increase the
development of language skills. (in Wilkinson, 2000 p.3).
In addition, Gardner’s work on multiple intelligences, neuro scientific studies on how
the brain works and research into learning styles all point to the efficacy of drama as a
learning medium especially as language learning now starts at a much earlier age all
over the world. As Wilkinson (2000) points out,
7. That connection became clearly evident six years later, when American drama-language
specialist Rike (1974), using guided dramatic play based on her earlier one-to-one play with
toddlers, tested four disadvantaged Headstart kindergarten groups in four key language skill
areas: following directions, perceptual motor skills, animal naming and body awareness. The 50
to 100% improvement in the drama groups during a ten-month period contrasted with regression
or minimal improvement in the control groups. This led to Rike’s conclusion that disadvantaged
children tend to be physically-oriented and to learn kinaesthetically. (Wilkinson 2000 p.6)
The point that seems to be missed by most language teachers is that students learn a
language by speaking in meaningful contexts: they learn to speak by speaking just as
they learn to walk by walking and drama activities provide essential impetus to speak.
The starting point for an interactive approach to (second) language instruction is getting the
students to generate their own discourse. The motivational value of self-generated discourse for
students is evident when compared to discourse that is contrived by the teacher. (Di Pietro, 1987
p. 40)
Vygotsky’s work on the connection between language and thought supports the notion
that language can be taught more effectively through play and drama. Lozanov in his
development of suggestopaedia, a programme to develop speed language acquisition,
used role play and the mask of the theatre in his work. Many researchers have pointed to
the efficacy of drama in developing confidence and fluency, “Learners who have
limited access to authentic communication with native speakers also benefit from their
drama experiences in which they can try out various roles, learn social rules of
conversation, develop communication strategies and thus gain confidence” (O’Neill &
Kao, 2006 p.114).
Some educators recognise the flaws in the methodology currently employed in the ELT
curriculum where de-contextualised “skills” and competencies are taught, where the
obsession with arbitrary measurements has priority, where the lack of challenge and
hence improvement goes unquestioned and where the use of a transmission mode of
teaching remains the norm. Some are beginning to recognise the importance of
interpersonal interaction in the classroom and the need to break away from viewing
language teaching as information transmission. Carkin (2008) studied the effects of
8. three genres of drama on University students at the Tainan University of Technology,
Taiwan and found what the students themselves felt:
Students with low proficiency and low confidence can benefit greatly from
drama, just like the “good” students. Students can benefit from participating in group-
work as well as in pairs. Drama provides them with a broad range of opportunities in
learning English, and Drama motivates them to learn English and gives them more
confidence to learn English. (2008 p.23)
Finally, a message from Wilkinson (2000)
Language learning through drama as supported by the drama, brain and language research
reviewed here can no longer be ignored. Drama involves the whole body and the whole brain in
learning in a fictional context; it engages all of the multiple intelligences (Gardner, 1985) and
matches the learning styles (Kolb, 1983) of all children. Enjoyable physical movement embeds
the emotional impact of multi-sensory experiences on the cells of the body to form deep
neuronal patterns in the brain and thereby enable memory and recall more readily than methods
having lesser sensory impact. (Wilkinson, 2000 p.27)
9. Bibliografía:
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