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AbstractThis case study details the development, production, and performance of the theatrical play ‘Gaia-Pachamama: An Environmentalist Parable’, created during the first semester of 2022 as part of an integrated undergraduate and graduate course. The play was presented in the context of an outreach project, engaging professors and students of various ages throughout the creative process, from script conception to performance. It addressed issues related to environmental preservation, reverence for Amerindian culture, the indiscriminate use of pesticides, food consumption and human’s greed. By combining historical aspects, scientific knowledge, indigenous wisdom, and artistic expression, the play aimed to raise awareness and promote reflection on environmental issues. We demonstrated that university professors, researchers, technicians, and students in biological sciences possess creative and communication skills that can be developed in a 45-h course. The play was implemented as an active teaching-learning methodology, on which students became protagonists of their pedagogical process, with professors acting as mentors and facilitators. This method encouraged future teachers of basic education to develop activities integrating art, science, history, culture, body, and emotions. Our approach aligns with the concept of pleasure activism which advocates using joy and creativity as tools for social change. [ABSTRACT FROM AUTHOR]

Considering the projected impacts of climate change in upcoming decades, innovative educational approaches should encourage inventive problem-solving techniques and societal change, fostering transformative climate adaptation. The value of drama in climate adaptation education remains a novel area in the environmental education research literature and requires further exploration of its potential benefits to Climate Change Education (CCE). This article presents a proposal for CCE to include various elements in a drama workshop by evaluating a methodological framework. Participants in the workshop studied the vulnerabilities that arose from flooding and droughts while dramatizing different social conflicts to develop building adaptation scenarios. Through the exploration of problems via playful activities, participants collaboratively construct narratives and texts rich with meaning, based on a critical and creative perception of themes, needs, desires, and overlapping ideologies. This short-term experience manifests efficacy in elucidating the underpinnings of social systems structures, human values, and motivations. This article analyzes workshop results, providing a pedagogical structure and theoretical foundation, contributing to a better comprehension of drama in education and the creation of capacities towards CCE. [ABSTRACT FROM AUTHOR]

Copyright of Environmental & Social Management Journal / Revista de Gestão Social e Ambiental is the property of Environmental & Social Management 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.)

This study explored the influence of using Curriculum-Based Readers Theater (CBRT) on promoting 12 sixth graders' oceanic knowledge and vocabulary learning in an elementary school in Taiwan. Based on the analysis of both quantitative (oceanic knowledge tests and vocabulary knowledge tests) and qualitative data (interviews, videos, and reflections), the study had the following major findings. First, CBRT instruction was effective for improving learners' oceanic knowledge through repeated reading. Second, CBRT was beneficial for learners' receptive ability in recognizing spoken forms of the target vocabulary. Suggestions on effective implementation of CBRT into content areas or issues were provided. [ABSTRACT FROM AUTHOR]

The increase in clandestine migrants to Italy following the 2010 Tunisian uprising has been an issue of popular and political concern in both countries. This article investigates Harga (2021, 2022), a top-rated and critically acclaimed drama series. Produced and aired by Tunisian national television as a vehicle of entertainment-education, Harga strove to make a geopolitical intervention in the process of irregular migration. Combining textual analysis with interviews conducted with the production's producers and participants, the article explores how local and transnational actors came together to create a counternarrative to the popular success stories of clandestine migrants. This approach contributes to a better understanding of the relationship between media and socio-cultural and political dynamics as well as of their effect on formulating mediated narratives on clandestine migration. Due to Harga 's documentarist depiction of the social and political driving forces behind irregular migration and its open criticism of Tunisian authorities, the show is investigated within the framework of post-uprising Tunisia's mediascape, and domestic and international political environment. In this regard, it offers a good case study for examining how local politics, transnationalism, and postcolonialism are intertwined in formulating discourses on irregular migration. [ABSTRACT FROM AUTHOR]

