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Copyright of International Yegâh Music Journal is the property of International Yegah Music Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Notable theorists have argued that theatre and drama play positive roles in the moral education of children and adults, including cultivating their capacity for empathy. Yet other theorists have expressed concerns that plays and educational practices involving improvisation might not lead to positive changes in real life, and might even have negative influences on actors and audiences. This paper focuses in particular on the dramatic methods employed by Theatre of the Oppressed, devised by Augusto Boal, and on the methods involved in the development of the play The Laramie Project, developed by Moisés Kaufman and the Tectonic Theatre Project. It argues that Theatre of the Oppressed and The Laramie Project cultivate actors' and audiences' empathetic capacities, while overcoming many theorists' worries about the impact of drama. [ABSTRACT FROM AUTHOR]

Notions of creativity are increasingly central to educational scholarship and policies, but few studies attend to the intersection between Health and Physical Education (H/PE) and creativity. In this paper we explore the literature on creativity in education and identify how creativity is represented across a broad spectrum of enquiry yet limited in relation to specifically H/PE. Writing from an Australian context, we examine how the key ideas and propositions from the Australian Curriculum for Health and Physical Education and the Critical and Creative Thinking capability raise important questions regarding the social emergence of educative creative purpose and potential in H/PE. We outline the utility of a 'creative ecologies' conceptual framework to consider contemporary practices in H/PE, and apply this to two purposively selected resources; to showcase their contextual eminence for creative learning in H/PE pedagogy and practice. The first resource, Phenomenom!, was funded by Horticultural Innovation Australia to develop food literacy and is linked to cross-curriculum learning outcomes. The second resource, Fitter. Faster. Better, is a St Martin's Youth drama-arts performance where students were prompted to design and perform a fitness programme for adults. Utilising the creative ecologies framework we illustrate the complexity of interconnected creative processes in H/PE as a series of networked elements and cultural flows (policies, practices, products, process, material environments, and partnerships). This framework is then used to identify how the two educational resources exemplify and open up a socially creative practice in both H/PE and everyday life. Our theoretical developments offer new ways to identify, design and enact quality creative and contemporary socio-cultural H/PE curriculum within a broader creative ecology. [ABSTRACT FROM AUTHOR]

The paper focuses on the components of successful online learning and teaching environments. By following a socio-cultural perspective on learning, the author underlines the importance of teacher-student and student-student interaction and the role of small groups in efficient online learning. The paper presents the findings of a case study investigating how a previously offline university bachelor course, Drama Techniques in Teaching English as a Foreign Language I. was transformed to virtual space during the lockdown period in Slovakia in the winter term of the 2020/2021 academic year, at the J. Selye University, Faculty of Education, Komárno. [ABSTRACT FROM AUTHOR]

In this paper, we argue that in order for the study of arts education to continue to advance, we must delineate the effects of particular forms of arts education, offered in certain contexts, on specific domains of children's socioemotional development. We explain why formulating precise hypotheses about the effects of arts education on children's socioemotional development requires a differentiated definition of each arts education program or activity in question, as well as a consideration of both the immediate and broader contexts in which that program or activity occurs. We then offer the New Victory Theater's Schools with Performing Arts Reach Kids (SPARK) program as an illustrative example of how these considerations allow for the refinement of hypotheses about the impact of arts education on children's socioemotional development. [ABSTRACT FROM AUTHOR]

This keynote address was presented by Wayne Fairhead for the 1994 National Conference of NADIE, the National Association for Drama in Education (now Drama Australia) held in Fremantle, Western Australia. It explores the concepts of empowerment in drama and theatre education and contextualises Australian curriculum developments in 1994, through sharing experiences from the development of Dramatic Arts Standards in Ontario, Canada. This paper is published in 2021 for its ongoing relevance to the ongoing development of the Australian Curriculum: The Arts (ACARA) and contemporary questions about the potential for empowerment through education. The introduction and footnotes contextualises the original keynote and contemporary issues. [ABSTRACT FROM AUTHOR]

This article explores the intersections of drama and reading, specifically focusing on approaches that are situated within "drama in education." Supported with a retrospective analysis, this article portrays the research, related practice and possible futures in drama education in relation to literacy and in particular to reading fiction as meaning making practice. This study is situated in a reassertion of the value of relational literacies through imaginative practices that dramatic modes generate and support. The article disrupts common misconceptions about the purposes and effects of drama in reading and establishes prominent research discourses and definitions across the history of drama and reading practices. By locating paradigmatic and practical opportunities in our analysis of contemporary research, we bring visibility to the intricacies of drama in education as a generative pedagogy in reading as relational meaning making work. [ABSTRACT FROM AUTHOR]

