PlayingCLIL, a new game-based methodology using drama pedagogy

[EN]Linguistic immersion programs are increasing nowadays. The concept of being bilingual, that started being used by schools for the elite in the 19th century, and that in the mid- 20th century became an educational option, has given raise to CLIL (Content and Language Integrated Learning), a methodology through which students work in a bilingual environment, acquiring knowledge of curricular subject and developing their competences in a foreign language. In this teaching context started a new European project called PlayingCLIL. Six partners from different European countries (Germany, United Kingdom, Spain and Romania) are working in this project. Our main aim is to develop a new methodology to learn a foreign language combining elements from the pedagogic drama (interactive games) with the CLIL classroom. At present we are testing the games in different schools and high schools and we are compiling the results to be collected in a handbook (printed and e-book).

Drama Grammatik: Dramapädagogische Ansätze für den Grammatikunterricht Deutsch als Fremdsprache

This dissertation introduces and evaluates dramagrammar, a new concept for the teaching and learning of foreign language grammar. Grammar, traditionally taught in a predominantly cognitive, abstract mode, often fails to capture the minds of foreign language learners, who are then unable to integrate this grammatical knowledge into their use of the foreign language in a meaningful way. The consequences of this approach are manifested at university level in German departments in England and Ireland, where the outcomes are unconvincing at best, abysmal at worst. Language teaching research suggests that interaction plays an important role in foreign language acquisition. Recent studies also stress the significance of grammatical knowledge in the learning process. Dramagrammar combines both interactive negotiation of meaning and explicit grammar instruction in a holistic approach, taking up the concept of drama in foreign language education and applying it to the teaching and learning of grammar. Techniques from dramatic art forms allow grammar to be experienced not only cognitively but also in social, emotional, and bodily-kinaesthetic ways. Dramagrammar lessons confront the learner with fictitious situations in which grammar is experienced 'hands-on'. Learners have to use grammatical structures in a variety of contexts, reflect upon their use, and then enlarge and enrich the dramatic situations with their newly acquired or more finely nuanced knowledge. The initial hypothesis of this dissertation is that the drammagrammar approach is beneficial to the acquisition of foreign language grammar. This hypothesis is corroborated by research findings from language teaching pedagogy and drama in education. It is further confirmed by empirical data gained from specifically designed dramagrammar modules that have been put into practice in German departments at the University of Leicester (England), the University Colleges Cork and Dublin (Ireland), the University of Bologna (Italy), as well as the Goethe-Institute Bratislava (Slovenia). The data suggests that drammagrammar has positive effects on both understanding of and attitudes towards grammar.

In the mouth of the imagination : positioning children as co-researchers and co-artists to create a professional children's theatre production

In recent decades a number of Australian artists and teacher/artists have given serious attention to the creation of performance forms and performance engagement models that respect children’s intelligence, engage with themes of relevance, avoid the cliche´s of children’s theatre whilst connecting both sincerely and playfully with current understandings of the way in which young children develop and engage with the world. Historically a majority of performing arts companies touring Australian schools or companies seeking schools to view a performance in a dedicated performance venue engage with their audiences in what can be called a ‘drop-in drop-out’ model. A six-month practice-led research project (The Tashi Project) which challenged the tenets of the ‘drop-in drop-out’ model has been recently undertaken by Sandra Gattenhof and Mark Radvan in conjunction with early childhood students from three Brisbane primary school classrooms who were positioned as co-researchers and co-artists. The children, researchers and performers worked in a complimentary relationship in both the artistic process and the development of product.

The Yonder project: Stories of impact, change, and capacity building through engagement in arts education

This thesis examined the long-term impact of the community arts education project Yonder, a collaboration between Education Queensland and Queensland Performing Arts Centre. The findings from the data reveal that the project was still having impact twelve months after its completion and that in some instances the project served as a 'circuit-breaker', especially for special needs students and struggling students. The intervention of a rich arts project proved to be an opportunity for these students to learn in a different way and to perceive themselves in a new and reinvented light. This confidence was found to transfer into other aspects of their learning.

Einleitung: Dramapädagogik und fremdsprachlicher Deutschunterricht

Published Version

Inter-acción : lenguaje oral y pedagogía teatral

Esta investigación aplicada, mantuvo la línea de trabajo que se viene sosteniendo desde el período 05/07 y pretendió profundizar el sesgo de la pedagogía teatral orientada a interaccionar con aprendizajes lingüísticos, fundamentalmente del discurso oral. Se trabajó con un grupo de muestra acotado, probando una secuencia pedagógico-didáctica que diera resultados que permitieran afirmar que el lenguaje Teatro posibilita, en la escuela, la investigación guiada de “los modos en los que el afuera interviene en la conformación del adentro" y facilita a los alumnos desarrollar su oralidad y gestualidad en el nivel interaccional, impactando positivamente en su desempeño académico y social.

