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Syftet med denna systematiska litteraturstudie är att undersöka vad nationell och internationell forskning från de senaste två decennierna har att säga om dramapedagogik. Därtill har studien för avsikt att undersöka vad som kan uppnås genom att använda dramapedagogik i undervisningen och hur det påverkar elevernas utveckling. Materialet har valts ut genom databassökningar och manuella sökningar. Därefter har materialet analyserats och kategoriserats och 18 kvalitativa och kvantitativa vetenskapliga texter har valts ut. De aktuella studierna är publicerade i åtta olika länder, mellan år 2000 och år 2023. Resultatet av studien pekar på att dramapedagogik är ett gynnsamt verktyg i undervisning. Forskningen visar en samstämd bild av att pedagogiskt drama både täcker in och stärker arbetet med värdegrundsfrågor, samt inlärning av rena ämneskunskaper. Det finns starka belägg för att pedagogiskt drama gynnar elevers personliga utveckling, empatiska förmåga, gruppkänsla och motivation. En del av forskningen säger att lärare gärna vill arbeta mer med dramapedagogik, men att de upplever brist på både kunskap och tid för undervisningsmetoden.

Syftet med denna systematiska litteraturstudie är att undersöka vad nationell och internationell forskning från de senaste två decennierna har att säga om dramapedagogik. Därtill har studien för avsikt att undersöka vad som kan uppnås genom att använda dramapedagogik i undervisningen och hur det påverkar elevernas utveckling. Materialet har valts ut genom databassökningar och manuella sökningar. Därefter har materialet analyserats och kategoriserats och 18 kvalitativa och kvantitativa vetenskapliga texter har valts ut. De aktuella studierna är publicerade i åtta olika länder, mellan år 2000 och år 2023. Resultatet av studien pekar på att dramapedagogik är ett gynnsamt verktyg i undervisning. Forskningen visar en samstämd bild av att pedagogiskt drama både täcker in och stärker arbetet med värdegrundsfrågor, samt inlärning av rena ämneskunskaper. Det finns starka belägg för att pedagogiskt drama gynnar elevers personliga utveckling, empatiska förmåga, gruppkänsla och motivation. En del av forskningen säger att lärare gärna vill arbeta mer med dramapedagogik, men att de upplever brist på både kunskap och tid för undervisningsmetoden.

Values clarification, värderingsövningar, is a participant-activating method including various techniques to reflect important but difficult questions of values and ethics. Although values clarification is a widespread, well-known and appreciated method in schools, municipalities, governmental authorities, NGOS etc., criticism and problematization have also arisen in recent years (Löf, 2011; Zettervist & Kvist Lindholm, 2012; Mattsson, 2019). Among other things, criticism has to do with risk-taking in the peer group when students express their opinion on a question (Andersson, 2019). Working with teacher education we have in recent years felt there is something that squeaks in the use of values clarification. We notice that the conversation climate has become more sensitive and sometimes a mined ground. Informal collegial reflections concluded that it seems that one of the very basic premises of values clarification, a democratic society, is no longer taken for granted as a common platform by the students. It might also be that many educators, including ourselves, have been careful to create a safe space with the participants but perhaps not understanding the extent of the threats, which make participation in values clarification risky for the students in several ways (Callan, 2016). This paper presents a knowledge overview on Nordic research that gather the method's advantages and disadvantages. This might be of certain interest for drama practitioners since values clarification has become an important tool within our profession. The paper is part of a research project that explore and develops values clarification and in doing so expose ethical and didactic dilemmas.

Drama beskrivs i forskning främja positiva egenskaper hos individer i förhållande till sin omvärld. I förskolans läroplan (Skolverket, 2018) lyfts drama fram som en uttrycksmetod för lärande i andra ämnen och inte som en viktig konstform i sig. Syftet med studien är att öka kunskap om förskollärares syn på drama i förskolan. Studien har genomförts ur en fenomenografisk metodansats och består av åtta semistrukturerade intervjuer. Intervjuerna har samlat in de uppfattningar förskollärarna har av fenomenet drama i förskolan. Resultatet visar att det finns varierande uppfattningar kring vad drama i förskolan är, hur den används och varför. Ur detta tolkades fyra beskrivningskategorier fram, där den mest framstående, som nämndes av samtliga förskollärare, var dramats plats i barns lek. Resultatet visar även varierande uppfattningar av vilka förutsättningar förskollärarna beskriver att de behöver för att arbeta med drama. Även här tolkades fyra beskrivningskategorier fram där den beskrivning som förekom i högst utsträckning var prioriteringar. Förskollärarna beskriver att andra ämnen ofta prioriteras före drama och att detta gör att drama inte bedrivs i samma utsträckning., Drama is described in research that it promotes positive characteristics in individuals in relation to their surrounding environment. In the preschool curriculum (Skolverket, 2018), drama is highlighted as a method of expression for learning in other subjects and not as an important art form. The purpose of this study is to increase knowledge about preschool teachers' view of drama in preschool. The study has been carried out from a phenomenographic method approach and consists of eight semi-structured interviews. The interviews have collected the preschool teachers' conceptions of the phenomenon drama in preschool. The results show that there are varying conceptions of what drama in preschool is, how it is used and why. From this, four categories of description were interpreted, where the most prominent, mentioned by all preschool teachers, was drama in children's play. The results also show varying conceptions of what preschool teachers describe that they need to be able to work with drama. Here, too, four description categories were interpreted, where the description that occurred to the highest extent was priorities. The preschool teachers describe that other subjects often are prioritized before drama, and that this means that drama is not conducted to the same extent.

This case study research aimed to explore, understand, and compare the experiences of individuals participating in a heterogeneous adult community drama class in Central Sweden. Drawing from classical pragmatism and employing a conceptual framework rooted in sociocultural theory, the study utilized semi-structured interviews, open-questionnaire responses, and participant observations to collect data which was analyzed through reflexive thematic analysis. Key findings indicated that participants generally viewed their engagement in the class positively while also recognizing the challenges and complexities of working within a mixed-language level group. As such, participants identified diverse motivations and preferences which informed their expectations and impressions of participation. As well, Swedish L2 learners of various levels and Swedish L1 speakers identified distinct challenges and opportunities in relation to learning and navigating language within the class context. Despite identified challenges, the high degree of group diversity emerged as a centrally important and beneficial feature of participation by facilitating opportunities to learn and assist one another in a supportive community environment through mediation. Subsequently this paper offers recommendations for transferable contexts to mitigate language-related challenges based on participant accounts and observations. Moreover, this study seeks to contribute to the fields of comparative education and applied drama through its focus on exploring and examining possibilities and consequences of heterogenous group learning among adults and in a community drama class. Consequently, the results of the study may be useful in adult education settings, applied drama contexts, and among policymakers interested in exploring participatory learning approaches, particularly in relation to supporting migrant individuals and migrant integration.

This case study research aimed to explore, understand, and compare the experiences of individuals participating in a heterogeneous adult community drama class in Central Sweden. Drawing from classical pragmatism and employing a conceptual framework rooted in sociocultural theory, the study utilized semi-structured interviews, open-questionnaire responses, and participant observations to collect data which was analyzed through reflexive thematic analysis. Key findings indicated that participants generally viewed their engagement in the class positively while also recognizing the challenges and complexities of working within a mixed-language level group. As such, participants identified diverse motivations and preferences which informed their expectations and impressions of participation. As well, Swedish L2 learners of various levels and Swedish L1 speakers identified distinct challenges and opportunities in relation to learning and navigating language within the class context. Despite identified challenges, the high degree of group diversity emerged as a centrally important and beneficial feature of participation by facilitating opportunities to learn and assist one another in a supportive community environment through mediation. Subsequently this paper offers recommendations for transferable contexts to mitigate language-related challenges based on participant accounts and observations. Moreover, this study seeks to contribute to the fields of comparative education and applied drama through its focus on exploring and examining possibilities and consequences of heterogenous group learning among adults and in a community drama class. Consequently, the results of the study may be useful in adult education settings, applied drama contexts, and among policymakers interested in exploring participatory learning approaches, particularly in relation to supporting migrant individuals and migrant integration.

