The Value of Theatre Arts Program Integrated into Education - Assignment Example

My Beliefs On What Should Young People Be Taught About Theatre And What Principles Should Guide The Pedagogy Introduction The British has been known as a cultured people. UK prides itself of several cultural attractions, and theatre is one of them. People from all over the world troop to Broadway’s counterpart in London, the West End, to watch seasoned artists perform classic and contemporary theatre productions Prime Minister David Cameron has been vocal about his support for the arts especially for the preparation of future generations of artists, thespians, musicians and the like. However, his administration is being lambasted for significantly slicing the education budget for creative subjects and downgrading them (Lyons, 2014). The Department of Culture, Media and Sports Taking Part Survey found that only 36% from the previous 55% of primary schools students attend after school music lessons; and for theatre and drama classes, the number of students dropped from 49% to 33%. Finally, for dance lessons, the number of students decreased from 29% from 45% (Lyons, 2014, para.1). Giving less priority to cultural education can be saddening, and this is echoed by Harriet Harman, Shadow culture secretary who lamented that the future talents of Britain are being robbed. She explained: “Taking part in art and culture is a vital part of a child’s education and helps them develop their full potential. But we are seeing a serious fall in the amount of art and culture children are able to take part in.” (Lyons, 2014, para. 7). This just emphasises the value of informing people about the importance of including Cultural Education in the school curriculum. Henley (2012) advocates it because cultural education allows children to gain necessary knowledge through the learning of facts. Children develop an understanding of culture by developing their critical faculties and skills through their active involvement in various art forms and activities related to these. However, cultural education does not get as much priority as literacy and numeracy. The National Curriculum emphasizes the development of academic skills more than the arts so schools focus on Math and Reading so that students can perform well in standardized tests. It is my opinion that the arts should get the same attention in the curriculum since it addresses the strengths of some students who may not be as skilled in the academic subjects. According to Howard Gardner’s Multiple Intelligence theory (1983), all people have something to excel at, and being smart above the rest is not limited to those who do exceptionally well academically. It is comforting to think that if one has an aptitude for music, for instance, and is weak at math and science, then he can still excel at something creative and non-academic. I personally believe that theatre arts help develop creativity because it unleashes the imagination of children. This essay will highlight the value of a theatre arts program integrated in the education of children and youth, specifically the skills they derive from it. Teachers will greatly benefit in knowing what to teach and how to teach with regards to the theatre so that their students will develop such skills. 2. What is Theatre to me? Initially, I understood theatre as simply a group of people performing on stage for the entertainment of the audience. “In the popular imagination, theatre is often thought of as the performance of plays by professional or amateur actors to a paying audience. It is a picture of theatre that is based on an economic agreement between the producers and the audience. The producers rehearse and develop a theatre product to the best of their abilities and when the time comes, they perform their work in exchange for the price of a ticket” (Neelands, 2010) Similarly, Counsell (1996) described the usual perception of people about theatre, which includes a storyline or plot guiding a sequence of events that unfold right before a live audience. Performers on stage express their characters’ message through artful interpretations using their voices, gestures, movements, etc. Supplementing the acting of the actors are sets, props, costumes which reflect the era and setting of the story being told to the audience. The performance is staged in an agreed schedule and venue where actors and spectators have their own place, which are strictly separated (Counsell, 1996). Perhaps this is indeed the case for some people, content with what the theatre means to them. However, I realized that theatre can be a pathway for learning especially if the message the material conveys aims to influence the audience towards a certain direction. When I was in high school, we were brought by our teachers to the theatre to be exposed to the experience of watching plays. We did what was expected of us, which was to just watch, and not necessarily get involved. However, there are some theatre productions that do more than just be watched, as the actors engage the audience to participate in the play. These are known as ‘educational theatre’. In the UK, theatre is accepted as broadly educational and with the phrase “theatre with an educational purpose”, it brings theatre to a new dimension. Theatre in Education (TIE) offers a multi-layered approach to learning because it is interactive and aims to develop a host of skills and knowledge in students (Jackson, 2007). Social or instrumental