Susan Hillyard argues that educational drama provides a unique way for students to fully engage with lessons. She defines educational drama as using theater techniques but with different aims than traditional theater - it is for all students, not just a talented few, and focuses on personal development rather than performance. Drama requires nothing but students and teachers, allowing lessons to be truly student-centered rather than focused on resources or standardized outcomes. By its very nature, drama puts students at the center and creates a learning experience closer to real life than other subjects.
Intercultural Approach To Taskbased Colloboration 11thDavid Brooks
Overcoming personal and cultural barriers to producing language for students in monolingual educational environments is a major challenge. This session introduces a broad outline for setting up an intercultural approach to task-based, performance-focused learning. Design of performance tasks and ways to enhance them through student collaboration is the main focus.
Intercultural Approach To Taskbased Colloboration 11thDavid Brooks
Overcoming personal and cultural barriers to producing language for students in monolingual educational environments is a major challenge. This session introduces a broad outline for setting up an intercultural approach to task-based, performance-focused learning. Design of performance tasks and ways to enhance them through student collaboration is the main focus.
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?
Thespian Art Ppt by J.K.G Sr. Sec School , Vijay Nagar,IndiaParminder Arora
Power Point Presentation by Students of JKG Sr. Sec School on "Thespian Art" reflecting the Socio milieu of Uk & India
Thespian art pertains to the enactment of a play- be it choreography, scene description, dialogue or anything that makes a play more entertaining. In other words it is dramatic art in general.
IF THE TEACHER WANTS TO CREATE A GOOD COMMUNICATIVE CONTEXT WHERE STUDENTS CAN INTERACT IN ENGLISH, HE/SHE NEEDS TO TAKE ADVANTAGE OF THE DRAMAS OR ROLE PLAYS.
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
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?
Thespian Art Ppt by J.K.G Sr. Sec School , Vijay Nagar,IndiaParminder Arora
Power Point Presentation by Students of JKG Sr. Sec School on "Thespian Art" reflecting the Socio milieu of Uk & India
Thespian art pertains to the enactment of a play- be it choreography, scene description, dialogue or anything that makes a play more entertaining. In other words it is dramatic art in general.
IF THE TEACHER WANTS TO CREATE A GOOD COMMUNICATIVE CONTEXT WHERE STUDENTS CAN INTERACT IN ENGLISH, HE/SHE NEEDS TO TAKE ADVANTAGE OF THE DRAMAS OR ROLE PLAYS.
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
CheckMarket Mechanical Turk Getting Started GuideCheckMarket
CheckMarket Mechanical Turk (mTurk) is an easy-to-use tool to transcribe open responses from paper surveys. It works like this: Respondents complete a paper questionnaire; These forms are sent to CheckMarket; The forms are scanned and the responses to closed questions are automatically processed; Computers cannot read handwriting so handwritten responses are saved as images to be manually processed by humans.
www.CourageRenewal.org 1 The Heart of a Teacher Identit.docxAASTHA76
www.CourageRenewal.org 1
The Heart of a Teacher
Identity and Integrity in Teaching
by Parker J. Palmer
We Teach Who We Are
I am a teacher at heart, and there are moments in the classroom when I can hardly
hold the joy. When my students and I discover uncharted territory to explore, when the
pathway out of a thicket opens up before us, when our experience is illumined by the
lightning-life of the mind—then teaching is the finest work I know.
But at other moments, the classroom is so lifeless or painful or confused—and I am so
powerless to do anything about it that my claim to be a teacher seems a transparent sham.
Then the enemy is everywhere: in those students from some alien planet, in that subject I
thought I knew, and in the personal pathology that keeps me earning my living this way.
What a fool I was to imagine that I had mastered this occult art—harder to divine than tea
leaves and impossible for mortals to do even passably well!
The tangles of teaching have three important sources. The first two are commonplace,
but the third, and most fundamental, is rarely given its due. First, the subjects we teach
are as large and complex as life, so our knowledge of them is always flawed and partial.
No matter how we devote ourselves to reading and research, teaching requires a
command of content that always eludes our grasp. Second, the students we teach are
larger than life and even more complex. To see them clearly and see them whole, and
respond to them wisely in the moment, requires a fusion of Freud and Solomon that few
of us achieve.
If students and subjects accounted for all the complexities of teaching, our standard
ways of coping would do—keep up with our fields as best we can, and learn enough
techniques to stay ahead of the student psyche. But there is another reason for these
complexities: we teach who we are.
Teaching, like any truly human activity, emerges from one’s inwardness, for better or
worse. As I teach, I project the condition of my soul onto my students, my subject, and
our way of being together. The entanglements I experience in the classroom are often no
more or less than the convolutions of my inner life. Viewed from this angle, teaching
holds a mirror to the soul. If I am willing to look in that mirror, and not run from what I
see, I have a chance to gain self-knowledge—and knowing myself is as crucial to good
teaching as knowing my students and my subject.