Drama beskrivs i forskning främja positiva egenskaper hos individer i förhållande till sin omvärld. I förskolans läroplan (Skolverket, 2018) lyfts drama fram som en uttrycksmetod för lärande i andra ämnen och inte som en viktig konstform i sig. Syftet med studien är att öka kunskap om förskollärares syn på drama i förskolan. Studien har genomförts ur en fenomenografisk metodansats och består av åtta semistrukturerade intervjuer. Intervjuerna har samlat in de uppfattningar förskollärarna har av fenomenet drama i förskolan. Resultatet visar att det finns varierande uppfattningar kring vad drama i förskolan är, hur den används och varför. Ur detta tolkades fyra beskrivningskategorier fram, där den mest framstående, som nämndes av samtliga förskollärare, var dramats plats i barns lek. Resultatet visar även varierande uppfattningar av vilka förutsättningar förskollärarna beskriver att de behöver för att arbeta med drama. Även här tolkades fyra beskrivningskategorier fram där den beskrivning som förekom i högst utsträckning var prioriteringar. Förskollärarna beskriver att andra ämnen ofta prioriteras före drama och att detta gör att drama inte bedrivs i samma utsträckning., Drama is described in research that it promotes positive characteristics in individuals in relation to their surrounding environment. In the preschool curriculum (Skolverket, 2018), drama is highlighted as a method of expression for learning in other subjects and not as an important art form. The purpose of this study is to increase knowledge about preschool teachers' view of drama in preschool. The study has been carried out from a phenomenographic method approach and consists of eight semi-structured interviews. The interviews have collected the preschool teachers' conceptions of the phenomenon drama in preschool. The results show that there are varying conceptions of what drama in preschool is, how it is used and why. From this, four categories of description were interpreted, where the most prominent, mentioned by all preschool teachers, was drama in children's play. The results also show varying conceptions of what preschool teachers describe that they need to be able to work with drama. Here, too, four description categories were interpreted, where the description that occurred to the highest extent was priorities. The preschool teachers describe that other subjects often are prioritized before drama, and that this means that drama is not conducted to the same extent.

Prior to the 1990s, the term “arts integration” rarely—if ever—appeared in educational literature. The term may be new, but educators have been involving students in arts learning processes for centuries. In particular, teachers have long harnessed the power of drama to engage students in arts-integrated learning activities. Articles and books published between 1903 and 2018 reveal that student-written scripts comprised classroom learning activities in social studies, literature, and even science courses. Briefly contextualized in prevailing American educational ideologies, this research examines the history of the use of scriptwriting as an educational tool, sharing what teachers and students did, how they did it, how they described it, and why they endorse scriptwriting as a learning activity. The generations of teachers who authored the articles about their practices report academic and social benefits for their students as well as professional satisfaction for themselves. Their ideas, methods, topics, and insights may serve as validation and motivation for current educators. The goal of this research is to encourage today’s educators by familiarizing them with the significant history of this work and challenging them to continue to promote and implement artistic ways of learning.

The background for this study is the immediate readjustment to distance work for drama- and theatrepedagocial-education due to the Covid-19 pandemic during the spring of 2020. Central for these educations is the focus on interplay, aesthetic processes, leadership and physical embodiment, which heavily relies on interaction together with the group in a common physical space. Because of this, the educations were introduced to several challenges when the classroom was replaced with a digital room. In this study, I have researched teacher’s perceptions of challenges and opportunities’ in regards to distance education through a phenomenographic approach. The empirical data for this study have been gathered through 8 in-depths interviews with teachers at drama- and theaterpedagocial educations in Sweden. The result shows that the teachers in this study perceive the conditions to operate full time drama- and theatrepedagocial-education on distance are limited. The reasons for this is that the teachers experience essential moments in the education, especially physical embodiment and leadership training, as limiting. However, the teacher describe that they have learned a lot from distance teaching and that they perceive opportunities with some elements of distant teaching. Opportunities with distant education that the teachers present are the ability to include participants on a digital platform that for different reasons cannot participate in the classroom. The experience of distance work has created possibilities to invite guest lecturers from around the world through a link. Teachers also perceive possibilities to keep in contact with student groups that are spread out in different geographical locations during longer internship periods. Difficulties with distance education are teacher perceptions of digital education being tiresome for both teachers and students, since energy and focus disappear in distance work. The teachers in this study describe great difficul, Bakgrunden till den här studien är den omedelbara omställningen till distansarbete för drama- och teaterpedagogutbildningarna på grund av Covid -19 våren 2020. Centralt i dessa utbildningar är att fokus ligger på samspel, estetiska processer, ledarskap och fysisk gestaltning, vilka i stor del bygger på att undervisningen sker tillsammans med gruppen i samma rum. Därför ställdes utbildningarna inför en hel del utmaningar när klassrummet byttes ut mot ett digitalt rum. I den här studien har jag med fenomenografisk ansats undersökt lärares uppfattningar om möjligheter och svårigheter med distansundervisning. Studiens empiriska underlag har hämtats från intervjuer med 8 lärare vid drama- och teaterpedagogutbildningar i Sverige. Studien resulterade i ett utfallsrum med 4 beskrivningskategorier: Drama på distans som: luckor i fundamentet, trubbiga verktyg, separerade arbetsytor, och ny design. Resultatet visar att lärarna i denna studie uppfattar att förutsättningarna för att bedriva drama- och teaterpedagogutbildningar som heltidsstudier på distans som begränsande. Anledningen till detta är att grundläggande moment i utbildningarna, som gemensamt fysiskt gestaltande och ledarskapsträning, är svåra att genomföra. Däremot beskriver lärarna att de fått med sig en hel del ny kunskap och erfarenhet av distansarbetet och ser möjligheter med att använda sig av vissa moment i utbildningarna på distans. Möjligheter med distansarbete som lärarna i studien pekar på är att det går att inkludera deltagare, som av olika anledningar inte kan närvara i klassrummet, genom att ha med dem på en digital platta. Erfarenheten av distansarbete har även skapat förutsättningar för att bjuda in gästföreläsare från hela världen via länk. Lärarna uppfattar dessutom att det finns möjligheter att hålla kontakt med studentgrupperna då dessa befinner sig utspridda på olika platser för längre praktikperioder. Svårigheter med distansarbete enligt studien är att lärarna uppfattar det digitala arbetet