Social awareness and relationship skills are two essential components of children's socioemotional development that undergo rapid consolidation in middle childhood. Previous research has found that growing up in poverty can undermine the development of social awareness and relationship skills and has also suggested that theater education might serve as an important context in which these skills can develop. In the current study, we examined whether participation in a program of theater education was associated with higher levels of two key aspects of social awareness—empathy and perspective-taking—and openness to establishing relationships with their peers among a sample of children placed at risk by poverty. After participating in the program, children exhibited significantly higher scores on measures of empathy (B =.32, SE =.10), t(7.65) = 3.33, p =.011, and openness to establishing peer relationships (B =.77, SE =.23), t(5.05) = 3.29, p =.021, than their comparison group peers. Among a randomly selected subset of students from both the treatment and comparison groups, children in the treatment group exhibited larger gains in their perspective-taking than children in the comparison group. These results are interpreted considering previous research, and their implications for educational policy, especially as it relates to arts education for children in poverty, are discussed. [ABSTRACT FROM AUTHOR]

Creative arts and performance courses at the community level for mature age individuals. Theatre and drama as education and as therapy. This article charts and reflects on several ACE arts-based courses and community theatre productions that have changed due to the COVID-19 pandemic and the professional experiences of the teacher. Change for individuals via education occurs intentionally and unintentionally and needs to be documented, with some examples presented here. If personal change and development were the intention of the courses described here, then participants did have the opportunity to integrate their self-discoveries into their real lives, potentially leading to transformation. The teacher being aware of, and skilled in, emotional regulation strategies can benefit students and teachers in all forms of learning, specifically adult community education. The students in the course described in this article have transformed from anxious, self-doubting individuals into empowered, self-confident people who bravely create their own acting techniques. [ABSTRACT FROM AUTHOR]

This study explored the impacts of a creative drama course on pre-service teachers' beliefs about teaching skills. The participants kept weekly reflective journals and were observed in micro-teachings during the drama course. They were also interviewed four times over a period of two years. The results revealed positive perceptions about using drama in teacher education programs. Their beliefs were more oriented around personal and professional skills. As a result, performance-based practice embedded in creative drama courses in teacher education was discussed with a "teaching as a performing art" approach. [ABSTRACT FROM AUTHOR]

This case study examined the drama education received by preservice primary school teachers in terms of both theoretical and practical aspects. The sample consisted of seventeen preservice primary school teachers (thirteen women and four men) from the Department of Classroom Education of the Faculty of Education of a public university in Türkiye. Data were collected using drama lesson plans, practice lesson diaries, semi-structured interview questions and metaphors. The data were analysed using inductive content analysis. The results showed that participants held misconceptions regarding drama lesson methods and techniques in their lesson plans. Participants had difficulty managing their classrooms while implementing their plans and they did not fully understand dramatization. Moreover, their classrooms were too crowded for drama activities. Participants stated that drama made the lessons more fun. They noted that drama helped them develop creativity and interact with their classmates. They also added that drama made them feel free. They regarded drama as a method or technique that could be used in any course. Researchers should conduct further qualitative and quantitative studies to examine drama's 'discipline' dimension and to form a basis for needs analysis for its use in education. [ABSTRACT FROM AUTHOR]

This paper explores the evolving concept of theatrical inquiry, tracing its origins, early applications, and its notable resurgence in recent years as a dynamic methodology for probing into learning spaces. Amidst the evolving landscape of arts education, theatrical inquiry endures as a lens through which the contemporary role of drama and theatre can be re-evaluated and redefined. This exploration is set against the backdrop of an ongoing debate: the demarcation between theatre-making and drama as pedagogical tools. By scrutinising the utility of theatrical inquiry in fostering aesthetic understanding and awareness amongst students, this study positions itself at the intersection of Drama in Education and Applied Theatre. It seeks to unravel the complexities of using drama and theatre not just as mediums of artistic expression but as critical instruments that can enhance cognitive, emotional, social, and creative reflection. Through a comprehensive review of literature, this paper aims to shed light on the varied ways in which theatrical inquiry can enrich arts education. It contributes to the academic discourse by providing a timeline of the evolution of the term theatrical inquiry and offers practical insights for educators looking to incorporate these approaches into their teaching practices in the arts. [ABSTRACT FROM AUTHOR]

The article titled "Editorial: E Pluribus Unum" discusses recent events at NYU, including protests and the construction of a wooden wall. The author criticizes the university's response and emphasizes the importance of freedom of speech and student voice. The article also touches on political issues in the United States, such as inflation, jobs, immigration, taxes, government spending, and climate change. The author encourages informed and engaged voters and participation in the political process. The text is an editorial from the journal ArtsPraxis, focusing on educational theatre and upcoming issues that will explore reimagining research and scholarship in the field. The author, Jonathan P. Jones, has expertise in the field. [Extracted from the article]

Copyright of Journal of Contemporary Educational Studies / Sodobna Pedagogika is the property of Association of Slovenian Educationalists 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.)

