After
the online session and discussions with my SIG, I have been looking for
literature related to engagement and enjoyment in drama using the ideas of the
BAPP students: physicality, creativity and confidence. I have found the search
literature on this topic a little frustrating and I have felt this process has
been more disjointed than my previous literature search on general teaching
approaches that engage students (Professional Student-Teacher Relationships and Interesting Concepts). However I think it is important to
review this literature properly in order to establish a key question that arose
during my reading today.
Davies, S. (2014) ‘Creativity in Drama: Explanations and Explorations’
Drama Australia Journal, 33 (2), 31-44
I
began with the groups’ ideas that students enjoy the creativity involved in the
drama process. In her article, Davies (2014), establishes her aims for carrying
out this study as she sates that creativity is not often analysed and explored
within specific curriculum subjects. She first establishes a standpoint that
creativity can be used to enhance student engagement and outlines that the
articles aims to explore what creativity is in a drama setting (Davies
2014). I find it interesting that Davies
(2014) identifies that although little has been written specifically on drama
education, creativity is labeled as a desirable skill to have and, in
particular, an important human behaviour.
Furthermore,
she then uses the work of the NACCCE to explore the meaning of ‘creativity’
which she defines as, ‘imaginative activity fashioned so as to produce outcomes
that are both original and of value’ (Davies 2014 p33). I found her argument
that creativity is a process that produces something both new and useful
particularly poignant to my current studies into possible Artefacts for Module
3. This made me reflect upon my tutorial with Paula and realise that creativity
is not solely concerned with originality but purposefulness is equally as
important, something I must consider when creating my Artefact.
As
the article develops, Davies (2014) identifies several aspects that are
important in the process of creativity in drama: identity of individuals,
development to cultural links, interaction and communication. I found these
concepts linked closely with theory of ‘relevance’ in previous
literature I have studied and to the conversations with the BAPP Arts students.
In relation to her earlier arguments Davies (2014) identifies that these
features make drama more representative of real life situations, suggesting one
possible reason why students enjoy drama.
However,
this article was written as part of a very small-scale study by a relatively
unknown author, therefore I doubted the reliability of this information. I
realised that many of Davies (2014) arguments are very similar to Sir Ken
Robinson’s.
Robison, K. (2006) Do Schools Kill Creativity? https://www.ted.com/talks/ken_robinson_says_schools_kill_creativity [Accessed on 4th March 2016]
Ken
Robinson, a leading advocate and researcher in the field of creativity in
education, has argued for many years that schools do not allow the development
of creativity in young people (Robinson 2006). In his video for TED Talks,
Robinson (2014) states that children are persuaded away from subjects they
enjoy simply because they won’t be able to have a career in that field.
However, Robinson (2006) argues that one of the main problems with the
education system is that we are trying to educate young people for the future
when we have no conception of what the future will look like. Similarly, to
Davies (2014) he posits that, ‘we think about the world in all the way we
experience it. We think visually, we think in sound, we think kinesthetically,
we think in abstract terms, we think in movement’. In effect, all of these
aspects are involved in drama again providing reason why students enjoy and
engage in this experience. This relates to the online session, as one member
said that Drama can ‘feel like an escape’.
Robison, K. (2006) Do Schools Kill Creativity?https://www.ted.com/talks/ken_robinson_says_schools_kill_creativity [Accessed on 4th March 2016]
Zwirn, S. G. and Graham, M. (2005) ‘ Crossing Boarder: The Arts Engage Academics and Inspire Children’ Childhood Education, 81 (5), 267-273
This then led me to read an article by Zwirn and Graham (2005), which establishes a very strong stance in defending the arts against the perceived hierarchy of subjects. Firstly, the authors state that the arts can be very effective in educational settings (Zwirn and Grant 2005). In alignment with Davies (2014), they argue that, ‘The art have the potential to humanize the school experience’ (Zwirn and Graham 2005 p267). As the article progresses, Zwirn and Graham (2005) ascertain that the arts provide the connection between students’ lives and the school curriculum. This was a concept that I was interested in as it theorises that the arts provide ‘relevance’ to the curriculum.
Again, this article is written from a strong stance, and I questioned the bias of this piece of literature, even though I found the arguments supported many of the conversations I have had with my community of practice. It was also not a specific piece of literature exploring Drama and education.I did find the idea of ‘humanizing’ education intrigued me and I found myself wanting to explore in more detail.