The background for this study is the immediate readjustment to distance work for drama- and theatrepedagocial-education due to the Covid-19 pandemic during the spring of 2020. Central for these educations is the focus on interplay, aesthetic processes, leadership and physical embodiment, which heavily relies on interaction together with the group in a common physical space. Because of this, the educations were introduced to several challenges when the classroom was replaced with a digital room. In this study, I have researched teacher’s perceptions of challenges and opportunities’ in regards to distance education through a phenomenographic approach. The empirical data for this study have been gathered through 8 in-depths interviews with teachers at drama- and theaterpedagocial educations in Sweden. The result shows that the teachers in this study perceive the conditions to operate full time drama- and theatrepedagocial-education on distance are limited. The reasons for this is that the teachers experience essential moments in the education, especially physical embodiment and leadership training, as limiting. However, the teacher describe that they have learned a lot from distance teaching and that they perceive opportunities with some elements of distant teaching. Opportunities with distant education that the teachers present are the ability to include participants on a digital platform that for different reasons cannot participate in the classroom. The experience of distance work has created possibilities to invite guest lecturers from around the world through a link. Teachers also perceive possibilities to keep in contact with student groups that are spread out in different geographical locations during longer internship periods. Difficulties with distance education are teacher perceptions of digital education being tiresome for both teachers and students, since energy and focus disappear in distance work. The teachers in this study describe great difficul, Bakgrunden till den här studien är den omedelbara omställningen till distansarbete för drama- och teaterpedagogutbildningarna på grund av Covid -19 våren 2020. Centralt i dessa utbildningar är att fokus ligger på samspel, estetiska processer, ledarskap och fysisk gestaltning, vilka i stor del bygger på att undervisningen sker tillsammans med gruppen i samma rum. Därför ställdes utbildningarna inför en hel del utmaningar när klassrummet byttes ut mot ett digitalt rum. I den här studien har jag med fenomenografisk ansats undersökt lärares uppfattningar om möjligheter och svårigheter med distansundervisning. Studiens empiriska underlag har hämtats från intervjuer med 8 lärare vid drama- och teaterpedagogutbildningar i Sverige. Studien resulterade i ett utfallsrum med 4 beskrivningskategorier: Drama på distans som: luckor i fundamentet, trubbiga verktyg, separerade arbetsytor, och ny design. Resultatet visar att lärarna i denna studie uppfattar att förutsättningarna för att bedriva drama- och teaterpedagogutbildningar som heltidsstudier på distans som begränsande. Anledningen till detta är att grundläggande moment i utbildningarna, som gemensamt fysiskt gestaltande och ledarskapsträning, är svåra att genomföra. Däremot beskriver lärarna att de fått med sig en hel del ny kunskap och erfarenhet av distansarbetet och ser möjligheter med att använda sig av vissa moment i utbildningarna på distans. Möjligheter med distansarbete som lärarna i studien pekar på är att det går att inkludera deltagare, som av olika anledningar inte kan närvara i klassrummet, genom att ha med dem på en digital platta. Erfarenheten av distansarbete har även skapat förutsättningar för att bjuda in gästföreläsare från hela världen via länk. Lärarna uppfattar dessutom att det finns möjligheter att hålla kontakt med studentgrupperna då dessa befinner sig utspridda på olika platser för längre praktikperioder. Svårigheter med distansarbete enligt studien är att lärarna uppfattar det digitala arbetet

Hemos realizado un diseño de intervención para mejorar las habilidades sociales de los alumnos con Trastorno del Espectro Autista, de forma que les proporcione mayor independencia en su vida futura, así como relaciones sociales eficientes. Como entendemos que en las interacciones sociales intervienen dos partes, trabajaremos el desarrollo de estas destrezas con este alumnado, al mismo tiempo que actuamos con el resto de la clase. En nuestro empeño por buscar la inclusión de estas personas en el aula y en la sociedad, creemos que es importante trabajar estos contenidos, de aceptación del otro y empatía, con el resto de los alumnos. Para alcanzar nuestros objetivos, hemos elegido la dramatización como metodología de la intervención. Las múltiples posibilidades de esta herramienta y los beneficios que aporta en al aula, nos hacen ver que es la metodología idónea para esta intervención. Además, comprobamos que tiene un gran respaldo en el ámbito educativo en numerosos países. Esta intervención, atendiendo a la realidad de las aulas, está compuesta de dos partes: una para llevar a cabo en un Aula de Educación Específica, y otra para trabajar conjuntamente en el Aula Ordinaria. El diseño de esta intervención estaba pensado para llevarlo a la práctica en un centro escolar, pero debido a la situación actual con la alerta sanitaria por el COVID-19, esto no ha sido posible. Sin embargo, esto nos ha ofrecido la oportunidad de hacer un diseño diferente con mayores posibilidades, ampliando la visión inicial del proyecto. A pesar de la situación y no haberlo podido llevar a cabo, esperamos que ayude a los centros que persigan la inclusión de los alumnos con TEA y a estos alumnos., We have designed an educational intervention to improve the social skills of students with Autism Spectrum Disorder to provide them with a higher independence in their future life and with efficient social relationships. Understanding the social relations with the intervention of two parts, we are going to work the development of these skills with these students while we are going to work with the whole class. In our effort to work for the inclusion of these children in the classroom and in the society, we find very important to work the contents of acceptance and empathy with the rest of the students. To reach our aims we have chosen the drama in education as the intervention methodology. The multiple possibilities of this tool and the profits that it provides to the class make us see that it’s the perfect methodology 6 for this intervention. In addition, we proof that it has got a great support in the educational ambit in many countries. This intervention, considering the reality of the classrooms, has got two parts: one of them to be developed in the Specific Education Classroom and the other one to work jointly in the ordinary classroom. The desingn of this intervention was intended to developed in an educational center but because of the actual situation with the health alert decreed by COVID-19, it has been imposible. Nevertheless, it has provided us with the possibility of creating a different desing with greater possibilities, expanding the initial visión of the Project. Despite the situation and been unable to carry it out, we hope it will help the educational centers that pursue the inclusión of studients with ASD and these students.

This study studies teachers’ use of drama when teaching English in grades 4-6. The material has been collected through semi structured interviews with five teachers. The study concludes that teachers use drama to increase the pupils’ eagerness to learn through variation and commitment. Teachers list passion for the language and the opportunity it creates to work with dialogue in near authentic situations among the advantages of working with drama. Among the disadvantages teachers mention the time and energy required for both planning and conducting this kind of teaching. Teachers agree that the curriculum for English is their starting point when planning classroom activities. Teachers also agree that the knowledge requirement concerning pupils spoken language is the most obvious one to be reached through drama. The teachers can also be said to do things that are not part of the curriculum. However, those tasks can be considered essential stepping stones for pupils to find courage to express themselves. Some pupils reach knowledge requirements through drama, while there are indications that others need drama to build appropriate skills to be able to reach requirements at a later stage. Teachers are in agreement that drama should be seen as part of a long-term method to vary teaching and work with pupils around skills and towards knowledge requirements as described in the curriculum for English., Studiens syfte är att undersöka lärares användning av drama i engelskundervisning i årskurs 4–6. Materialet för studien har inhämtats genom halvstrukturerade intervjuer med fem lärare. En slutsats av studien är att lärare använder drama i syfte att nå ett lustfyllt lärande genom variation och engagemang. Olika typer av övningar beskrivs, med dialogen och talad engelska i fokus. Bland fördelarna att arbeta med drama nämns lusten till språket och möjligheten att träna dialog i nära autentiska sammanhang. Bland nackdelarna nämns tid och energi som krävs av läraren, i planering och genomförande av sådan undervisning. Kursplanen i engelska ses som utgångspunkt för de intervjuade lärarna, där kunskapskrav kring det talade språket kan uppnås. Lärarna gör även sådant som kan sägas vara utanför kursplanen i engelska, men som kan vara nödvändiga mellansteg för att få elever att våga uttrycka sig på engelska. Vissa elever når kunskapskrav genom och under tillfällen med drama, medan det finns tecken på att andra behöver drama för att bygga nödvändiga kunskaper för att vid annat tillfälle kunna nå kunskapskraven. Lärarna är överens om att drama ses som en del av en långsiktig metod för att variera undervisningen och arbeta med elever kring förmågor och mot de kunskapskrav kursplanen i engelska beskriver.