Thirty-eight years into the HIV and AIDS pandemic, the world is still striving to reduce global HIV infections towards zero new infections and AIDS-related deaths by 2030. Sub-Saharan Africa continues to carry the burden of global HIV infections as governmental and nongovernmental agencies try out different prevention strategies (UNAIDS, 2024b). Several scholars have argued that comprehensive sexuality education (CSE) is the best preventive strategy to reach youth and key populations with factual information regarding HIV and AIDS. This paper draws from the project, Mentoring as a Method to Promote Women's Health in the Context of HIV-Prevention and Unequal Gender Relations, which employed memory work, photo-voice, drama, drawings, and focus group discussions with third-year student teachers in a life orientation module. Focussing on the data generated through drama, I present an arts-based activity that was used to teach about HIV transmission to student teachers in a bid to equip them with alternative ways of teaching school-learners about HIV and AIDS. The findings highlight student teachers' lived experiences and how they have shaped their perceptions of HIV infections and living with AIDS. I argue from the findings, that arts-based pedagogies allow for enhanced understanding of complex phenomena due to their participatory and in-built intervention nature. Thus, I posit that pedagogies that employ participatory, arts-based, and visual methodologies should be extensively employed in teacher-education towards reducing new HIV infections among the youth. [ABSTRACT FROM AUTHOR]

This paper details a qualitative study examining the experience and motivation of participants, facilitators, and organizers of the Math Circus, an event hosted by the University of Arkansas Honors College in Fayetteville, Arkansas, as part of the university's 150th anniversary celebrations. The aim of the Math Circus was to entice participants to explore advanced mathematical concepts through collective mathematical art creations and dramatic storytelling of comic tales around the history behind mathematics. The study was carried out in two phases; an autoethnographic case study during the event; and a series of deep, semi-structured interviews with participants, facilitators, and organizers. The study examined pedagogical motivations behind the event's activities and their mathematical content, as well as the experiences of the interviewees. Findings indicate that an interactive and festive event like the Math Circus is likely to encourage confidence to explore mathematical concepts further. [ABSTRACT FROM AUTHOR]

This study investigates the methods and strategies used by 42 teachers during museum visits and their views on the use of drama in education. The interpretative qualitative research design involved online training and organizing a museum trip with students. A form was shared with participants, and 15 filled in, and their responses were analyzed by descriptive analysis. The results showed that participants used art criticism strategies, asking students to define, interpret, and analyze works of art. In addition, it was seen that the participants had used drama strategies such as improvisation, roleplaying, still image, and dramatization, that they took into consideration the developmental characteristics of the students, the course subjects and achievements, and the scope and facilities of the museum while choosing the strategies used. It can also be suggested that the same study can be conducted with teachers from one subject area instead of varying subject areas, or by focusing on a particular method or strategy. [ABSTRACT FROM AUTHOR]

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.

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.

This essay examines learners' understanding of how they use role. It draws upon a semi-structured interview with five Year 7 students, which took place after their first lesson exploring Darkwood Manor, a gothic sequence of drama. Considering the elements which shape how they adopt roles in the classroom, I interrogate the students' reflections, including ideas about their personal motivations, co-creation of the drama, peer interactions and response to the teacher. I explore how the students use and understand role, and how they are able to articulate their thinking about role-play, pointing towards perceptive reflections on the factors at play when roles are adopted in classroom drama. [ABSTRACT FROM AUTHOR]

In this paper, we report data from the first national survey of secondary Shakespeare teaching in the UK, conducted online in 2017–18 with a sample of 211 teachers distributed throughout Wales, England, Northern Ireland, and Scotland. In this article, we outline the pedagogical practices which are dominant. Specifically, we examine the group of pedagogies known as 'Active Methods' and consider their popularity in secondary classrooms, and why teachers say they do or do not use them. The most popular activities for teaching Shakespeare plays in the UK across the key stages are as follows: reading with parts around the groups; creating scene summaries; watching a film; and historical context activities. [ABSTRACT FROM AUTHOR]