The goal was to assess the effects of a Theatrical Improvisation programme on students' motor creativity. 163 Secondary Education students participated: the experimental group, who experienced a Theatrical Improvisation unit, and the comparison group, who experienced a Drama in Education unit (based on the current Spanish educational law). A pretest, posttest, quasi-experimental, comparison group design was followed. Results showed that the students who experienced Theatrical Improvisation increased significantly more the four dimensions of motor creativity (Fluency, Flexibility, Imagination, Originality) assessed. Creative programmes based on Theatrical Improvisation are interesting to progressively push towards the needed global educational change. [ABSTRACT FROM AUTHOR]

Traditionally, pronunciation is taught through recognition- or repetition-based mechanical drills. Upon the arrival of the communicative approach, pronunciation has been neglected in the ELT classroom because these types of activities are considered uncommunicative and form-focused. The teachers and coursebooks, however, have failed to replace these activities with communicative ones. The need to find other ways of teaching pronunciation whereby students will be engaged with the language in meaningful ways integrated with other skills is highlighted. In this study, by means of dramatic situations, the students are provided with a meaningful context which gives them a communicative purpose for giving constant priority to accuracy. By this means, they engage in the communicative activity and still get the benefit from repetition and focus-on-form while learning pronunciation. The researchers developed 18 hours of creative drama sessions directed towards a variety of segmental and suprasegmental level problems which Turkish learners of English can encounter. These sessions were then held with a group of 12 volunteer students from the ELT department during a 6-day period. The effect of the creative drama sessions was measured via a read-aloud task which was given to the participants as pre- and post-test. All participant students did better in the post-test. The results showed that the students' pronunciation improved more at the suprasegmental level. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study aimed at describing the development of creative drama throughout history, the contemporary state of creative drama in Turkey, and the need for bachelor of creative drama (hereafter called as undergraduate program in creative drama) in higher education of Turkey. Qualitative research allows researchers to reveal perceptions of events in a natural and realistic way. This study followed a qualitative approach as defined by its use of interviews and document analysis. Researchers interviewed twenty experts in the field of creative drama teaching via open-ended questions in order to investigate the need for undergraduate program in creative drama in higher education of Turkey and their responses were recorded and analysed through descriptive analysis. Later, discussions were carried out based on written opinions from the selected field experts. Finally, according to their views and suggestions determinations were made regarding the best development approach for a creative drama education program as well as which educational science discipline is best for supervising this program [ABSTRACT FROM AUTHOR]

This article proposes and describes an educational scenario for 4th, 7th and 10th grade school history. The main goal of this scenario is to help students understand the historical dimension of the phenomenon of the pandemic and to develop critical thinking towards it, in order to enhance their mental resilience. The main historical character of this scenario is Myrtis. The use of drama game techniques is proposed as the main teaching method for the scenario's implementation. The title of the educational scenario is the following: «Travelling with Myrtis from the plague of Ancient Athens to the pandemic of covid-19». In the scenario, students travel to the plague of Ancient Athens through an imaginary journey to the past with Myrtis. After traveling through the pandemics of different historical periods (plague, smallpox, cholera), they arrive at their experience of the pandemic in the present. The design was based on the theories of the educational scenario and theatre pedagogy. [ABSTRACT FROM AUTHOR]

Copyright of Pitágoras 500 is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Yaratici Drama Dergisi is the property of Yaratici Drama Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Yaratici Drama Dergisi is the property of Yaratici Drama Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Process drama, which emphasizes the active exploration of fictional roles and situations, has proven to be an effective pedagogical approach in language teaching and learning. Despite its recognized efficacy, the systematic evaluation of process drama's impact on English as a Foreign Language (EFL) education remains understudied. This systematic review aimed to investigate the current literature on the relationship between process drama and EFL teaching and learning. Using the keywords "process drama" and "EFL," publications released between 2003 and 2023 were meticulously extracted from various reputable databases, including ProQuest Citation, Web of Science, Scopus, Science Direct, Taylor & Francis, SAGE, and Google Scholar. In total, 30 studies (27 articles, two master's theses, and one PhD thesis) that met the inclusion criteria were analyzed comprehensively based on their primary characteristics, fostering in-depth discussions on the diverse factors influencing EFL learning and teaching through process drama. Notably, the review underscores that process drama exerts a significant and positive impact on EFL learning and teaching, particularly by enhancing language skills, students' language learning outcomes, and EFL teacher development., Competing Interests: The authors declare that they have no known competing financial interests or personal relationships that could have appeared to influence the work reported in this paper., (© 2024 The Authors.)