theatre has emerged as a form of performance art to promote specific social agendas that serve the needs of the “marginalised, the oppressed and the disadvantaged” (Jackson, 2007, p. 26), as what is proposed by Augusto Boal. He provokes learners to reflect on the message his forum theatre wants to convey and hopefully, push them to do something worthwhile for the cause (Boal, 1992). Bertolt Brecht agrees with Boal that theatre may be used for both instruction and entertainment. He implies that for theatre to serve its usefulness in spreading messages for social concerns, it should also amuse to keep the interest of the audience. To this, Jackson (2007) concurs and further argues that “theatre that aims to educate or influence can truly do so only if it values entertainment, the artistry and craftsmanship that are associated with resonant, powerful theatre, and the aesthetic qualities that -by definition -will appeal to our senses” (p. 27). My own view on theatre is compatible with Brecht’s. I do appreciate good theatre that highlights a relevant and gripping storyline, the talents of the performers, and the overall aesthetic appeal of the show, however, it should go beyond that and leave the audience with something to ponder on long after they have applauded the finale. I believe involving the audience and letting them participate engages them more and deeply piques both their thoughts and emotions. Of course it needs to be able to reach the understanding of the audience concerned. For example, with children and the youth, their involvement should be developmentally-appropriate and they should not be forced to learn complicated, technical concepts and skills before they are ready. I always keep in mind what I learned about how their interest is lured during dramatic play and want to maintain that sense of wonder in them. The Role of Play in Theatre Education Children and play go hand in hand. Play may be defined in so many ways, however, one definition that is aptly relatable to most people is by Brown (2009) which describes play as “an absorbing, apparently purposeless activity that provides enjoyment and a suspension of self- consciousness and sense of time. It is also self-motivating and makes you want to do it again” (p. 60). Although play may be perceived as whimsical and useless, it is actually crucial in a child’s development. Brown claims play helps in the development of brain functions because it stimulates various centers of perception and cognition. When play is involved, learning and retention becomes easier due to the heightened attention and emotional rewards it brings (McCammon et al., 2011). Play also includes activation of the imagination and fantasy and this leads to the development of creative ideas and even emotional resiliency (Brown, 2009). This is because during pretend play, one imagines how others live and compares it to their own lives, and this involves the development of “empathy, understanding, and trust of others, as well as personal coping skills” (Brown, 2009, p. 87). One direct result of play is the impulse to create art, creative drama, being one of them. Imaginary play expands children’s minds to think ‘out-of the box’ which is one essential requirement in theatre arts. Improvisation and theatre games are playful ways which develop creativity and opens individuals to divergent thinking (Johnstone, 1981). Teachers can take advantage of their students’ preference for play by using it as a strategy for learning. In role playing, students have the opportunity to challenge the status quo, behave in a way they usually do not, take on new social roles and flex their mind to come up with unusual ideas for the role. Students can also engage in convergence when they collaborate in writing the script, creating a role, thoughtfully developing monologues, learning the script for a certain role, etc (McCammon et al., 2011). Constructivist theorists such as Rosseau, Piaget, Froebel, Dewey, Bruner, Vygotsky believed that children are capable of ‘constructing’ their own learning through their own exploration and discovery and use play as one method of learning (Ferrari, 2011). Constructivist approaches were adopted by Theatre in Education (TIE). With regards to this, Bolton in Gavin Bolton: Selected Writings (Davis & Lawrence, 1986) writes: “the learner’s focal awareness must be on the activity itself and not on the ‘things’ to be learned” (p. 81). 3. My Personal Insights, Supported by Literature, As To What I Think Should Be Taught to Children and the Youth With Regards to Theatre, Drama and Cultural Education in General Consistent to my belief that the audience should be able to participate in theatre productions if the goal was to make them learn something more than just being entertained, I subscribe to the use of experiential teaching-learning methods in theatre education. For example, I was once made to act as a mother from Hong Kong who required her daughter to pursue a course in medicine or law but the daughter really wanted to pursue a course in Visual Arts. In order to be effective in the role, I had to do my research on the personality of controlling mothers, reasons why people choose one field over another, etc. I studied the given circumstances, the needs of the characters and how such characters would react. In doing so, I learned to empathise with the mother and daughter through my vicarious experience and not through didactic ways traditionally taught by teachers. Because I had