The present work describes the process of design and validation of a Battery (T&Y: "El teatro y yo". Theatre and me), designed to evaluate the perception that young people have about the theatrical experience and its impact on their own personal development. A total of 305 young people completed the different versions of the instrument. Their conversations were recorded and later analyzed. The analysis of the items and scales properties (asymmetry, kurtosis, factorial structure, etc.) helped to eliminate those items that did not meet the criteria and to improve the three scales that make up the battery. The results show that the whole battery and its questionnaires have adequate psychometric characteristics that guarantee both its reliability and its validity. The battery can be a useful tool for teachers and trainers to evaluate the effect of drama practice on young people’s development., A prática teatral é um recurso educacional de grande potencial no campo da intervenção no desenvolvimento psicossocial dos jovens. Este artigo descreve o processo de design e validação da bateria “El teatro y yo", projetada para avaliar a perceção que os jovens têm sobre sua experiência no teatro e seu impacto no seu próprio desenvolvimento pessoal. Um total de 305 jovens completou as diferentes versões do instrumento. O processo de análise das propriedades dos itens e escalas (assimetria, curtose, estrutura fatorial, etc.) permitiu a eliminação dos itens que não atendem aos critérios de qualidade e a purificação das três escalas que compõem a bateria. Os resultados mostram que a versão final da bateria possui características psicométricas adequadas que garantem sua confiabilidade e validade. A bateria “El teatro y yo” pode ser um instrumento útil para professores e formadores avaliarem o efeito da prática teatral no desenvolvimento dos jovens., La práctica teatral es un recurso educativo de gran potencial en el ámbito de la intervención sobre el desarrollo psicosocial de los jóvenes. El presente trabajo describe el proceso de diseño y validación de la batería “El teatro y yo”, diseñada para evaluar la percepción que los jóvenes tienen sobre su experiencia teatral y, también, el impacto de ésta sobre su propio desarrollo personal. Un total de 305 jóvenes cumplimentaron las diferentes versiones del instrumento. El proceso de análisis de las propiedades de los ítems y de las escalas (asimetría, curtosis, estructura factorial, etc.) permitió la eliminación de aquellos ítems que no cumplen con los criterios de calidad y la depuración de las tres escalas que componen la batería. Los resultados ponen de manifiesto que la versión final de la batería presenta características psicométricas adecuadas que avalan tanto su fiabilidad como su validez. La batería “El Teatro y yo” puede ser un instrumento útil para el profesorado y los formadores para evaluar el efecto de la práctica teatral sobre el desarrollo de los jóvenes.

This article, of an essayistic nature, is aimed at exploring the possible synergies that could be established between the dialogical educational paradigm, the performing arts and peace research. Based on an interdisciplinary dialogue between peace studies and educational-artistic research, it offers a theoretical review of a critical nature around the peaceful values contained in the educational paradigm of dialogue and education through the performing arts. Firstly, a conceptual framework is established around Peace Research, outlining concepts such as the Culture of Peace, the positive peace of Johan Galtung and the imperfect peace of Francisco Muñoz. This will offer the reader the interpretative keys to understanding the mapping of the contributions to building a Culture of Peace that we find in education through art that will be offered later. The educational paradigm of dialogue will be the pedagogical approach that will be used as a theoretical framework for this contribution., Este artículo, de corte ensayístico, se dirige a explorar las posibles sinergias entre el paradigma educativo dialógico, las artes escénicas y la investigación para la paz. A partir de un diálogo interdisciplinar entre los estudios para la paz y la investigación educativo-artística, se ofrece una revisión teórica de naturaleza crítica en torno a los valores pacíficos que alberga el paradigma educativo del diálogo y la educación a través de las artes escénicas. En primer término, se establece un marco conceptual en torno a la Peace Research, desgranando conceptos como son la Cultura de Paz, la paz positiva de Johan Galtung y la paz imperfecta, de Francisco Muñoz. Esto ofrecerá a la lectora o lector las claves interpretativas para comprender la cartografía de los aportes de construcción de Cultura de Paz que encontramos en la educación a través del arte que después se ofrecerá. El paradigma educativo del diálogo será el enfoque pedagógico del que se partirá para enmarcar teóricamente este aporte.

This study studies teachers’ use of drama when teaching English in grades 4-6. The material has been collected through semi structured interviews with five teachers. The study concludes that teachers use drama to increase the pupils’ eagerness to learn through variation and commitment. Teachers list passion for the language and the opportunity it creates to work with dialogue in near authentic situations among the advantages of working with drama. Among the disadvantages teachers mention the time and energy required for both planning and conducting this kind of teaching. Teachers agree that the curriculum for English is their starting point when planning classroom activities. Teachers also agree that the knowledge requirement concerning pupils spoken language is the most obvious one to be reached through drama. The teachers can also be said to do things that are not part of the curriculum. However, those tasks can be considered essential stepping stones for pupils to find courage to express themselves. Some pupils reach knowledge requirements through drama, while there are indications that others need drama to build appropriate skills to be able to reach requirements at a later stage. Teachers are in agreement that drama should be seen as part of a long-term method to vary teaching and work with pupils around skills and towards knowledge requirements as described in the curriculum for English., Studiens syfte är att undersöka lärares användning av drama i engelskundervisning i årskurs 4–6. Materialet för studien har inhämtats genom halvstrukturerade intervjuer med fem lärare. En slutsats av studien är att lärare använder drama i syfte att nå ett lustfyllt lärande genom variation och engagemang. Olika typer av övningar beskrivs, med dialogen och talad engelska i fokus. Bland fördelarna att arbeta med drama nämns lusten till språket och möjligheten att träna dialog i nära autentiska sammanhang. Bland nackdelarna nämns tid och energi som krävs av läraren, i planering och genomförande av sådan undervisning. Kursplanen i engelska ses som utgångspunkt för de intervjuade lärarna, där kunskapskrav kring det talade språket kan uppnås. Lärarna gör även sådant som kan sägas vara utanför kursplanen i engelska, men som kan vara nödvändiga mellansteg för att få elever att våga uttrycka sig på engelska. Vissa elever når kunskapskrav genom och under tillfällen med drama, medan det finns tecken på att andra behöver drama för att bygga nödvändiga kunskaper för att vid annat tillfälle kunna nå kunskapskraven. Lärarna är överens om att drama ses som en del av en långsiktig metod för att variera undervisningen och arbeta med elever kring förmågor och mot de kunskapskrav kursplanen i engelska beskriver.

The purpose is to investigate process drama for teaching civics, mainly democracy and migration. Process drama implies students and teacher to take on roles, to explore a subject content collectively. The study is based on a secondary school educational initiative where a drama pedagogue was invited to address civics through process drama. Four civic lessons were video recorded and analyzed through an activity theory framework. From this perspective, process drama can be understood as two activities with different motives/objects, the educational and the fictional, where the fictional activity should have a playful format. The results show that the dialogical approach used by the drama pedagogue created a democratic opportunity and also established the playful format. The students' engagement was notably high. However, it was obvious there were no challenging or probing questions being asked by the drama pedagogue or the civics teacher, neither in nor out of role. As a consequence, the full learning potential of process drama in civics education could not be achieved. We suggest a co-teaching approach between civic teachers and drama pedagogues, to overcome challenges in using process drama in civic education for learning objectives to be attained.

Theatres and museums share many similarities with each other. Therefore, it can be beneficial for museums to use the potential that performance and museum theatre can provide. The aim of this analysis is to gain a better understanding for museums’ reasons to use drama as an educational method and the different forms of drama that are being used. The following research is a comparative analysis of the use of the theatrical play “The Wider Earth” at London’s Natural History Museum as an educational tool and the active use of creative drama in Swedish museums. The main source material consists of qualitative textual data, collected by means of semi-structured interviews with staff members of all participating museums. For an additional perspective, an interview was conducted with one of the theatrical play’s visitors and my own observations of the play were considered. The theoretical frame for this analysis consists of performance theory, Susan Bennett’s model of theatre audience’s experience and Dorothy Heathcote’s and Gavin Bolton’s view on drama as a learning medium. The empirical source material was analysed by means of content analysis. The results show that more could have been done to incorporate “The Wider Earth” into the museum’s educational program to achieve a better visitor experience. The Swedish museums that are part of this research use different forms of creative drama, but the overarching goal is to combine memorable experiences with education. The main conclusion to this research is that the museum visitor plays a considerable part in every form of creative drama in the museum space because the holistic experience is created by visitor and museum together. This is a two years master’s thesis in Museum and Cultural Heritage Studies.