Set against the background of the Chinese government’s commitment to universalise early childhood educational provision, this exploratory study investigated the value attributed to play and drama-based teaching and learning in ECE from the perspectives of parents, teachers and Head Teachers from Suzhou in Jiangsu Province. We applied content and statistical analyses on the search results, and the findings indicate that while parents expressed interest in less regimented and more active, play-based approaches to education in their children’s classrooms, broader societal and philosophical influences about the purposes of education prevail, and they are concerned about their children falling behind in a highly competitive education system. Teachers and Head Teachers are similarly aware of the value of play in young children’s development, but lack the knowledge, skills and resources to implement a play-based approach to teaching and learning in their classrooms. The implications of the modernisation project in early childhood education in China is discussed.

Copyright of Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Drama in Education (DiE) is a valuable site for the practice of critical pedagogy. However, there is little research that explores the critical potential of drama as a methodology for teaching and learning across the curriculum in a Latin American context. This study analyses the critical pedagogical potential of DiE for the practices of Chilean teachers. Findings revealed that for most teachers, learning about DiE strengthened their critical pedagogical mission. Teachers recognised DiE's potential for democratising their classrooms. However, teachers also identified difficulties in the application of DiE, citing motivating equal participation in students, identifying drama strategies that best suited curricular aims, and insufficient time for reflection as particular challenges. [ABSTRACT FROM AUTHOR]

As theatre educators shift to embracing virtual and distance learning strategies, it is important to recognize that not all online spaces are created equal when it comes to ensuring positive outcomes for students. For communities in rural areas, virtual learning might be difficult or practically inaccessible, due to lack of reliable internet or inability to facilitate remote work. Furthermore, virtual spaces may prove to be challenging in the replication of ensemble-oriented work that fosters students' social skills and self-concept. This lack of access and support creates inequitable outcomes for students in rural Fluvanna County, Virginia. Reflecting upon Fluvanna's arts education nonprofit Empowered Players (EP), this article addresses the significant challenges that arts educators in rural areas may face in implementing distance learning. The article highlights important considerations for teaching artists striving to replicate emotionallysupportive environments, and for those working to eliminate barriers to entry into the virtual space. Using my experiences with EP as a case study, the article seeks to provide possible answers and innovations for teachers searching for equitable and sustainable models for distance-learning / socially-distant theater education. [ABSTRACT FROM AUTHOR]

The Australian Professional Standards for teachers attempts to regulate the profession and improve teacher quality. Yet the standardisation of teachers' work has attracted criticism from researchers who assert that a "one size fits all" model for judging teacher quality fails to recognise the affective, enactive and relational aspects of teaching. Given the interactive and interpersonal nature of teaching drama, this concern has salience. Our research into the experiences of early-career drama teachers reveals the positive influence these teachers have on their students and in their schools. Of particular note, are the strong role models they have become through the development of authentic, professional relationships where students feel supported and empowered to explore their feelings, achieve academically and flourish as human beings. These relationships are co-constructed during extra-curricular activities, namely in production rehearsals, where together they work towards common goals. Our findings suggest a case can be made for re-evaluating the process of judging teachers against a standardised set of criteria that neglects to capture the nuances of drama education and the passion, commitment and relationality of early-career drama teachers. [ABSTRACT FROM AUTHOR]

This article is concerned with the spatial analysis of lecture theaters in higher education institutions and it draws upon two concepts developed by Michel Foucault during the 1970s— heterotopia and the will to know. By examining the heterotopic potentials of lecture theaters where knowledge is rendered visible and articulable, the article argues that the notion of heterotopia is more relevant than panopticon for spatial analysis of these spaces. Heterotopias are defined as counter-sites inhabited by the abnormal, and as such include two dimensions. First there is an exclusion of the abnormal that is aimed at the fabrication of specific subjectivities, students and a more productive workforce. Second, as counter-spaces, heterotopias maintain a hopeful aspect that is providing an opportunity for unsettling the social norms. To support this exploration, the article uses higher education as a transitional environment for the production of an employable workforce and specifically focuses on auditoriums in universities. Contemporary lecture halls originating from the early modern anatomy halls are introduced as a strong spatial context for exploring the spatialization of knowledge and the construction of selves as subjects who desire to know. [ABSTRACT FROM AUTHOR]

