Unraveled, Untold Stories

Davis, C. Amelia

doi:10.1177/0741713614531067

Cited by 6 publications

(3 citation statements)

References 8 publications

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“…To craft this ethnodrama, I began by reading published ethnodramas and performance ethnographies, both within and outside of education, and watched recorded examples of ethnotheatre. Beyond the work of Saldaña and Salvatore, I also took inspiration from Petersen’s (2009) dramatic critique of the enterprise university; Ward Randolph and Weems’ (2010) script about how two African American women experience racism in higher education institutions; Foote and Bartell’s (2012) examination of mathematics teacher educators’ life stories; Davis’ (2014) work on students’ experiences transitioning into adult education; Sweet and Carlson’s (2018) work on a high school boy’s gender transition; O’Connell and Lynch’s (2020) script about Deaf interpreters’ and translators’ experiences in Ireland; and Creps’ (2020) performance ethnography about her work as a faculty director for arts-based education abroad programs for undergraduate students. I also found great resonance and inspiration in the recorded ethnotheatre pieces from the Verbatim Performance Lab at New York University’s Steinhardt’s Program in Educational Theater (2022).…”

Section: Post-scriptmentioning

confidence: 99%

The Day After: An Ethnodrama About Teachers’ Decision-Making Amid Silencing School Policies

Dunn

2023

Qualitative Inquiry

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This ethnodrama, based on hundreds of interviews with educators around the United States, takes readers into a school on the day after a national tragedy. Grounded in the theory of Days After Pedagogy, the characters portray the nuances and complexities of educators’ decision-making on days after, especially when working amid silencing school policies. A post-script includes theory, methods, and implications.

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Section: Post-scriptmentioning

confidence: 99%

The Day After: An Ethnodrama About Teachers’ Decision-Making Amid Silencing School Policies

Dunn

2023

Qualitative Inquiry

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“…Davis (2014b) concurs with Olsen's assessment of the complexity of the youth to adult transition and further explains that finding self-agency is critical for these learners to transition educationally. Employing ethnodrama to explicate the experiences of GED students, Davis (2014a) also shows that students' past experiences with school, their social positions within the educational system, life circumstances such as moving or pregnancy impacted their leaving school and influenced their decision to return to school. As a result, Davis argues for the inclusion of student voices in the development and implementation of adult basic education.…”

Section: Lifelong Learning Skillsmentioning

confidence: 99%

Are Transitions a Sufficient Goal for ABE Students or Programs?

Hughes¹,

Knighton²

2020

ALE JOURNAL

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Reading the Federal Register announcement (U.S. Department of Education, 2016) of Title II of the Workforce Innovation and Opportunity Act (WIOA) offers a glimpse of WIOA's priorities. These priorities are important because they drive funding allocations for adult basic education in the nation; and that funding, in turn, determines how funded programs operate in order to receive that funding. As the largest funder of adult basic education (ABE) in the nation, providing over $600 million through its Basic Grants to States (U.S. Department of Education, 2019), WIOA drives ABE policies and practices. A review of the announcement on Title II shows how much the concept of transitioning beyond basic skills has become critical. The phrase "transition to" is repeated 46 times throughout the document and is clarified with language that brings the importance of transitions to the forefront. Basic skills learners attend classes not as an end, but rather as a point that takes them forward to something else, as noted in this explanation: WIOA retains and expands the purposes of AEFLA [Adult Education and Family Literacy Act]. Under WIA [the legislation that WIOA supersedes], AEFLA aimed to help adults improve their educational and employment outcomes, become self-sufficient, and support the educational development of their children. Under WIOA, AEFLA's purposes have been expanded to include assisting adults to transition to postsecondary education and training, including through career pathway programs. Further, WIOA formalizes the role of adult education in assisting English language learners to acquire the skills needed to succeed in the 21st-century economy.

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“…TIE aims at provoking the thoughts of students; it seeks to open dialogue across the educational spaces and raise awareness among students regarding community issues (Burgoyne, et.al, 2008) and Davis, 2014). On the whole, TIE entails the use of different educational tactics, strategies, exercises, and forms to address concerns of cultural diversity, identity, power, difference, and acceptance.…”

Section: Theatre In Education (Tie)mentioning

confidence: 99%

Applied Theatre: Revisiting the Prospects and Paradigms of Performance

Sanae¹

2020

theijhss

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Aspects of life are changing and it is not surprising that even theatre is also making major transformations. Thakur (2013) assumes that theatre is 'changing, improving, and modifying itself to the needs of the changing situation and become relevant in society' (p. 2). Theatre as a form of art is equipping itself with appropriate strategies to meet the needs of its communities and participate in social development. It has an advanced effectual social role especially when it comes to issues that deal with 'conflict resolution, cultural identification, community development, social control, social protest, spreading mass awareness in different social issues to the grass root people' (op.cit., 2013:1). It could be seen as a mirror that reflects a wide range of dilemmas and anxieties. It is a channel via which theatre practitioners attempt to fix problems in a critical and artistic manner. Thakur (2013), in this vein, asserts that 'in every corner of the development world theatre is approved as an effectual element for social change as well as behavioral change' (p.2). Theatre, thus, has proved to be an effective remedy which can be used to address social and behavioral problems. It is a fact that theatre is an art and a process that is amusing and entertaining at the same time. Applied Theatre (AT) which is the subject of investigation in this study, however, trespasses enjoyment and attempts to realize further functions and implications. Applied Theatre is an artistic form with social, political, and ethical responsibility. It is, indeed, a form of art that is equipped with tools that permit the real projection of the irregularities and social scars of the community. It is a podium that motivates its contributors to interact with the community and try to find possible strategies of social change. It has become, therefore, primordial for theatre theorists, and practitioners to reconsider the functions of theatre and step toward change through new forms of theatre. The history of theatre reveals that many of the theories are based on the perception of change; theorists deconstruct previous assumptions to construct their own visions. Bertolt Brecht, for instance, has constructed the theory of epic theatre and deconstructed the Aristotelian theory. According to Squiers (2012), Brecht has focused on the vital roles that theatre could play so as to change the situation towards the better. Inspired by the Marxist theory and the dialectic ideas it conveys, he has given much consideration to the educational and provocative function that a theatre must display. Practitioners, theorists, educators, and activists have made radical changes in the field of theatre; they have managed to establish new forms of theatre with aesthetic functions that could go in parallel with other social and political perspectives. Theorists have put theatre closer to issues related to social strata including women, the marginalized, the excluded, the elderly, the sick, the imprisoned, and others. Théâtre, consequently, has turned from a self-contai...

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Unraveled, Untold Stories

Cited by 6 publications

References 8 publications

The Day After: An Ethnodrama About Teachers’ Decision-Making Amid Silencing School Policies

The Day After: An Ethnodrama About Teachers’ Decision-Making Amid Silencing School Policies

Are Transitions a Sufficient Goal for ABE Students or Programs?

Applied Theatre: Revisiting the Prospects and Paradigms of Performance

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