acquired knowledge from my research in such a case to draw from, I know I would be able to execute well my role as a controlling mother in case it is given to me in the future. How much more if I had actual experience as a domineering mother! Had I not gone through the research for the role, then I would have automatically performed as how I thought about the domineering mother with much less empathy for her. This just shows how important experiential learning is. Similarly, but on another level, I had the opportunity to participate in a Boal-inspired forum theatre. The Cardboard Citizen Theatre Group visited us in class and coaxed us to be participants in the forum theatre on sexual harassment in the tube in London. The topic was on being oppressed, and we were asked to help out the protagonist of the play. Forum Theatre usually presents a situation of oppression by the cast and the audience is supposed to participate by thinking of ways to end the oppression. This way, the spectators become “spectactors” when they process the situation and intervene in the play by driving it to another direction, attempting to end the oppression. The audience participates in such a way that they contribute a different ending to the original plot presented by the actors, thereby letting the oppressed win over their oppressors (Ganguly, 2011). During the forum, several different solutions are enacted through audience participation resulting in a pool of ideas, strategies and experiences which are all realistic, as Boal’s theatre does not welcome fictional solutions. Such forum produced is what Boal calls a “rehearsal for reality” (Boal, 1992). Regarding my experience in forum theatre with the Cardboard Citizens, when we were first asked to share our experiences in oppression, I felt it was rather assuming of the cast to think that everyone has had an experience in oppression, but in truth, most of my peers and I could not contribute anything since we have never experienced it. True enough, it was quite disastrous when we were expected to participate in the play since there was nothing to be squeezed from us in terms of expressing a thought or feeling that related to oppression. The difference of this experience with my first example of playing the role of a domineering Chinese mother was that there was not enough preparation and time for research for me to fully internalize the role of an oppressed ‘spectactor’. Since drama entails drawing from one’s own knowledge and experience, I believe children and the youth should have the opportunity to first know about the role they are expected to portray by carefully studying it and trying to gain experience that is at least related to the role. They would be much more effective if they have first hand experience to draw their interpretation of the role and expression from. Hence, young children should not be given material suited for much older children or teenagers since their experiences are limited to only their first 3-6 years of life. On the other hand, Neelands (2010) shares that in Drama Education, young people learn more about the truth of human existence by ‘living through’ their experiences in a ‘realistic’ and ‘life like’ way, lives which they can only imagine and not really know in reality. In process drama, exposure to people who may be temporally, spatially, culturally and socio-economically different from them and presenting experiences from unfamiliar territories can engage them to reflect more about their own situations and imagine how they would behave if they are in the shoes of people vastly different from them (Neelands, 2010). Still, no matter how vivid one can imagine and how much empathy one develops for a certain individual and his current circumstance, every experience is subjective and we can only walk in our own shoes. No one can fully understand a personal experience except the person experiencing it. Neelands (2010) adds that it is Stanilavski, Chekhov and other pioneers in process drama who are responsible for the idea that one can be effective in acting just by imagining and placing oneself in a character’s shoes. I believe it may only be effective if the actors have been thoroughly trained by these experts or have gone through a system of education that put premium on theatre arts. My personal experiences have led me to reflect on realistic topics to include in educating children and the youth about theatre. Existing curriculums in Drama may have the pertinent information children and the youth need to learn. Some of these are summarized in a table in the appendix. The table shows chronological expectations from what children and the youth from early childhood way up to young adulthood must learn as recommended by Henley (2012). Very young children who engage in dramatic play often need guidance in understanding the relationship of drama to play and learning. Goffman (1974) refers to dramatic play as a “conspiracy” with those watching as “collaborators in unreality” who are engaged in the process of “playful unknowingness” (p. 135). Within this kind of play, everyone collaborates in an unreality which they all create together as actors, playwrights as well as audience guided by a set of unwritten rules which somehow provide structure to their play (Dunn, 2011). O’Neill (1995) points out that the dramatic play builds up when the players contribute an idea to the play, making them all co-playwrights in a work that is always in progress. Hence, I agree with Dunn