In fact, knowing my students and my subject depends heavily on self-knowledge. When
I do not know myself, I cannot know who my students are. I will see them through a glass
2 www.CourageRenewal.org
darkly, in the shadows of my unexamined life—and when I cannot see them clearly I
cannot teach them well. When I do not know myself, I cannot know my subject—not at
the deepest levels of embodied, personal meaning. I will know it only abstractly, from a
distance, a congeries of concepts as far removed from the world .
Do i actually have to interact with students as well as teach them slideshareValéria Benévolo França
This presentation was given as a plenary at the ACINNE Conference, November 2011, Salvador. The ppt contains a great delam more of writing in an attempt to reconstruct what was said.
Compassion, connection and character in the classroomSherry Noland
Sllid eshow based on a workshop and workbook training for teachers and any one working with students in today. Bring mindfulness and compassion to the classroom or any relationship.
With the new consent changing curriculum and attacks on education everywhere, students are not given many opportunities to learn about life and themselves which is all they need to learn in order to be happy joyful productive passionate people. These techniques can lead any subject to a more meaningful experience.
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.
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.
From I Can't to I Can: Multisensory Activities for Inclusive Classrooms 2015Susan Hillyard
In this experiential plenary we will define SEN, explore teachers’ beliefs and teachers’ feelings related to the inclusion of students with different learning difficulties in the English language classroom. The range of anticipated SpLDs will be discussed and a few myths exploded. Finally we will try out some multisensory strategies so that teachers can change the refrain of all from “I can’t” to “I can!!!!”
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 school will be discussed.
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.
Safalta Digital marketing institute in Noida, provide complete applications that encompass a huge range of virtual advertising and marketing additives, which includes search engine optimization, virtual communication advertising, pay-per-click on marketing, content material advertising, internet analytics, and greater. These university courses are designed for students who possess a comprehensive understanding of virtual marketing strategies and attributes.Safalta Digital Marketing Institute in Noida is a first choice for young individuals or students who are looking to start their careers in the field of digital advertising. The institute gives specialized courses designed and certification.
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MATATAG CURRICULUM: ASSESSING THE READINESS OF ELEM. PUBLIC SCHOOL TEACHERS I...NelTorrente
In this research, it concludes that while the readiness of teachers in Caloocan City to implement the MATATAG Curriculum is generally positive, targeted efforts in professional development, resource distribution, support networks, and comprehensive preparation can address the existing gaps and ensure successful curriculum implementation.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
The simplified electron and muon model, Oscillating Spacetime: The Foundation...RitikBhardwaj56
Discover the Simplified Electron and Muon Model: A New Wave-Based Approach to Understanding Particles delves into a groundbreaking theory that presents electrons and muons as rotating soliton waves within oscillating spacetime. Geared towards students, researchers, and science buffs, this book breaks down complex ideas into simple explanations. It covers topics such as electron waves, temporal dynamics, and the implications of this model on particle physics. With clear illustrations and easy-to-follow explanations, readers will gain a new outlook on the universe's fundamental nature.
Delivering Micro-Credentials in Technical and Vocational Education and TrainingAG2 Design
Explore how micro-credentials are transforming Technical and Vocational Education and Training (TVET) with this comprehensive slide deck. Discover what micro-credentials are, their importance in TVET, the advantages they offer, and the insights from industry experts. Additionally, learn about the top software applications available for creating and managing micro-credentials. This presentation also includes valuable resources and a discussion on the future of these specialised certifications.
For more detailed information on delivering micro-credentials in TVET, visit this https://tvettrainer.com/delivering-micro-credentials-in-tvet/
1. Towards a more Dramatic Education
Author: Susan Hillyard B.Ed.(Hons)
The plenary is opened with Susan singing this extract:
This moment is different
From any before it
This moment is different
It’s now
And if I don’t kiss you
That kiss is untasted
I´ll never, I´ll never
Get it back
The walls of this room
Are different
From any before them
They are now
They are now
The air that you breathe
Is different from any before it
It is now
It is NOW
Incredible String Band
¨This Moment¨
from the album ¨I Looked Up¨ 1970
(Mike Heron)
What is more special to a human being than a magic moment? Of what are our
fondest memories made up? What can be more uplifting for a student, what
greater respect can you pay to a student than to say:
¨This moment is now, it is ours and we only need us. And when this
moment is over and we have experienced something true together, just
using ourselves, then we have both changed. This moment is now. ¨
For some children in some schools the only time real life meets life in the
classroom head-on is during educational drama. Drama is life and life is drama.
Only through our sadness do we appreciate our happiness, only through
movement do we understand stillness, only through darkness are we shocked
by light, only after illness do we value our health. Drama uses the whole child
in the whole classroom with the whole teacher to express the human condition
without resource to resources.
2. You may be wondering how drama can be so simple when it needs costume,
lighting, sound effects, stage management, props, script and so on. To be
honest, I wondered about that when I was a student but only because I was
confusing drama with theatre. The debate continues, but in my twenty odd
years of teaching in five countries I have constructed a reality which has, in my
humble opinion, served my students well.
