774 resultados para Drama in education.


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The English examination system provides a market in which a limited number of providers are accredited to offer curriculum-based examinations in many subject areas and at several levels. The most significant are the General Certificate of Secondary Education (GCSE) and the General Certificate of Education, Advanced (A level). Because these examinations are used for high-stakes purposes, including higher education and employment selection for individuals and programme evaluation for institutions, it is desired that scores from various exams be ‘comparable’ in several respects: across syllabuses and examination boards within a subject area, across years, and even across subject areas. Just how to accomplish this goal has been a topic of continual research and debate for over 50 years, through many changes of examination and institutional structures. But ever year, tens of thousands of scores must be reported, and every year, users expect them to ‘be comparable’ and use them as if they are.

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In the 21st century, our global community is changing to increasingly value creativity and innovation as driving forces in our lives. This paper will investigate how educators need to move beyond the rhetoric to effective practices for teaching and fostering creativity. First, it will describe the nature of creativity at different levels, with a focus on personal and everyday creativity. It will then provide a brief snapshot of creativity in education through the lens of new policies and initiatives in Queensland, Australia. Next it will review two significant areas related to enriching and enhancing students’ creative engagement and production: 1) influential social and environmental factors; and 2) creative self-efficacy. Finally, this paper will propose that to effectively promote student creativity in schools, we need to not only emphasise policy, but also focus on establishing a shared discourse about the nature of creativity, and researching and implementing effective practices for supporting and fostering creativity. This paper has implications for educational policy, practice and teacher training that are applicable internationally.

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Networks are increasingly recognised as advantageous when creating and embedding cultural change within organisations. This paper explores andproblematises ideas around networks for education for sustainability (EfS), Australian Sustainable Schools Initiative (AuSSI), a national, whole-school approach to EfS. In three Australian states - New South Wales, Victoria and Queensland – AuSSI has been implemented in different ways. In examining the use of products, facilitators and networks to embed initiatives such as AuSSI in Australian schools, we propose a “continuum of cultural change strategies” as a framework for thinking about each of these approaches to creating organisational and cultural change for sustainability. We anticipate that such a framework may assist where choices need to be made in relation to the kinds of capacity building processes that might best achieve “deep and wide” change within schools hoping to engender significant cultural change.

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Historically, 'Creativity' has had a complex set of meanings. Not long ago, 'Creativity' had a kind of marginal or peripheral status, being seen as the province of a gifted few; in many cases it was associated almost exclusively with the arts and with artists. But these traditional attitudes to creativity are changing. Mainstream businesses are employing people with creative skills as diverse as writing, directing, graphic design and event management. So what we’re beginning to see is an innovation framework and creative content adding value not just to SMEs, but to traditional industries such as manufacturing and mining, and to wider service industries. And this is why Education is such an important element, particularly with a focus on innovation, and on creative people and the contributions they make across different parts of the economy.

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This research project explores the nature of In-School Touring Productions that are presented in Queensland classrooms by Queensland Arts Council (QAC). The research emerged from my background as a drama teacher working on secondment at QAC in the Ontour inschools department. The research follows the development of a new production Power Trip: the Adventures of Watty and Volt. The research was guided by the key question: What are some of the production and pragmatic issues that relate to In-school Touring Productions and in what ways do QAC’s Ontour inschools productions offer learning experiences? This research involved the creation of three intersecting elements: (1) a 45 minute personal documentary film, 8 Times Around the Equator. The film follows my enthusiasms for this hybrid form of theatre which developed from my childhood, teaching practice and finally in my role at QAC; (2) a multimedia DVD, Queensland Arts Council 2008 inschools Season, which presents a series of short video clips promoting QAC’s Ontour inschools program; and finally (3) this exegetical paper, Queensland Arts Council Road Trip: an Examination of In-Schools Touring Productions (2005-2008). This exegesis supports the multimedia presentations and provides additional descriptions of QAC's Ontour inschools productions which are contextualised within the history of QAC and the field of Youth Theatre generally. During the project I observed 37 QAC productions and analysed them against set criteria and as a result four types of learning experiences were identified: • Category X: X-periencing the Art Form – providing students with exposure to traditional forms of main stage theatre; • Category L: Learning Through the Art Form – communicating information using an art form to educate. For example using comedy, clowning or slapstick to teach science; • Category U: Unpacking the Art Form – deconstructing art forms and providing students with increased awareness and appreciation; and • Category M: M-bodying the Art Form – workshops and artist residencies that allow students to create their own work. The creative works (documentary film and DVDs) combine to make up 65% of the project. This exegetical paper concludes the final 35% required for submission.