in the argument that it is more appropriate to term it “child-structured dramatic play” rather than “unstructured dramatic play”. Specific steps in supporting children’s dramatic play may begin with teachers introducing their students to aesthetically charged material which can stimulate play such as high quality stories told or read to them, a field trip to a theatre or engaging them in adult-structured drama (Dunn, 2011). All these activities open children’s imaginations up and they can express these in their play. Next, a shared understanding of creative ideas of children prompts collaboration between the teacher and adults to create dramatic worlds. Adult-led strategies in drama education are employed to take advantage of the children’s interest and engagement in drama and adults should be able to model theatrical language, actions, symbolism, use of space, etc. Dunn (2008) points out that such modelling is necessary especially when play contexts include fantasy scenes that are beyond the experiences of children. Rogers & Evans (2007) argue that interventions in creative pretend play should “extend and rejuvenate rather than constrain and frustrate” (p. 163). Hence, drama educators should ensure that their structuring and improvisation skills do not result in the disempowerment of children’s ideas and initiative. According to Dame Clare Tickell (in Henley, 2012), learning in four specific areas should be prioritized in primary school, namely literacy, mathematics, expressive arts and design as well as understanding the world. All these should be taught alongside personal, social and emotional developmental areas. Focusing on prime areas of development need to be complemented by learning in specific areas. One example is that expressive arts like drama can be used to develop skills in language and motor development. The recommended Cultural Education curriculum at the Appendix inspired by the review of independent review by Darren Henley for the Department for Culture, Media and Sport and the Department for Education (2012) provides rich information that I agree should be included in children and youth’s learning about the theatre. Let me refer to it as I present my own insights as to what children and the youth should learn about the theatre and how they should learn it. I believe the youngest learners, children in the foundation and primary levels, should be trained basic skills that would be useful in learning about the theatre such as reading, role-playing, designing masks, costumes, props, backdrops for various settings that would befit the plot of the play they are doing. Being young and impressionable, they also need to hone both fine and gross motor skills, as these would help them in acting out scenes as actors in theatre. They also need to be able to memorize their lines well and improvise on action and/or scripts when something comes up unexpectedly so that the show goes on. This implies that such young children need to feel at home with candor and surprise twists in events. The activities that could bring out such skills in young childrfen include reading varoius books, story-telling, arts & crafts, such as making a salient objects associated with a character (ex. A magician’s hat and wand), Children also need to be exposed to a wide variety of music and allowed both creative and imitative movement when dancing or acting for a role. When combined, they learn to dance to music and move to its rhythm. Lessons in culture should also include visits to cultural places such as the theatre, to watch a play, the cinema, concert hall, museum, art galleries, libraries and heritage sites (Henley, 2012). Their exposure to such cultural places should be accompanied by training in culturally refined behaviours that they should exhibit during cultural events. At their age, they should be aware that socially-appropriate behaviour is expected from the audience. Curriculum for Middle School should develop creative skills in children which they can apply to Cultural Education subjects. These include learning how to compose music, songs, scripts, etc. These compositions should be put to good use as material in their own original productions. Performing in front of an audience is also an experience they should be accustomed to. It would be ideal if students at this level know how to read musical notes and be able to play at least one musical instrument. Exposure to a variety of genre of plays, movies, literary work, music, dance and performances should not stop there. Students should learn how to critique such works of art using arts-specific vocabulary to develop a more discriminating taste that heightens their own standards of quality. Such critique should be backed up by research and information from experts who are learned about culture. Drama lessons offer learners opportunities to assess other people’s work and this helps them assess and evaluate their own learning and progress (McNaughton, 2011). This implies that students at the middle school level should be knowledgeable about various art forms and its history. With their growing knowledge should also come a wider exposure to cultural activities from all genres and countries, either offered in school or sourced from the community. Henley (2012) also advocates that middle-school students develop and hone a deeper understanding of a wide range of forms of cultural areas, like for example, in literature, they should know several poems, play texts, short stories and