During the COVID-19 pandemic lockdown both authors were experimenting with facilitating longer complex process dramas on online platforms. We offered participants the opportunity to reflect on the situation we were facing as individuals, as a society and as humanity. We worked with different levels of university students in two different languages and in two different countries. In this article, we briefly present what we did, then we analyse our work and generalise conclusions, focusing on the following special aspects of doing process drama online: planning, facilitation, ways of telling a story, framing, distancing, protection, conventions and Teacher-in-Role. [ABSTRACT FROM AUTHOR]

This article presents the findings of a research study examining the impact of creative puppetry activities on aggressive behaviour in preschool children. The aim of creative drama was to allow for experiences that help children understand interpersonal relations, put themselves in another's shoes and see alternative possibilities of behaving or acting in given situations. Play with a puppet in small groups offers children opportunities to establish pro-social peer interactions and learn socialisation skills including solving minor conflicts. The research was conducted with 22 preschool teachers in Slovenian preschools and first grades of elementary schools (including 460 children aged 4–7). The teachers completed a scale of social behaviour for each child in the group before introducing the puppetry activities and after concluding them, i.e. after three months of intense, daily creative work with puppets. The paired difference t-test showed that according to the teachers' assessments after the three-month conduct of creative puppetry activities in the group, the frequency of the occurrence of aggressive behaviour in the total population was diminished, especially in the children who had the lowest scores in the initial assessment. [ABSTRACT FROM AUTHOR]

Claims are often made that classes in improvisational theater (improv) are beneficial to self-concept. However, empirical evidence supporting this assumption is scarce. The present study investigated the effect of improvisational theater classes on children's self-concept. Fifty-two elementary schoolchildren participated in an experimental, repeated-measures, control group design. Children aged 8 to 11 enrolled in an afterschool program were randomly assigned to take improv classes or study hall, switching halfway through the academic year. Self-concept was tested 3 times (at the beginning, before the semester switch, and at the end) with the Piers-Harris Children's Self-Concept Scale, Second Edition (Piers & Herzberg, 2002). Results revealed a significant positive effect of improv classes on self-concept, but only for those students who began with a relatively lower level of self-concept. This positive effect of gains in self-concept following improv classes was maintained over time. These findings support claims that educational theater in the form of improvisational classes has a positive effect on self-concept in children, specifically for those children with relatively lower self-concept. Improvement in self-concept via improvisational theater may come from improv's specific emphasis on cognitive constructs that underpin self-concept, such as working in agreement, spontaneity, commitment, and being present in the moment (e.g., through maintained focus, active listening and observing, eye contact, and emotional presence). [ABSTRACT FROM AUTHOR]

Copyright of Journal of Limitless Education & Research is the property of Journal of Limitless Education & Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In an increasingly digitalizing world, there are fewer and fewer activities to develop children's manual skills, creativity, and imagination. As children are readily presented toys without letting them to make discover discoveries, children become very quickly bored with a toy or the content of a game. There are many academic studies confirming the effectiveness of learning by doing and experiencing during the learning process. The value of creativity and the imagination that reveals this creativity are also evident. Using educational drama activities in music classes through a drama activity called "Music Country," which is based on children's imagining themselves in a completely different country is the focus of this study. Aim of this study is twofold: it aims both to find out whether there is a significant difference between the pre-test and post-test results of students who study music through educational drama in the 5th grade music classes and to determine their views on the method. The single-group pre-test post-test design was applied as the method. The quantitative data were collected with the "Music class attitude scale" and calculated by running the SPSS 15.0 program and the results were obtained by using the Wilcoxon Signed Rank Test. In addition, a "semi-structured interview" form was used to obtain the qualitative data and this dataset was analyzed through content analysis. After applying the educational drama method in the music lessons, a significant difference was observed in the attitudes of the students in favor of the post-test. Further, the interview form analysis revealed that educational drama and music education in the affective and learning categories were interesting, motivating, engaging, and triggering the learner interest in the continuation of the course content. [ABSTRACT FROM AUTHOR]