Being ethical : how process drama assists pre-service drama teachers to reflect on professional ethics

This research thesis focuses on the experiences of pre-service drama teachers and considers how process drama may assist them to reflect on key aspects of professional ethics such as mandatory codes or standards, principled moral reasoning, moral character, moral agency, and moral literacy. Research from higher education provides evidence that current pedagogical approaches used to prepare pre –professionals for practice in medicine, engineering, accountancy, business, psychology, counselling, nursing and education, rarely address the more holistic or affective dimensions of professional ethics such as moral character. Process drama, a form of educational drama, is a complex improvisational group experience that invites participants to create and assume roles, and select and manage symbols in order to create a fictional world exploring human experience. Many practitioners claim that process drama offers an aesthetic space to develop a deeper understanding of self and situations, expanding the participant’s consciousness and ways of knowing. However, little research has been conducted into the potential efficacy of process drama in professional ethics education for pre-professionals. This study utilizes practitioner research and case study to explore how process drama may contribute to the development of professional ethics education and pedagogy.

ICTs for creative practice in drama : creating cyberdrama with young people in school contexts

This study explores young people's creative practice through using Information and Communications Technologies (ICTs) - in one particular learning area - Drama. The study focuses on school-based contexts and the impact of ICT-based interventions within two drama education case studies. The first pilot study involved the use of online spaces to complement a co-curricula performance project. The second focus case was a curriculum-based project with online spaces and digital technologies being used to create a cyberdrama. Each case documents the activity systems, participant experiences and meaning making in specific institutional and technological contexts. The nature of creative practice and learning are analysed, using frameworks drawn from Vygotsky's socio-historical theory (including his work on creativity) and from activity theory. Case study analysis revealed the nature of contradictions encountered and these required an analysis of institutional constraints and the dynamics of power. Cyberdrama offers young people opportunities to explore drama through new modes and the use of ICTs can be seen as contributing different tools, spaces and communities for creative activity. To be able to engage in creative practice using ICTs requires a focus on a range of cultural tools and social practices beyond those of the purely technological. Cybernetic creative practice requires flexibility in the negotiation of tool use and subjects and a system that responds to feedback and can adapt. Classroom-based dramatic practice may allow for the negotiation of power and tool use in the development of collaborative works of the imagination. However, creative practice using ICTs in schools is typically restricted by authoritative power structures and access issues. The research identified participant engagement and meaning making emerging from different factors, with some students showing preferences for embodied creative practice in Drama that did not involve ICTs. The findings of the study suggest ICT-based interventions need to focus on different applications for the technology but also on embodied experience, the negotiation of power, identity and human interactions.

Young Children, Pedagogy, and the Arts

"Young Children, Pedagogy and the Arts is an innovative text that describes practices and research that cross all five strands of the arts—visual, drama, music, dance, and media—and illuminates ways of understanding children and their arts practices that go beyond the common traditions. The book: - Offers practical and rich illustrations of teachers’ and children’s work based on international research that integrates theory with practice; - Brings a critical lens to arts education; - Includes summaries, reflective questions, and recommended further readings with every chapter. Young Children, Pedagogy and the Arts provides a more nuanced understanding of the arts through an exploration of specific instances in which committed teachers and researchers are discovering what contemporary multimodal tools offer to young children. Chapters contain examples of ‘doing’ the arts in the early years, new ways of teaching, and how to use emerging technologies to develop multiliteracies, equity, agency, social and cultural capital, and enhance the learning and engagement of marginalized children."--publisher website

Exploring intercultural and ethical understanding through ‘Ethical Intelligence’ and drama, in Asian texts for the Australian curriculum : English

This paper focuses on Australian texts with Asian representations, which will be discussed in terms of Ethical Intelligence (Weinstein, 2011) explored through drama. This approach aligns with the architecture of the Australian Curriculum: English (AC:E, v5, 2013); in particular the general capabilities of 'ethical understanding' and 'intercultural understandings.' It also addresses one aspect of the Cross Curriculum Priorities which is to include texts about peoples from Asia. The selected texts not only show the struggles undergone by the authors and protagonists, but also the positive contributions that diverse writers from Asian and Middle Eastern countries have made to Australia.

Life Drama : an arts education response to social and cultural challenges in Papua New Guinea

The Life Drama program is a theatre-based experiential learning program developed in Papua New Guinea over the past seven years. The Life Drama team recognises that a significant proportion of “education” for learners of all ages takes place outside formal education systems, particularly in developing nations such as Papua New Guinea. If arts education principles and practices are to contribute meaningfully and powerfully to resolving social and cultural challenges, it is important to recognise that many learners and educators will encounter and use these principles and practices outside of school or university settings. This paper briefly describes the Life Drama program and its context, highlights its two streams of operation (community educators and teacher educators) and indicates some ways in which an arts-based education initiative like Life Drama contributes to Goal 3 of the Seoul Agenda:“Apply arts education principles and practices to contribute to resolving the social and cultural challenges facing today‟s world.” In particular, the project addresses sub-goal 3b:“Recognize and develop the social and cultural well-being dimensions of arts education”.