Theatres and museums share many similarities with each other. Therefore, it can be beneficial for museums to use the potential that performance and museum theatre can provide. The aim of this analysis is to gain a better understanding for museums’ reasons to use drama as an educational method and the different forms of drama that are being used. The following research is a comparative analysis of the use of the theatrical play “The Wider Earth” at London’s Natural History Museum as an educational tool and the active use of creative drama in Swedish museums. The main source material consists of qualitative textual data, collected by means of semi-structured interviews with staff members of all participating museums. For an additional perspective, an interview was conducted with one of the theatrical play’s visitors and my own observations of the play were considered. The theoretical frame for this analysis consists of performance theory, Susan Bennett’s model of theatre audience’s experience and Dorothy Heathcote’s and Gavin Bolton’s view on drama as a learning medium. The empirical source material was analysed by means of content analysis. The results show that more could have been done to incorporate “The Wider Earth” into the museum’s educational program to achieve a better visitor experience. The Swedish museums that are part of this research use different forms of creative drama, but the overarching goal is to combine memorable experiences with education. The main conclusion to this research is that the museum visitor plays a considerable part in every form of creative drama in the museum space because the holistic experience is created by visitor and museum together. This is a two years master’s thesis in Museum and Cultural Heritage Studies.

The aim of the thesis is to deepen the understanding of role taking and the function of role for developing and exploring the possible content in process drama, with the help of Leontiev’s activity theory and Bakhtin’s dialogism. The relation between role taking, aesthetic engagement and the concept of perezhivanie, used by Vygotsky, is also reflected on and used as analytical tools. A starting point for the study was Bundy’s concept of aesthetic engagement. Previous research about process drama has focused on three main themes: teaching and learning a subject matter, engagement, and creative leadership. The purpose of this study is to contribute to the knowledge base on how role is created and maintained in process drama, thereby making it possible to develop and explore a thematic content. One single process drama conducted at an English secondary school is closely analysed in the thesis. A whole day session was filmed, transcribed and interpreted into thick descriptions. Interviews and letters written in role are used as complementary data. This made it possible to focus on nuances and subtle changes in the complexity that characterizes a process drama, and to focus on how the students’ role taking starts and develops. The results from the detailed analysis showed, from an activity theory perspective, that process drama can be understood as two activities with two different motives/objects. These two are an educational activity with learning drama as motive/object and a temporary fictional activity where the motive/object is tentative and under construction through the pupils’ in-role-actions. Actions deriving from the educational activity should not be allowed to influence the fictional, otherwise the fictional activity will be diminished. How the teacher used power levelling postupaks, when opening dilemmas, and teacher-in-role was of great importance for the pupils’ role taking. Postupaks are a consequence of the format of the temporary fictional activity an

The aim of the thesis is to deepen the understanding of role taking and the function of role for developing and exploring the possible content in process drama, with the help of Leontiev’s activity theory and Bakhtin’s dialogism. The relation between role taking, aesthetic engagement and the concept of perezhivanie, used by Vygotsky, is also reflected on and used as analytical tools. A starting point for the study was Bundy’s concept of aesthetic engagement. Previous research about process drama has focused on three main themes: teaching and learning a subject matter, engagement, and creative leadership. The purpose of this study is to contribute to the knowledge base on how role is created and maintained in process drama, thereby making it possible to develop and explore a thematic content. One single process drama conducted at an English secondary school is closely analysed in the thesis. A whole day session was filmed, transcribed and interpreted into thick descriptions. Interviews and letters written in role are used as complementary data. This made it possible to focus on nuances and subtle changes in the complexity that characterizes a process drama, and to focus on how the students’ role taking starts and develops. The results from the detailed analysis showed, from an activity theory perspective, that process drama can be understood as two activities with two different motives/objects. These two are an educational activity with learning drama as motive/object and a temporary fictional activity where the motive/object is tentative and under construction through the pupils’ in-role-actions. Actions deriving from the educational activity should not be allowed to influence the fictional, otherwise the fictional activity will be diminished. How the teacher used power levelling postupaks, when opening dilemmas, and teacher-in-role was of great importance for the pupils’ role taking. Postupaks are a consequence of the format of the temporary fictional activity an

The aim of the thesis is to deepen the understanding of role taking and the function of role for developing and exploring the possible content in process drama, with the help of Leontiev’s activity theory and Bakhtin’s dialogism. The relation between role taking, aesthetic engagement and the concept of perezhivanie, used by Vygotsky, is also reflected on and used as analytical tools. A starting point for the study was Bundy’s concept of aesthetic engagement. Previous research about process drama has focused on three main themes: teaching and learning a subject matter, engagement, and creative leadership. The purpose of this study is to contribute to the knowledge base on how role is created and maintained in process drama, thereby making it possible to develop and explore a thematic content. One single process drama conducted at an English secondary school is closely analysed in the thesis. A whole day session was filmed, transcribed and interpreted into thick descriptions. Interviews and letters written in role are used as complementary data. This made it possible to focus on nuances and subtle changes in the complexity that characterizes a process drama, and to focus on how the students’ role taking starts and develops. The results from the detailed analysis showed, from an activity theory perspective, that process drama can be understood as two activities with two different motives/objects. These two are an educational activity with learning drama as motive/object and a temporary fictional activity where the motive/object is tentative and under construction through the pupils’ in-role-actions. Actions deriving from the educational activity should not be allowed to influence the fictional, otherwise the fictional activity will be diminished. How the teacher used power levelling postupaks, when opening dilemmas, and teacher-in-role was of great importance for the pupils’ role taking. Postupaks are a consequence of the format of the temporary fictional activity an

ResumenEste estudio se centra en analizar las declaraciones de los adolescentes sobre los beneficios que para ellos supone participar en experiencias teatrales. Se han identificado a partir de 5 grupos foco, con una muestra de 53 participantes, de entre 12 y 20 años. Los resultados apuntan a que dichas prácticas: promueven habilidades personales; ofrecen una oportunidad para explorar y expresar sentimientos; proporcionan un contexto de apoyo y seguridad; posibilitan hacer amigos; incrementan habilidades comunicativas; proporcionan recursos para ser empleados en otros ámbitos y momentos de la vida; ayudan a formar la identidad y mejorar la autoestima; desarrollan destrezas para entender a los otros; y suponen una oportunidad para evadirse de las situaciones negativas. Se discuten las limitaciones y se reconoce la necesidad de seguir investigando esta temática con otros participantes y otros diseños de investigación.AbstractThis article presents the research carried out about the benefits that adolescents manifest regarding the experience of acting. These are identified from 5 focus groups, with a sample of 53 people, aged between 12 and 20 years. The qualitative results suggest that these practices can mean a significant help to positive personal development, and can be summarized in: to help to promote different personal resources; to offer an opportunity to explore and express feelings; to provide a context of support and security; to make friends; to enhance communicative skills; to provide resources to be used in other areas and times in people’s life; to affirm identity and to strengthen autonomy; to develop skills to understand others; and to provide opportunity to escape from negative situations. The need to investigate this topic with other participants and other research designs is recognized.ResumoEste estudo centra-se em analisar as opiniões dos adolescentes e jovens sobre os benefícios de participar de experiências teatrais. A investigação baseou-se em 5

The aim of the thesis is to deepen the understanding of role taking and the function of role for developing and exploring the possible content in process drama, with the help of Leontiev’s activity theory and Bakhtin’s dialogism. The relation between role taking, aesthetic engagement and the concept of perezhivanie, used by Vygotsky, is also reflected on and used as analytical tools. A starting point for the study was Bundy’s concept of aesthetic engagement. Previous research about process drama has focused on three main themes: teaching and learning a subject matter, engagement, and creative leadership. The purpose of this study is to contribute to the knowledge base on how role is created and maintained in process drama, thereby making it possible to develop and explore a thematic content. One single process drama conducted at an English secondary school is closely analysed in the thesis. A whole day session was filmed, transcribed and interpreted into thick descriptions. Interviews and letters written in role are used as complementary data. This made it possible to focus on nuances and subtle changes in the complexity that characterizes a process drama, and to focus on how the students’ role taking starts and develops. The results from the detailed analysis showed, from an activity theory perspective, that process drama can be understood as two activities with two different motives/objects. These two are an educational activity with learning drama as motive/object and a temporary fictional activity where the motive/object is tentative and under construction through the pupils’ in-role-actions. Actions deriving from the educational activity should not be allowed to influence the fictional, otherwise the fictional activity will be diminished. How the teacher used power levelling postupaks, when opening dilemmas, and teacher-in-role was of great importance for the pupils’ role taking. Postupaks are a consequence of the format of the temporary fictional activity an