novels. In music, they should be familiar with several genres such as classical, pop, hip hop, rock, jazz, folk, musical theatre and world music (Henley, 2012). Children and the youth nowadays are privileged to live in an age of information and technology, and having access to various gadgets, applications, etc., they should also learn basic film-making and documenting skills. Schools should be able to provide access to their students to updated knowledge and trends so that these youngsters are not left behind in terms of their cultural skills. By secondary school when students enter adolescence and the teen-age years, students who have been trained in cultural education courses should be able to further their skills and knowledge on various aspects of culture and the arts. They should take the opportunity to join lunch time or after-school clubs offering learning activities for creative writing, dance, drama, art, music, film or digital media (Henley, 2012). They should be equipped with knowledge and skills in the creation of theatre productions both as part of the show, as actors or behind-the-scene staff as well as external workers involved in marketing of the show, solicitation of sponsorships, launching of the show, show tours, etc. It would be good if they are provided an opportunity to organize a cultural event that they actually produce. Providing them the chance to interact with people from the creative and cultural industries (ex. Artists, writers, directors, musicians, actors, film makers, designers, dancers, etc.) to orient them on how it really is in the real world in terms of finding jobs and managing their careers enhances their knowledge and contributes to the deepening of their interest in cultural education. Such experiences help them get ready for the real work of theatre production in the future should they opt to pursue such a career. Finally, in the tertiary level of education where the youth enters college or university, what should be included in their learning of the theatre and cultural education are modules providing knowledge of employment opportunities within the creative and cultural industries, and actual internship in such careers. Their exposure and to further cultural experiences and hopefully, their participation in such events should continue. Henley (2012) concludes that in adopting his recommendations across the educational system in England “would result in a generation of culturally aware and culturally literate young people moving into adulthood with a genuine understanding of culture and the ability to make informed critical decisions about the cultural activities in which they engage later in their lives” (Henley, 2012, p. 28). 4. Strategies in Theatre Education I have learned that there are several strategies which can be implemented in the education of children and the youth about the things they should learn in theatre. Nelson (2011) suggests in-role drama. This is a tool that offers students opportunities to experiment with various solutions to problems which may seem complicated, while they are playing a role. For example, from my experience playing a domineering mother, I learn that some parents may unfairly treat their children and even underestimate their decision-making skills just because they are much younger and probably quite immature. While playing that role, I understand where the mother is coming from as well as the effect she has on her child due to being strict and closed to her daughter’s ideas. In-role drama deepens students’ perspective on things because they try to internalize the role and reflect on the character’s point of view. Thus, it develops empathy, critical thinking, sensitivity and broad-mindedness in students. Another strategy to help children and youth develop the creativity needed for the theatre is devising (Wessels, 2011). Also known as ‘playbuilding’ which is a huge part of democratic pedagogy, it refers to creative processes contributing to the learners’ ability to come up with original ideas (Govan, Nicholson and Normington, 2007). Devising entails dialogues that pertain to negotiation and deliberation promoting democratic learning. It is consistent with the concept of cultural democracy which is “predicated on direct public participation in the creation of a living, responsive culture” (Little, 2008, p. 158). It also aims to create harmony between individuals and the larger community they live in. Like in-role drama which pushes learners to think on their toes while playing a role, devising also activates the thinking and decision-making skills of individuals leading them to come up with constructive ideas on their own. This strategy trains children and youth become socially responsive and socially responsible. In contrast to In-role drama and devising, Distancing is one strategy in Drama education that allows an individual to ‘distance’ him/herself from the plot or situation to enable reflective thinking. Instead of pushing a student to come up with a quick idea while playing a role, distancing creates a space in between the actor and the situation. Eriksson (2011) claims that “Distancing is also a contribution to the rekindling of a more socially oriented drama teaching. It provides parameters within which themes and issues can be safely explored artistically, critically and educationally, and with a commitment for change” (p. 69). Heathcote (1976) suggests that removing oneself from the situation that provides a prejudicial view can