Wright, P. R. (2006) ‘Drama education and development of self: Myth or reality?’ Social Psychology of Education, 9 (1), 43-65
Wright (2006) also theories that the essence of drama to take on the role of another person and interact with others is in itself is ‘broadly humanistic’ (Wright 2006 p43). However, he justifies his theories by identifying that drama activities facilitate students’ emotional and intellectual development (Wright 2006). Wright (2006) uses existing theories that self-concept and self-esteem are directly related to academic achievement, both of which have been considered to improve through drama-based activities by other academics and researchers. Again this matched what many in the BAPP Arts community believed about building confidence through drama. However, what I found particularly interesting at this point is that there seemed to be a divide in the literature: is drama a subject or is drama as a teaching approach to improve learning?
Freeman, G. D., Sullivan, K. and Fulton, C. R. (2003) ‘Effects of Creative Drama of Self-Concept, Social Skills, and Problem Behaviour’ Journal of Educational Research, 96 (3), 131-138
Freeman, Sullivan and Fulton (2003) examined the effects of drama activities on behaviour and social skills. From their study they state that, ‘creative drama’ is the ‘preferred term for dramatic experiences that are designed for the development of participants rather ten for preparing for performance before and audience’ (Freeman, Sullivan and Fulton 2003 p131). What fascinated me was that the authors argument that ‘Dramatic activities are holistic in nature, requiring participants to represent externally what takes place internal’ (Freeman, Sullivan and Fulton, 2003 p131). This concept linked to Robinson’s (2006) argument about how we experience life. I would like to explore and research the theory of the internal and external factors of drama having an impact on self-development further.
Anderson, C. (2004) ‘Learning in “As-If” Worlds: Cognition in Drama in Education’ Theory into Practice, 43 (4), 281-286
In his article, Anderson (2004) aims to draw connections between drama education and cognitive theory. Likewise, he argues that, ‘drama in education refers to the use of drama techniques to support learning in the class-room’ (Anderson 2004 p282). The definitions in the previous three articles have made me question my inquiry. I had been treating Drama and English as separate subjects, as they are taught this way in my place of work.
Thoughts and Questions…
I have found this part of the literature review difficult, as I often felt confused and frustrated. Although I feel I have touched on new theories that could inform my inquiry and provide me with some theories as to why students engage in drama, I am yet to find an any substantial literature that explores this topic in detail. Furthermore, I am now questioning the idea of ‘drama’. What is drama, a teaching approach or a subject? I need to continue to look for literature on these topics to expand my reasoning and look again and my inquiry questions to decide how I am defining drama in my inquiry.
Reference List
Anderson, C. (2004) ‘Learning in “As-If” Worlds: Cognition in Drama in Education’ Theory into Practice, 43 (4), 281-286
Davies, S. (2014) ‘Creativity in Drama: Explanations and Explorations’ Drama Australia Journal, 33 (2), 31-44
Freeman, G. D., Sullivan, K. and Fulton, C. R. (2003) ‘Effects of Creative Drama of Self-Concept, Social Skills, and Problem Behaviour’ Journal of Educational Research, 96 (3), 131-138
Robison, K. (2006) Do Schools Kill Creativity?https://www.ted.com/talks/ken_robinson_says_schools_kill_creativity [Accessed on 4th March 2016]
Wright, P. R. (2006) ‘Drama education and development of self: Myth or reality?’ Social Psychology of Education, 9 (1), 43-65
Zwirn, S. G. and Graham, M. (2005) ‘ Crossing Boarder: The Arts Engage Academics and Inspire Children’ Childhood Education, 81 (5), 267-273
Hi Jess,
ReplyDeleteYou say that Ken Robinson questions whether schools are killing students creativity and that we are too concerned about getting children ready for set careers in the future. Do you feel that you approached your future planning like that as a young person?
I think that I was lucky as a young person in secondary school because I had a good interest in school and I had my passion for performing outside of school which is what I ultimately decided to pursue. My mum was always of the view - do what you want - but whatever you do - do it to the best of your ability.
I also think that it is a lot of pressure on a young person to decide early on what their career will be. However, I think that if you are a person who works hard and knows what they are good at you will find a way to make things work for you.
My mum is very much my inspiration - her career has changed and developed over time and she always does everything to the best of her ability. It is difficult to navigate your way through the world of work especially deciding what to do at 17/18 - you have 40 plus years of working ahead of you. It's likely that things will change and will be surprised by the opportunities that come your way. Surely it is best you do something you are good at and you are passionate to learn more about and develop in.
Lisa x
Hi Lisa,
DeleteIn terms of my own career plans, I don't think I did. I think the argument Robinson is making is that the arts and creativity are not considered in the same way as other 'academic subjects'. I personally did not take either Drama, Dance or Music as an option at school and only studied these outside of my school time.
What I found particularly interesting are Robinson's arguments that we are preparing students for a certain future when we actually have no idea what the future will look like. Like you say, it is difficult enough to decide on a career, let alone in a climate where technology and society are developing so rapidly.
Jess.