The aim of the thesis is to deepen the understanding of role taking and the function of role for developing and exploring the possible content in process drama, with the help of Leontiev’s activity theory and Bakhtin’s dialogism. The relation between role taking, aesthetic engagement and the concept of perezhivanie, used by Vygotsky, is also reflected on and used as analytical tools. A starting point for the study was Bundy’s concept of aesthetic engagement. Previous research about process drama has focused on three main themes: teaching and learning a subject matter, engagement, and creative leadership. The purpose of this study is to contribute to the knowledge base on how role is created and maintained in process drama, thereby making it possible to develop and explore a thematic content. One single process drama conducted at an English secondary school is closely analysed in the thesis. A whole day session was filmed, transcribed and interpreted into thick descriptions. Interviews and letters written in role are used as complementary data. This made it possible to focus on nuances and subtle changes in the complexity that characterizes a process drama, and to focus on how the students’ role taking starts and develops. The results from the detailed analysis showed, from an activity theory perspective, that process drama can be understood as two activities with two different motives/objects. These two are an educational activity with learning drama as motive/object and a temporary fictional activity where the motive/object is tentative and under construction through the pupils’ in-role-actions. Actions deriving from the educational activity should not be allowed to influence the fictional, otherwise the fictional activity will be diminished. How the teacher used power levelling postupaks, when opening dilemmas, and teacher-in-role was of great importance for the pupils’ role taking. Postupaks are a consequence of the format of the temporary fictional activity an

The aim of the thesis is to deepen the understanding of role taking and the function of role for developing and exploring the possible content in process drama, with the help of Leontiev’s activity theory and Bakhtin’s dialogism. The relation between role taking, aesthetic engagement and the concept of perezhivanie, used by Vygotsky, is also reflected on and used as analytical tools. A starting point for the study was Bundy’s concept of aesthetic engagement. Previous research about process drama has focused on three main themes: teaching and learning a subject matter, engagement, and creative leadership. The purpose of this study is to contribute to the knowledge base on how role is created and maintained in process drama, thereby making it possible to develop and explore a thematic content. One single process drama conducted at an English secondary school is closely analysed in the thesis. A whole day session was filmed, transcribed and interpreted into thick descriptions. Interviews and letters written in role are used as complementary data. This made it possible to focus on nuances and subtle changes in the complexity that characterizes a process drama, and to focus on how the students’ role taking starts and develops. The results from the detailed analysis showed, from an activity theory perspective, that process drama can be understood as two activities with two different motives/objects. These two are an educational activity with learning drama as motive/object and a temporary fictional activity where the motive/object is tentative and under construction through the pupils’ in-role-actions. Actions deriving from the educational activity should not be allowed to influence the fictional, otherwise the fictional activity will be diminished. How the teacher used power levelling postupaks, when opening dilemmas, and teacher-in-role was of great importance for the pupils’ role taking. Postupaks are a consequence of the format of the temporary fictional activity an

The aim of the thesis is to deepen the understanding of role taking and the function of role for developing and exploring the possible content in process drama, with the help of Leontiev’s activity theory and Bakhtin’s dialogism. The relation between role taking, aesthetic engagement and the concept of perezhivanie, used by Vygotsky, is also reflected on and used as analytical tools. A starting point for the study was Bundy’s concept of aesthetic engagement. Previous research about process drama has focused on three main themes: teaching and learning a subject matter, engagement, and creative leadership. The purpose of this study is to contribute to the knowledge base on how role is created and maintained in process drama, thereby making it possible to develop and explore a thematic content. One single process drama conducted at an English secondary school is closely analysed in the thesis. A whole day session was filmed, transcribed and interpreted into thick descriptions. Interviews and letters written in role are used as complementary data. This made it possible to focus on nuances and subtle changes in the complexity that characterizes a process drama, and to focus on how the students’ role taking starts and develops. The results from the detailed analysis showed, from an activity theory perspective, that process drama can be understood as two activities with two different motives/objects. These two are an educational activity with learning drama as motive/object and a temporary fictional activity where the motive/object is tentative and under construction through the pupils’ in-role-actions. Actions deriving from the educational activity should not be allowed to influence the fictional, otherwise the fictional activity will be diminished. How the teacher used power levelling postupaks, when opening dilemmas, and teacher-in-role was of great importance for the pupils’ role taking. Postupaks are a consequence of the format of the temporary fictional activity an

Drama is relatively unexplored in academic science education. This chapter addresses in what way drama may allow science students to explore socio-scientific issues on neuro-technologies. We connect to the educational framework, socio-scientific inquiry-based learning (SSIBL), which integrates inquiry-based science education, socio-scientific issues and citizenship education. We explore the use of drama to enhance reflexivity in embracing and critiquing socio-scientific issues on emerging technologies. So far, only few empirical studies have been published concerning the effectiveness of drama in science education. In most papers describing the use of drama, students are typically involved as spectators. In our case, 22 students from various science disciplines were involved in a drama experiment, performing multiple roles as authors, actors, reviewers and audience. Qualitative data was collected on the educational process and student performance during the course and the performed one-act play. The drama experiment showed to be an effective SSIBL approach in activating students to open up a future lifeworld which they could relate to. It allowed them to acquire insights in social and ethical implications of neuro-technologies and created awareness of different viewpoints, primarily in everyday life settings. The results presented in this chapter underline the potential of the SSIBL approach in stimulating students to take a reflexive position on the socio-scientific particularities of science and technology. However, they also illustrate some difficulties in combining drama and science education. Using drama faces the challenge of learners perceiving the design and performance of a play to be less effective as opposed to more traditional ways of learning.

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Den här studien vill bidra med kunskap kring normkritisk pedagogik inom dramapedagogiken i Sverige. Det genom att belysa det svenska DRACON-projektet ur ett normkritiskt perspektiv. Det svenska DRACON-projektet är en del av det internationella DRACON-projektet vars övergripande syfte var att bygga en bro mellan drama och konflikthantering. I bakgrunden till den här studien beskrivs dramapedagogik, svensk dramaforskning och internationell dramaforskning utifrån kritiska teorier. Normkritisk pedagogik är en kritisk pedagogik som vänder blicken mot maktstrukturer och privilegier istället för att fokusera på minoriteter eller förtryckta grupper. I det teoretiska perspektivet förklaras och fördjupas begreppet normkritisk pedagogik utifrån feministisk teori, queerteori, postkolonial teori och kritiska vithetsstudier, funktionalitet, intersektionalitet och kritisk pedagogik. Syftet med den här undersökningen var att genom ett kritiskt makt- och identitetsperspektiv belysa det svenska DRACON-programmet. Det utifrån forskningsfrågorna: Vilka föreställningar om makt och identitet finns inbyggda det svenska DRACON-programmet? Hur förhåller sig dessa föreställningar till den normkritiska pedagogikens syn på makt och identitet? Studien genomfördes utifrån textanalys av boken DRACON i skolan. Analysen strukturerades med hjälp av en analysmall. Resultatet tyder på att DRACON-programmet i Sverige är inkluderande och försöker ta tillvara på alla deltagares erfarenheter. Samtidigt verkar programmet sakna ett ifrågasättande av kön och genus och fördjupade analyser kring makt. Spår av postkolonialism framträder i någon enstaka lek., The general aim of this study is to contribute to the knowledge of, so called, norm-critical pedagogy (normkritisk pedagogik) as part of Drama in Education in Sweden. This through looking at the Swedish DRACON-project from a norm-critical point of view. The Swedish DRACON-project is a part of the international DRACON-project which aimed at building a bridge between drama in education and conflict management. Norm-critical pedagogy is a Scandinavian term for critical pedagogy that focuses on the structures of power and privilege, rather than the oppressed. The pedagogy is explained in this paper and has its roots in queer pedagogy, queer theory, feminist theory, postcolonial theory and intersectional perspectives. The aim of this study was to look at the Swedish DRACON-project from the critical point of view of power, privilege and identity. The study examines the following questions: What conceptions of power and identity can be found in the Swedish DRACON-program? How do these conceptions relate to norm-critical perspectives of power, privilege and identity? The examination is done through text analysis of the book DRACON i skolan(DRACON in school). The results indicate that the Swedish DRACON-project is inclusive and tries to seize the experiences of all participants. At the same time the project seems to lack the questioning of gender and the immersing of analyzing power structures.