This article seeks to understand and explore the experience of a creative supervision group for drama teachers. The group was organized as part of the network of the Theatre Studies Alumni of the University of Athens (Greece) from January to June 2021. The restrictions imposed by the COVID-19 pandemic moved these meetings to the Zoom platform, giving the opportunity for drama teachers living outside Attica to participate. In this article, the author discusses the distinctions between dramatherapy and theatre education, as well as their similarities and differences in practice. The author first presents how theatre education works in Greece and then discusses the results of a questionnaire completed by the participants in the creative supervision group. The results suggest that a creative supervision group can provide the necessary feedback, release, and the safe aesthetic distance for drama teachers to work and reflect on issues that concern their students, parents, fellow teachers, as well as their own role. [ABSTRACT FROM AUTHOR]

Inspired by Valerie Curtis-Newton's keynote address at the 2023 AATE conference, this piece explores the necessity of creating failure-friendly drama classrooms. In a time when students are experiencing unprecedented rates of anxiety and other mental health challenges, I argue that explicit instruction about and opportunities for failure are necessary for the social, emotional, and academic success of students. Furthermore, I address why drama educators and theatre classrooms are uniquely positioned to facilitate healthy relationships with failure. I end the piece with suggestions for ways to incorporate more failurelearning opportunities into drama and theatre education spaces. "Prepare for the best and be secure in your ability to survive the worst," I scrawled fervently in my notebook as I watched Valerie Curtis Newton's keynote address at the 2023 AATE conference in Seattle (Curtis-Newton, 2023). Curtis Newton's career as a director, educator, and champion of African-American performance in the U.S. is prolific. While she gave us, her captive audience of educators and artists, some insight into her illustrious career, she chose to focus her talk on the anxiety epidemic with which many of our students struggle and theatre's ability to teach our students (and ourselves) to be brave. She urged us to model courage and curiosity for students. She spoke of the creative process as a balm to the wounds of self-doubt and paralyzing pessimism. She reminded us that risk and resilience are essential to the creative process. While she never explicitly said the word "failure," I found myself coming back to that word again, and again, scribbling it in my notebook, circling it, and tracing the letters to create deep grooves in the paper. Teaching young people to take risks and navigate the outcomes of those risks is one of the most important skills educators can offer, especially in a time of extreme anxiety. In this essay, I present the anxious context young people face, review the literature on how drama and theatre can support resilience, share some examples of successful and unsuccessful failure stories from a decade of teaching artistry, and offer some tools for drama and theatre educators that want to recenter failure in their classrooms. [ABSTRACT FROM AUTHOR]

In a post-pandemic world, what can education look like? What can arts integration offer as a transformative education reform in New York City? As a former NYC middle school dance teacher, current Director of Education in Musical Theater, and daughter of arts educators, I've seen the benefits of arts integration first hand where student engagement increases, and students achieve better academic results. The following article details New York City schools chancellor's desire to change the reading curriculum and start a "massive turnaround" in New York City schools. It highlights the latest state test scores and reading curriculum overhaul, and instead calls for a more transformative education reform by using the National A+ Schools Program model, offering not just a new curriculum model but an arts-based pedagogy as well. The National A+ Schools Program is research-based with proven results for nearly 30 years, and while it will not be easy, it is certainly possible. [ABSTRACT FROM AUTHOR]

This document provides a concise summary of an article discussing a drama-based activity called "A Day in the Life Of..." that can be used in English language classrooms. The activity involves students creating and presenting a short, mimed drama using student-made art and context clues. It aims to improve language skills, vocabulary development, group participation, and cultural engagement. The article provides step-by-step instructions for implementing the activity and highlights its benefits in terms of experiential learning and fostering creativity in language classrooms. The document also briefly mentions the interests of an individual and provides information about its production and printing. [Extracted from the article]