For me, and I want to insist that this is truly a personal definition, educational
drama has its roots in theatre techniques but its aims and objectives are
worlds apart. Theatre, as an academic subject, is an Art whereas drama is a
mainstream subject for all in the regular curriculum. Theatre is for the talented
minority and therefore can justifiably be extra-curricular while drama is for all
without threat or fear, explored in a safe environment without written tests of
memorised facts or diagrams. Theatre demands an audience, a script, a critic
and competition is fierce. Drama gently asks for a group of people to work
through a process, searching for expression of the human condition. It is the
only subject which combines, in the classroom, movement, voice, intellect,
emotion, co-operation, imagination, creativity, empathy and intuition. What
could be more WHOLE ?
Drama is for all, without discrimination. Drama is for self development leading
to creativity in using your own words and your own ideas. Perhaps its greatest
feature is its temporary, fleeting nature which relates far more closely to the
fleeting nature of life experiences. Drama is experiential, experimental - it does
not pretend to be pure art. It does not need to be recorded, written, evaluated.
We have become so bound up in educational resources that we have forgotten
the myriad of experiences the child can bring to the learning situation. We
have taken the child out of his/her context and transplanted him/her in an
artificial conglomeration of so called educational devices which have little to
do with the content schemata in his/her head. We must not and cannot deny
the world of technology and publishing and visual aids but the child must come
first. Drama is essentially the only subject that allows one to do this. To
conduct an effective, quality drama lesson the teacher needs nothing but an
empty space, a group of students, and a wealth of ideas.
Nothing else is essential to the effective completion of the lesson. This is the
wholeness of drama. Frightening? Yes. Why? Because the demands on the
teacher are greater than in any other subject.
No desks to hide behind.
No books and pens imposing extraneous discipline and restrictions.
No chairs to keep the wriggling bottoms still.
No teacher-student void to maintain the traditional distance.
No right and wrong.
No textbook to keep us all on track together.
3. You may argue that any subject can become student-centred if the teacher
chooses to make it so. I agree, to a degree, but no subject lends itself so
readily as does educational drama. Simply put, there is no drama without a
student. The student is the very essence, nothing else is required. In other
subjects the student often sits on the periphery, secondary to the essential
materials; the lesson plan, the teacher’s schedule, the syllabus, the predicted
outcome, the necessary previous step before the next stipulated step.
Attempts by students to encourage learner-centredness are often cut off in
their prime being seen by the teacher as red herrings, irrelevancies, stalling
techniques, interruptions, carefully planned manoeuvres by dissident student
bodies bent on delaying the carefully laid curriculum. But teachers need to
learn to listen, to respect, to empower, to develop the rich wealth of
experiences each individual brings to the classroom environment.
What is learner-centredness ? It is a philosophy, just as whole language is a
philosophy, made up of complex layers of implications for teachers and
students alike. It accepts the learner as the starting point of the learning
process.
The ramifications are enormous but nevertheless true to life and this is why it
is not only whole but wholesome.
The traditional teacher in the teacher-centred classroom using traditional
materials in a traditional style creates an environment not found anywhere else
in the real world. As Yetta Goodman so succinctly puts it,
¨There is no field - not medicine, not law, not any field - that has as its
notion that everybody is going to be operating in the same way, at the
same point in time.¨
Thus the complex layers unfold. The teacher, the students, the environment,
the content, the support systems need to work in a philosophical harmony
bringing together all the elements layer upon layer. To the outside observer
these elements are not obvious, for they make a unified whole and here lies
the core of the enigma. Frank Smith delves into the complexities admitting,
¨Our starting point is at the threshold of a shadowy realm of enigma and
paradox, the human brain.¨
We are dealing with uncertainties, this is our only certainty and the teacher, as
a professional, must learn to adapt to new strategies as research brings to
light untold truths.
Let us look momentarily at these complex elements. Let us fragment that
which cannot, in reality, be fragmented but which we as investigating
professionals must attempt to analyse. We begin with our major resource - the
student. But we also begin by making a whole set of assumptions about the
wholeness of the teacher. Why do we need the term learner- centredness ?
4. Only because many classrooms through bureaucracy, expediency, the rigours
of politics, and time, have become, in contrast, teacher- centred.
The establishment, in its desire for credibility has structured its regimes to
present a façade of efficiency. An apparent peace, a hierarchy of values, a
record of desirable activities, an organization which is visually and auditorily
acceptable for the educational institution. What an easy life for the teacher -
no contingencies, no interruptions, no questions, an aseptic tank of hypocrisy.
But how easily we fall into the trap. It looks good. It sounds good but does it
do anybody any good?
The whole teacher is able to twist and shake to the rhythm of each individual
believing in all sincerity that a teacher- centred classroom is mere surface. She
does not relinquish control but exercises, at every juncture, her professional
judgement and integrity accepting positively all the problems which must
inevitably arise from collaboration which replaces authoritarianism. It is not
easy; it takes many years of patient practice.
If you believe in this moment and can accept a classroom with nothing more
than time, space, students and teachers then go ahead and plan your steps for
a more dramatic education.
This moment is different from any before it
This moment is different
It’s NOW.
Transcript of plenary first delivered by Susan Hillyard at Longman´s First
Argentine Conference on Teaching English organised by Oriel Villa Garcia
2/4/94
From an article. by Susan Hillyard, first published in
”ELT News & Views” Year Number 3, Sept.96