result in enabling a new view or a new twist in something familiar. Perhaps, in learning to be an effective actor or director in theatre one not only needs to be subjective in interpreting the character but objective as well, as a result of distancing. It is quite ironic to be both at the same time, but the two opposing perspectives actually complement each other. Eriksson (2011) believes that drama education should encourage more reflection and exploration that distancing can provide instead of the expedience and delivery most students have been accustomed to. “A dynamic alternative, distancing offers a means of stimulating critical reflection through amazement, curiosity and surprise –which is a mark of scientific performance” (Eriksson, 2011, p. 69). Still another popular strategy in Drama education is Forum Theatre, which I have already discussed earlier. Ganguly (2011) suggests that it is one form of introspection when spectators are expected to be ‘spectactors’. The dichotomy that is encouraged to surface releases the potentials of the individual to think critically and evaluate reality in a more humanistic manner. The various strategies available for teachers in drama education allow them to choose methods to support opportunities for children and the youth to be more adept in theatre arts. Teachers should focus more on learner empowerment using constructivist approaches that provide children more power, choices and freedom to explore their own potentials. 5. Conclusion: Personal Advocacy in Teaching Theatre to the Youth I believe the most important things that children should learn from theatre education are Values, Empathy, Awareness of Social Responsibility and Interpersonal Skills. Exposure to a wide variety of stories, situations and circumstances of people enhances the development of the right values – the ones that children and the youth should bring with them as they grow into socially responsible, just and compassionate adults. I think Boal shares the same vision when he designed his forum theatre. Empathy is also something that effective drama education effectively imparts to its students. MCNaughton (2011) explains that learning to sympathise and empathise with the character and their situations personally involve children and the youth to develop their own powerful interpretations of the roles they are asked to play. It also calls upon their concern, understanding and compassion for others which are all keys to building good character. Awareness of social responsibility is planted in the hearts and minds of students when they are exposed to social issues presented in dramatic plays that encourage its audience to critically evaluate various situations and what they can do to contribute solutions to pressing problems. The strategies of process drama, in-role drama, playmaking curriculum helps learners explore their own power and make them realize that they can be agents of change (Boal, 2002; Nelson, 2011). Finally, the social nature of theatre and drama education encourages children and youth to come out of their shells and take part in group interactions and activities. The social lifeworld shared by teachers and students encourage collaboration in the process of meaning making and generation of ideas jointly understood by everyone (SÆBØ 2011; Rendtorff, 2004). Everyone takes part in negotiating a drama contract to work for the common good (O’Toole, 1992), building group trust and support for each member’s effort to contribute to a creative endeavour (McNaughton, 2011). In the process, everyone learns respect, consideration, effective communication and group harmony all go a long way in establishing and maintaining strong bonds of friendship and camaraderie. References Boal, A. 1992. Games for actors and non actors (A. Jackson, Trans.). London: Routledge. Boal, A. 2002. Games for actors and non-actors. New York: Routledge. Brown, S. 2009. Play: How it shapes the brain, Opens the imagination, and invigorates the soul. New York: Avery/Penguin Books. Counsell , C. 1996. Signs of performance : an introduction to twentieth century theatre. Routledge. Davis, D. & Lawrence, C. (Eds.) 1986. Gavin Bolton: Selected writings. London: Longman. Dunn, J. 2008. Play, drama and literacy in the early years. In J. Marsh & E. Hallet (Eds.), Desirable literacies: Approaches to language and literacy in the early years (pp. 162–182). London: Paul Chapman. Dunn, 2011. Child-structured socio-dramatic play and the drama educator. In Schonmann, Shifra, ed. 2011. Key concepts in theatre/drama education. Sense Publishers. Ch. 5. Eriksson, S.A. 2011. Distancing. In Schonmann, Shifra, ed. 2011. Key concepts in theatre/drama education. Sense Publishers. Ch. 11. Ferrari, V.N. 2011. Ethics in theatre/drama education. In Schonmann, Shifra, ed. 2011. Key concepts in theatre/drama education. Sense Publishers. Ch. 12. Ganguly, S. 2011. Theatre is hope, theatre is freedom. In Schonmann, Shifra, ed. 2011. Key concepts in theatre/drama education. Sense Publishers. Ch. 15. Gardner, H. 1983. Frames of Mind: The theory of multiple intelligences. New York: Basic Books. Goffman, E.1974. Frame analysis: An essay on the organization of experience. New York: Harper and Row Publishers. Govan, E., Nicholson, H. & Normington, K. 2007. Making a performance: Devising histories and contemporary practices. New York: Routledge. Heathcote, D. 1976. Of these seeds becoming. In R. B. Schuman (Ed.), Educational drama for today’s schools (pp. 1–40). New York: Scarecrow Press. Henley, D. 2012. Cultural Education in England. Depatment for Culture, Media and Sport. Crown. Jackson, A. 2007. Theatre, education and the making of meanings: Art or instrument? Manchester University Press. Johnstone, K. 1981. Impro: Improvisation and the theatre. New York: Routledge/Theatre Arts Books. Little, E. 2008. Towards a poetics of popular theatre: Directing and authorship in community-based work. In B. Barton (Ed.), Collective creation, collaboration and devising. Toronto: Playwrights Canada Press. Lyons, J. 2014. ‘David Camerons art failure as 19% fewer children attend music, theatre and dance lessons’,[internet] 04 August 2014. Available at: http://www.mirror.co.uk/news/uk-news/david-camerons-art-failure-19-3975640 McCammon, L.A., Sæbø, A.B. & O’Farell, L. 2011. “Creativity really comes by what’s inside of you.” In Schonmann, Shifra, ed. 2011. Key concepts in theatre/drama education. Sense Publishers. Ch. 35. McNaughton, M. 2011. Relationships in educational drama. In Schonmann, Shifra, ed. 2011. Key concepts in theatre/drama education. Sense Publishers. Ch. 20. Neelands, J. & OConnor, P. J. 2010. Creating Democratic Citizenship Through Drama Education The Writings of Jonothan Neelands, Stoke on Trent, UK ; Sterling, VA, Trentham Books Nelson, B. 2011. Power and community drama. In Schonmann, Shifra, ed. 2011. Key concepts in theatre/drama education. Sense Publishers. Ch. 13. O’Neill, C.1995. Drama worlds: A framework for process Drama. Portsmouth, NH: Heinemann. O’Toole, J. 1992. Emma’s dilemma: The challenge for teacher education in drama. In Schonmann, Shifra, ed. 2011. Key concepts in theatre/drama education. Sense Publishers. Ch. 2. Rendtorff, J.D. 2004. Fenomenologien og dens betydning/Phenomenology and its meaning. In I. L. Fuglsang & P. B. Olsen (red.), Videnskabsteori i samfunnsvidenskaberne. På tværs av fagkulturer og paradigmer (s. 277–308). Frederiksberg: Roskilde Universitetsforlag. Sæbø, A.B. 2011. The relationship between the individual And the collective learning process In drama. In Schonmann, Shifra, ed. 2011. Key concepts in theatre/drama education. Sense Publishers. Ch. 4. Wessels, A. 2011. Devising as pedagogy. In Schonmann, Shifra, ed. 2011. Key concepts in theatre/drama education. Sense Publishers. Ch. 21. Appendix What The Researcher Believes Should Be Included In an Ideal Curriculum for Cultural Education from Primary School to Tertiary Level (Adapted from Henley, 2012). Primary School Concepts & Skills Activities Reading Role-playing Designing character masks/costumes Designing props/ backdrop Motor Coordination Memorization of lines Improvisation Reading books Story-telling Arts & Crafts Music and Movement Dance Field trip to theatre, cinema, concert hall, museum, gallery, library or heritage site Middle School Concepts & Skills Activities Creative skills applied in Cultural Education subjects Composition Performing in front of an audience Using arts-specific vocabulary in evaluating artistic work Critical analysis of movies, novels, songs Technological skills Research skills/ library work Knowledge of art forms and its history Reading Notes Practice of culturally refined behaviours in cultural events Beginning film-making skills Sourcing cultural activities in community Developing and honing an understanding of different forms of cultural areas (for example: literature includes poetry, play texts, short stories and novels; music genres include classical, pop, hip hop, rock, jazz, folk, musical theatre and world). Story writing/ Play scripts Composition of songs Poetry Critiquing movies, literary work, songs, dance, performances, etc. Studying authors/ composers/ writers of artistic works and art forms Playing a musical instrument Performing in a choir Reading a wider collection of books, both fiction and non-fiction Joining Extra- curricular school clubs in relation to artistic and creative interests Exposure to a variety of cultural activities from all genres and countries. Secondary School Concepts & Skills Activities Developing and honing knowledge on a range of different aspects of culture and its historical development and context (Art, Drama, Design, Literature and Music) Knowledge and skill in theatre productions (both as part of the show and as external work such as marketing, sponsorships, launching, tours, etc.) Units in Humanities studies Individual/ Group work on creating a cultural activity Using digital technology for research and creative work Joining lunch time or after school clubs in areas such as creative writing, dance, drama, art, music, film or digital media. Exposure to careers in the Creative and Cultural industries and finding work experience in these areas if they wish to pursue it. Opportunity to be an Art Mentor to younger students Organizing a cultural event Meeting and interacting with cultural professionals (such as artists, writers, archivists, musicians, curators, technicians, film-makers, designers and dancers). Taking part in Theatre in Education activities Tertiary Level Concepts & Skills Activities Knowledge of employment opportunities within the Creative and Cultural Industries Internship in Creative and Cultural businesses Further sampling of more advanced cultural experiences Participation in cultural events within the university or community Regular critical discussion with people involved in cultural arts Source: Henley, D. 2012. Cultural Education in England. Depatment for Culture, Media and Sport. Crown. Read More