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[EN] In this paper we aim to investigate learner engagement and how it can be evaluated, in the context of higher education research. Specifically we consider learner engagement evaluation in Arts Education, where the educational focus is on the process, rather than the product – drawing on music and drama in education research and practice. First, we position the notion of evaluation as opposed to assessment, with attention to its etymological roots. Second, we discuss the multifaceted notion of engagement as process, exploring the nature of learner engagement and a number of possible engagement indicators. We then synthesize these categories into descriptors which, we argue, can be useful to evaluate learners’ engagement in arts education practices. Third, we ground theory into practice by offering two examples drawn from the authors’ PhD case study research, respectively in music education and drama in education. We conclude that engagement is a multifaceted construct, which we frame as a mutual exercise of agency – whereby the teacher and the students act in a partnership as co-artists.

Den här studien vill bidra med kunskap kring normkritisk pedagogik inom dramapedagogiken i Sverige. Det genom att belysa det svenska DRACON-projektet ur ett normkritiskt perspektiv. Det svenska DRACON-projektet är en del av det internationella DRACON-projektet vars övergripande syfte var att bygga en bro mellan drama och konflikthantering. I bakgrunden till den här studien beskrivs dramapedagogik, svensk dramaforskning och internationell dramaforskning utifrån kritiska teorier. Normkritisk pedagogik är en kritisk pedagogik som vänder blicken mot maktstrukturer och privilegier istället för att fokusera på minoriteter eller förtryckta grupper. I det teoretiska perspektivet förklaras och fördjupas begreppet normkritisk pedagogik utifrån feministisk teori, queerteori, postkolonial teori och kritiska vithetsstudier, funktionalitet, intersektionalitet och kritisk pedagogik. Syftet med den här undersökningen var att genom ett kritiskt makt- och identitetsperspektiv belysa det svenska DRACON-programmet. Det utifrån forskningsfrågorna: Vilka föreställningar om makt och identitet finns inbyggda det svenska DRACON-programmet? Hur förhåller sig dessa föreställningar till den normkritiska pedagogikens syn på makt och identitet? Studien genomfördes utifrån textanalys av boken DRACON i skolan. Analysen strukturerades med hjälp av en analysmall. Resultatet tyder på att DRACON-programmet i Sverige är inkluderande och försöker ta tillvara på alla deltagares erfarenheter. Samtidigt verkar programmet sakna ett ifrågasättande av kön och genus och fördjupade analyser kring makt. Spår av postkolonialism framträder i någon enstaka lek., The general aim of this study is to contribute to the knowledge of, so called, norm-critical pedagogy (normkritisk pedagogik) as part of Drama in Education in Sweden. This through looking at the Swedish DRACON-project from a norm-critical point of view. The Swedish DRACON-project is a part of the international DRACON-project which aimed at building a bridge between drama in education and conflict management. Norm-critical pedagogy is a Scandinavian term for critical pedagogy that focuses on the structures of power and privilege, rather than the oppressed. The pedagogy is explained in this paper and has its roots in queer pedagogy, queer theory, feminist theory, postcolonial theory and intersectional perspectives. The aim of this study was to look at the Swedish DRACON-project from the critical point of view of power, privilege and identity. The study examines the following questions: What conceptions of power and identity can be found in the Swedish DRACON-program? How do these conceptions relate to norm-critical perspectives of power, privilege and identity? The examination is done through text analysis of the book DRACON i skolan(DRACON in school). The results indicate that the Swedish DRACON-project is inclusive and tries to seize the experiences of all participants. At the same time the project seems to lack the questioning of gender and the immersing of analyzing power structures.

[EN] In this paper we aim to investigate learner engagement and how it can be evaluated, in the context of higher education research. Specifically we consider learner engagement evaluation in Arts Education, where the educational focus is on the process, rather than the product – drawing on music and drama in education research and practice. First, we position the notion of evaluation as opposed to assessment, with attention to its etymological roots. Second, we discuss the multifaceted notion of engagement as process, exploring the nature of learner engagement and a number of possible engagement indicators. We then synthesize these categories into descriptors which, we argue, can be useful to evaluate learners’ engagement in arts education practices. Third, we ground theory into practice by offering two examples drawn from the authors’ PhD case study research, respectively in music education and drama in education. We conclude that engagement is a multifaceted construct, which we frame as a mutual exercise of agency – whereby the teacher and the students act in a partnership as co-artists.

[EN] In this paper we aim to investigate learner engagement and how it can be evaluated, in the context of higher education research. Specifically we consider learner engagement evaluation in Arts Education, where the educational focus is on the process, rather than the product – drawing on music and drama in education research and practice. First, we position the notion of evaluation as opposed to assessment, with attention to its etymological roots. Second, we discuss the multifaceted notion of engagement as process, exploring the nature of learner engagement and a number of possible engagement indicators. We then synthesize these categories into descriptors which, we argue, can be useful to evaluate learners’ engagement in arts education practices. Third, we ground theory into practice by offering two examples drawn from the authors’ PhD case study research, respectively in music education and drama in education. We conclude that engagement is a multifaceted construct, which we frame as a mutual exercise of agency – whereby the teacher and the students act in a partnership as co-artists.

The purpose of this study was to explore the role of drama in teaching English to enhance students’ communicative skills at the University of Namibia. The discussions of the research focused on assessing the benefits of using drama in the teaching of English to increase students’ motivation and self-confidence, as well as meeting the aims of integrating drama activities in the teaching of the English Access Course at the University of Namibia or in any other English language teaching elsewhere. The mixed method of qualitative and quantitative research methods were used for this study. This was a classroom based research involving a class of 45 students enrolled for the English Access Course (EAC) at the University of Namibia. To collect data, the researcher employed entry and exit questionnaires, focus group interviews, researcher’s reflective notes and participants’ portfolios that comprised of participants’ views, thoughts, feelings, attitudes, beliefs, values and perceptions towards English learning and teaching. Furthermore, the data was collected during teaching hours because the researcher was simultaneously the English Access course lecturer. The researcher with the help of the participants integrated drama activities in the English Access Course curriculum with the purpose of enhancing students’ communicative skills for the whole second semester in 2014. Data obtained through the entry and exit questionnaires was analyzed using descriptive statistics of percentages while the data from the participants’ portfolios researchers’ reflective notes and interviews were transcribed, organized, and coded according to the steps of qualitative data content analysis listed in Creswell (2003). Research findings revealed the effectiveness of drama oriented English lessons to the benefit of students’ speaking skills, motivation, self-esteem and confidence in their abilities to communicate in English. In addition, the findings revealed that drama activities aided students d

[EN] In this paper we aim to investigate learner engagement and how it can be evaluated, in the context of higher education research. Specifically we consider learner engagement evaluation in Arts Education, where the educational focus is on the process, rather than the product – drawing on music and drama in education research and practice. First, we position the notion of evaluation as opposed to assessment, with attention to its etymological roots. Second, we discuss the multifaceted notion of engagement as process, exploring the nature of learner engagement and a number of possible engagement indicators. We then synthesize these categories into descriptors which, we argue, can be useful to evaluate learners’ engagement in arts education practices. Third, we ground theory into practice by offering two examples drawn from the authors’ PhD case study research, respectively in music education and drama in education. We conclude that engagement is a multifaceted construct, which we frame as a mutual exercise of agency – whereby the teacher and the students act in a partnership as co-artists.