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There has been an abundance of education reform recommendations for teaching and teacher education as a result of national and international reviews. A major criticism in education is the lack of connection between theory and practice (or praxis), that is, how the learning at university informs practical applications for teaching in the classroom. This paper presents the Teacher Education Done Differently (TEDD) project, funded by the Department of Education, Employment and Workplace Relations (DEEWR). It outlines how it has re-structured its offering of coursework in a Bachelor of Education (BEd) held at an Australian university campus to embrace praxis. Establishing partnerships was crucial to the development of this project. TEDD initially gathered a reference group of educators, which included university staff, school executives, and other key stakeholders, who formed an Advisory Group and Steering Committee. These groups formed a collective vision for TEDD and aimed to motivate others, foster team work, and create leadership roles that would benefit all stakeholders. The paper presents how university units changed to include a stronger praxis development for preservice teachers. Preservice teachers take their learning into schools within lead-up programs such as Ed Start for practicum I, III, and IV; Science in Schools, and Studies of Society and its Environment (SOSE). Findings showed that opportunities for undertaking additional real-world experiences were perceived to assist the preservice teachers’ praxis development. Additional school-based experiences as lead-up days for field experiences and as avenues for exploring the teaching of specific subject areas presented as an opportunity for enhancing education for all.

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Although the demand for pre-service teachers to be better informed about Indigenous issues in Australia has been broadly articulated, it is reasonably new for universities to make Indigenous studies a compulsory area of study, or to define what is meant by 'Indigenous education'. This book was motivated by the growing necessity for an approach to Indigenous education that would include more than just a summarising of Indigenous history and traditional culture. It is useful for anyone with an interest in challenging their ideas about culture, identity and history in Australia.

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This thesis is a problematisation of the development and implementation of professional standards as the mechanism to enhance professionalism and teacher quality in the teaching force within Australia and, more specifically, Queensland. Drawing on tools from Foucauldian archaeological analysis, the dominant discourses of professionalism from the academic literature, Australian federal and state policy documents and narratives from Queensland teachers are examined. These data sets are then cross referenced, analysing the intersections and divergences between the different texts. Findings suggest that through policy, political strategy and derisory statements from various authoritative voices, the managerial discourse of professionalism through professional standards documents has been unduly privileged as a means of regulating teachers, despite the fact that teachers themselves do not share this dominant notion of professionalism. The teachers in this study proffer ‘new classical-practical professionalism’ as a counter discourse, or discourse of resistance, to managerialism. However, an application of Foucault’s theorisations on power-knowledge reveals that their spoken discourses mean they are in fact yielding to the discourse of professional standards as docile bodies.

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Iran as a developing country faces many considerable shortages of both physical learning environment and inefficient budget to resolve this shortage. Today, Iran needs a $28 billion budget to add 23,000 schools to the existing 120,000 schools to be able to omit two shifts schools [1], [2]. Moreover, the standard learning space is 6-8 square meter per student, while this rate for big cities in Iran is about one square meter per student [1]. This decrease the time students spend in schools. In addition, the education approach in k-12 and higher education is still teacher-centered based and needs to be contemporized with educational, cultural, and technological changes.

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The Teaching Teachers for the Future (TTF) project is a unique nationally significant project funded by the Australian Government through the Department of Employment, Education and Workplace Relations (DEEWR, Au$8.8 million) and the Information and Communication Technology Innovation Fund (ICTIF). This 2011-2012 project has ambitiously attempted to build the ICT education (ICTE) capacity of the next generation of Australian teachers through its focus on pre-service teachers, teacher educators and the new Australian Curriculum. This paper will provide an overview of the project including a description of its genesis in a changing educational and political landscape, its structure and operations, its grounding in contemporary theory, the research opportunities it has engendered and its tangible outcomes.

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This chapter charts the theories and methods being adopted in an investigation of the 'micro-politics' of teacher education policy reception at a site of higher education in Queensland from 1980 to 1990. The paper combines insights and methods from critical ethnography with those from the institutional ethnography of feminist sociologist Dorothy Smith to link local policy activity at the institutional site to broader social structures and processes. In this way, enquiry begins with--and takes into account--the experiences of those groups normally excluded from mainstream and even critical policy analysis.

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This paper re-conceptualises the notion of improvisation as it has developed in schools since the 1960s. It outlines the theoretical case for naming the distinctive improvisational practice that has emerged in schools - namely Process Drama. The paper sketches seven characteristics of Process Drama and then outlines the case for seeing it as an emerging but robust form of dramatic art. It concludes by arguing that drama teachers, in developing process drama, have created a new form of both education and art.

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International comparison is complicated by the use of different terms, classification methods, policy frameworks and system structures, not to mention different languages and terminology. Multi-case studies can assist in the understanding of the influence wielded by cultural, social, economic, historical and political forces upon educational decisions, policy construction and changes over time. But case studies alone are not enough. In this paper, we argue for an ecological or scaled approach that travels through macro, meso and micro levels to build nested case-studies to allow for more comprehensive analysis of the external and internal factors that shape policy-making and education systems. Such an approach allows for deeper understanding of the relationship between globalizing trends and policy developments.