Not without the art!! The importance of teacher artistry when applying drama as pedagogy for additional language learning

Dunn, Julie; Stinson, Madonna

doi:10.1080/13569783.2011.617110

Cited by 63 publications

(30 citation statements)

References 10 publications

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“…As we set out to develop the program outline we were reminded that the success of any project depends not only on the enthusiasm, knowledge, and experiences of project facilitators, but also on the “quality of the pretext materials used to drive the dramatic action” (Dunn & Stinson, ). For the pilot run of the Drama Club, we chose a preexisting ethnodramatic script, Fear, Courage, and Joy: Three Conversations at the Learning Exchange (Gillard & Balyasnikova, ), which was further co‐edited by the club facilitators and the learners themselves.…”

Section: Materials and Resourcesmentioning

confidence: 99%

Enhancing Teaching English as an Additional Language Through Playfulness: Seniors (Ethno)Drama Club in Vancouver's Downtown Eastside

2017

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This article describes the process of using an ethnodrama while working with older adults learning English as an additional language. By examining a 4-month-long period of Seniors Drama Club, created to offer theatre-based language learning experiences for Vancouver's immigrant senior population, the authors draw attention to the complex learning that occurs at the intersection of drama education and additional language learning. The aim of the article is twofold. First, the authors show the benefits of using adaptable and "living" texts-such as an ethnodrama-in language teaching. Second, the authors argue that framing of language learning as a collaborative theatre project empowers learners to take agency of their language learning and future use. In conclusion, the authors elaborate on some of the promising practices developed as the outcome of this community-based project.There is a growing recognition of the complex learning that occurs at the intersection of drama education and second language learning. Both researchers and practitioners of language education have explored theoretical and applied issues of introducing playfulness into diverse classroom settings (for an extensive TESOL Journal 9.3, September 2018 481

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Section: Materials and Resourcesmentioning

confidence: 99%

Enhancing Teaching English as an Additional Language Through Playfulness: Seniors (Ethno)Drama Club in Vancouver's Downtown Eastside

2017

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“…Regardless of how the dictator's appearance is understood, it is an example of a more divergent learning situation where goals cannot be totally predicted. The pre-text designed by the drama pedagogue worked as a frame for the students mainly to carry out tasks but successively they also explored and filled it with their own questions and their knowledge, in line with what Dunn and Stinson recommend [61]. This is also related to what O'Connor [52] means when clarifying the differences between general role-play, which focus a single situation and process drama, which adds a context for the specific situation and more strategies and perspectives to tackle a topic which eventually creates a whole story [52].…”

Section: How Can Cicvic Subject Content Be Apporached Through Processmentioning

confidence: 94%

“…It is the teacher's primary tool to create a fictional activity [56]. According to Dunn and Stinson [61], a pre-text should pose questions, provoke both intellect and emotion, include ambiguity and openings for multiple possibilities. It should include a group of people and indicate both past and futures [61].…”

Section: Characteristics Of Process Dramamentioning

confidence: 99%

“…According to Dunn and Stinson [61], a pre-text should pose questions, provoke both intellect and emotion, include ambiguity and openings for multiple possibilities. It should include a group of people and indicate both past and futures [61]. The participants fill the frame with action and, thereby, the narrative is successively developed.…”

Section: Characteristics Of Process Dramamentioning

confidence: 99%

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Process Drama in Civic Education: Balancing Student Input and Learning Outcomes in a Playful Format

Hallgren

Österlind

2019

Education Sciences

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The purpose is to investigate process drama for teaching civics, mainly democracy and migration. Process drama implies students and teacher to take on roles, to explore a subject content collectively. The study is based on a secondary school educational initiative where a drama pedagogue was invited to address civics through process drama. Four civic lessons were video recorded and analyzed through an activity theory framework. From this perspective, process drama can be understood as two activities with different motives/objects, the educational and the fictional, where the fictional activity should have a playful format. The results show that the dialogical approach used by the drama pedagogue created a democratic opportunity and also established the playful format. The students' engagement was notably high. However, it was obvious there were no challenging or probing questions being asked by the drama pedagogue or the civics teacher, neither in nor out of role. As a consequence, the full learning potential of process drama in civics education could not be achieved. We suggest a co-teaching approach between civic teachers and drama pedagogues, to overcome challenges in using process drama in civic education for learning objectives to be attained.

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“…Theatre is not only applied as a temporary bandage but also hopefully as a lasting nourishment. In asking what are the possibilities and limitations of applied theatre practices to empower individuals and communities and explore notions of identity, there is a growing body of knowledge that focuses on issues of social justice, equity and Research in Drama Education 233 diversity with respect to ethnic, racial, linguistic, economic and gender-based disadvantage, as well as interdisciplinary work that focuses on drama/theatre/performance and intercultural learning; diasporic communities; and language learners, linguistic diversity and multilingual practices (Dunn and Stinson 2011;Medina and Campano 2006;Piazzoli 2010;Stinson and Winston 2011;Rothwell 2011;Yaman Ntelioglou 2011).…”

Section: Crossing Boundaries Of Practicesmentioning

confidence: 99%

New practices, new methods, new voices

Clemson

Ntelioglou

2014

Research in Drama Education: The Journal of Applied Theatre and

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Not without the art!! The importance of teacher artistry when applying drama as pedagogy for additional language learning

Cited by 63 publications

References 10 publications

Enhancing Teaching English as an Additional Language Through Playfulness: Seniors (Ethno)Drama Club in Vancouver's Downtown Eastside

Enhancing Teaching English as an Additional Language Through Playfulness: Seniors (Ethno)Drama Club in Vancouver's Downtown Eastside

Process Drama in Civic Education: Balancing Student Input and Learning Outcomes in a Playful Format

New practices, new methods, new voices

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