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Dramska pedagogija je oblast koja je nastala onog trenutka kada se dramski proces odvojio od pozorišne produkcije i bio shvaćen kao način za postizanje razvojnih ciljeva. Uzroci za takvu promenu perspektive krajem 19. veka bili su vezani za proces industrijalizacije; ali su razlozi ustanovljeni mnogo ranije, sa prvim demokratskim društvom u Atini u 5. veku st. e., kada je paideia – obrazovanje zasnovano na umetnosti, filozofiji i religiji, nastalo kao način za odgajanje političke snage društva. Obrazovanje je očuvalo humanistički karakter i zadržalo političku svrhu do današnjih dana, ali je dugo bilo privilegija povlašćenih klasa; do postepene de-elitizacije obrazovanja došlo je u prosvetiteljstvu koje je nadahnulo pokrete za širenje obrazovanja, koji su doveli do rađanja pedagogije, razvoja filozofije obrazovanja i stvaranja modernih obrazovnih koncepata. Progresivno obrazovanje, kao kapitalan koncept, dalo je utemeljenje za rađanje dramske pedagogije. U svom razvoju, dramska pedagogija je prošla kroz četiri glavne faze: Kreativnu dramu, Dramu u obrazovanju, Pozorište u obrazovanju i Primenjeno pozorište. Ono što je zajedničko svim navedenim konceptima je namera da se ostvari lična i društvena promena. U školi, Drama je kao predmet dugo bila prisutna u razvijenim zapadnim društvima i brzo je počela da se širi u svetu. Sa promenom obrazovne paradigme koja je nastupila krajem 20. veka, kada je funkcionalistička filozofija potisnula humanističku, Drama je isključena iz kurikuluma u mnogim zemljama. U pitanje je doveden njen naučni status kao osnov za nastavnu predmetnu oblast i, uopšte, doprinos koji dramska edukacija, u brojnim oblicima, daje školi i društvu. U ovom radu, mi ispitujemo ove kritika kroz nekoliko postupaka. Prvi je analiza dramske pedagogije kao naučnog polja i naučne discipline, prema kriterijumima „normalne“ – empirijsko-analitičke nauke. Drugi je sagledavanje dramske pedagogije kao kros-discipline koja se upravlja prema načelima „postnormalne“ nauke, The field of Drama Pedagogy emerged when the dramatic process separated from theatre production and was perceived as means for attaining developmental ends. Such a shift of perspective at the end of the 19th century was caused by the process of industrialization; however, reasons were established much earlier, with the first democratic society in Athens in the 5th century BC, when paideia – education based on the arts, philosophy and religion, was instituted as a method of breeding political forces of the society. Education maintained its humanistic character and political purpose until today, but has long been a privilege of the advantaged classes alone; gradual de-elitization of education started only with the Enlightenment which inspired education spreading movements leading to birth of pedagogy, development of philosophy of education and creation of modern educational concepts. Progressive education, as a major concept, provided basis for the appearance of Drama Pedagogy. In its development, Drama Pedagogy went through four capital phases: Creative Drama; Drama in Education; Theatre in Education and Applied Theatre. The common feature of all four concepts is the intention of stimulating individual and social change. In developed Western societies, Drama was present in schools for many years, spreading fast into the world. With the change of educationa paradigm at the end of the 20th century, when functionalist philosophy prevailed over the humanistic, Drama was excluded from the curricula in many countries. Scientific status of Drama, which was needed for its position as a school subject, was harshly questioned and so was the contribution of Drama to school and the society. In this thesis, we investigate those criticisms through several procedures. The first one is analysis of Drama Pedagogy as a scientific field and a scientific discipline, as per the criteria of “normal” – empirical-analitical science. The second one is examination of Drama Pedagogy as a cross

Undersökningen är en kvalitativ studie med fenomenologisk deskriptiv ansats. Teoretiskt avstamp har tagits från pragmatism, som tjänat som inspiration. I studien undersöks hur fem dramapedagoger beskriver sitt arbete med drama inom ämnet konflikthantering, med vuxna deltagare i en akademisk lärandekontext, samt vilket meningsskapande de ger uttryck för i detta. Datainsamlingsmetoden är fokusgruppsamtal. Resultatet visar att pedagogerna beskriver sitt arbete utifrån fyra huvudteman. Dessa är: Förhållningsättet & ledarskapet; Gestaltning & förhållningssättet; Reflektion & förhållnings­sättet och Misstag & förhållningssättet. Varje tema återges som ett narrativ berättad som av en röst. Narrativen som deskriptivt återger fokussamtalet speglas mot etablerad dramapedagogisk litteratur i resultatanalysen. Slutsatsen är att narrativen visar på ett rikt meningsskapande där drama­pedagogiken bidrar till att levandegöra konflikthanteringen genom de teman som narrativen visar., This paper is a qualitative study with a phenomenological descriptive approach. The theoretical starting point has been taken from pragmatism, which has served as an inspiration. The study examines how five drama teachers describe their drama work within the conflict management subject. The participants focused upon are adults in an academic learning context. Focus for the paper is how the drama teachers describe how meaning is created in this work. The data collection method is focus group and results show that the teachers describe their work by four main themes. These are: Learning approach & leadership; Acting & learning approach; Reflection & learning approach and mistakes & learning approach. Each theme is presented as a narrative told by one voice. The results from the focus group are analyzed through established literature within the drama in education subject. The conclusion is that the narrative reveals a rich meaning making where drama in education helps bringing conflict management to life and this takes form through the themes of the narratives. The paper is written in Swedish.

Undersökningen är en kvalitativ studie med fenomenologisk deskriptiv ansats. Teoretiskt avstamp har tagits från pragmatism, som tjänat som inspiration. I studien undersöks hur fem dramapedagoger beskriver sitt arbete med drama inom ämnet konflikthantering, med vuxna deltagare i en akademisk lärandekontext, samt vilket meningsskapande de ger uttryck för i detta. Datainsamlingsmetoden är fokusgruppsamtal. Resultatet visar att pedagogerna beskriver sitt arbete utifrån fyra huvudteman. Dessa är: Förhållningsättet & ledarskapet; Gestaltning & förhållningssättet; Reflektion & förhållnings­sättet och Misstag & förhållningssättet. Varje tema återges som ett narrativ berättad som av en röst. Narrativen som deskriptivt återger fokussamtalet speglas mot etablerad dramapedagogisk litteratur i resultatanalysen. Slutsatsen är att narrativen visar på ett rikt meningsskapande där drama­pedagogiken bidrar till att levandegöra konflikthanteringen genom de teman som narrativen visar., This paper is a qualitative study with a phenomenological descriptive approach. The theoretical starting point has been taken from pragmatism, which has served as an inspiration. The study examines how five drama teachers describe their drama work within the conflict management subject. The participants focused upon are adults in an academic learning context. Focus for the paper is how the drama teachers describe how meaning is created in this work. The data collection method is focus group and results show that the teachers describe their work by four main themes. These are: Learning approach & leadership; Acting & learning approach; Reflection & learning approach and mistakes & learning approach. Each theme is presented as a narrative told by one voice. The results from the focus group are analyzed through established literature within the drama in education subject. The conclusion is that the narrative reveals a rich meaning making where drama in education helps bringing conflict management to life and this takes form through the themes of the narratives. The paper is written in Swedish.