Facing the problem of the Indonesian nation which is being hit by a 'moral crisis', the concept of the national education curriculum contains a lot of character education concepts. This is a new challenge so that teachers immediately change the 'mindset' that originally the purpose of teaching to produce intelligent humans, to having to prioritize teaching to form character. Mathematical characteristics are abstract sciences, but the process of understanding must be conveyed through concrete media. In addition, the psychological development of elementary school children is in the urge to want to play and do fun activities. This research aims to get findings of mathematics learning models in elementary schools to form character. This drama-based learning model has been found with learning stages through the planning, implementation, and evaluation stages. At the planning stage, the teacher prepares a drama script themeonut daily life events related to mathematical topics and character value competencies to be developed. At the implementation stage, students role-play according to the theme of the drama script. As for the evaluation stage, the teacher conducts assessments during learning or student activities. [ABSTRACT FROM AUTHOR]

Theatre art can be included in education in different ways and with different goals. The first two pillars of theatre pedagogy – theatre literacy and theatre creation – have as their goal familiarisation with theatre art and theatre creation. The third pillar of theatre pedagogy – learning through theatrical approaches – understands theatre (or theatre approaches, methods and techniques) not only as a goal but primarily as a means for achieving broader educational goals. Drama in education (DiE) represents such a theatrical approach, which can be applied to various subject areas. In addition to educational goals, we also achieve aesthetic goals – we learn through drama and about drama. Drama in education belongs to the so-called process forms of drama, as it does not envisage a final product, that is, a performance. It originates from an improvised symbolic play/role play, and due to educational goals, it can also be argued that it indicates a learning approach in which the teacher/theatre pedagogue uses a combination of methods and techniques of theatre pedagogy connected in a meaningful dramatic structure. In addition to creative theatre activities, drama in education devotes most of its time to the negotiation and structuring of meanings directed by the teacher/theatre pedagogue. Even if a precise definition of drama in education is not possible, its key characteristics are processability, role play, improvisation, collectivity, dialogue and a symbolic dimension.

In this study, primary school pupils have been surveyed using the methodology of drama pedagogy, focusing on two research questions: what the risks of online activities are and how children cope with these, and what the experiences of children with distance learning were. This study investigated both areas jointly from the pupils’ perspective. Three anonymous online focus groups were conducted with 16 Hungarian pupils (4 boys and 12 girls; age range: 11–15 years) in July 2020, who joined to the research on a voluntary basis and have been recruited from three rural counties with different socioeconomic backgrounds. Respondents unequivocally recounted that during the lockdown, they had spent a significant part of their time in front of a screen, mostly without adult supervision. Whilst most only experienced different forms of teasing, some cyberbullying instances bordered on criminal cases and required the involvement of parents. High exposure to such risks was experienced during the months when online learning mainly consisted of receiving assignments to work on, and most teachers were almost unavailable. Future research could compare the experiences of pupils and teachers, creating an online safe space for them where they could respond to each other’s perceptions, interpretations and opinions anonymously.

In this forum piece, three scholars from different disciplinary backgrounds discuss their experience of the Toronto run of Robert Lepage's The Library at Night, an immersive virtual reality (VR) experience. The show's Toronto debut was produced by Lighthouse Immersive in spring 2022. Taking their cue from Shannon Jackson's discussion of how disciplinary training and framing impacts perceptual habits (2-4), the authors explore how their various lenses shape their understanding of the multidis-ciplinary and difficult-to-categorize experience. They discuss affect, audiences, artistic choices, and the show's larger context. Examining how the show constructs an aesthetic experience for its audience, and critiquing its limited epistemological frame, they consider how The Library at Night fits within our current moment of experience economy in the arts and culture industry. [ABSTRACT FROM AUTHOR]

This study aims to examine how pre-service teachers who took the "Drama for Education" course evaluated the course in terms of individual and professional development. The research was carried out with a case study, which is one of the qualitative research designs. Within the scope of the study, 58 pre-service teachers from different departments who took the "Drama in Education" course as an elective were studied. During the data collection process, an open-ended form was used with 58 pre-service teachers and interviews were conducted with 10 pre-service teachers at the end of the semester. The obtained data were analyzed by content analysis method. According to the results of the research, at the beginning of the semester, pre-service teachers associated the "Drama in Education" course with a theoretical process and children's games. At the end of the term, pre-service teachers expressed a number of positive views, both individually and professionally (for example, gaining empathy, increasing self-confidence, gaining teaching experience). These findings support that the creative drama course is an effective tool that can contribute positively to both the individual development of pre-service teachers and their future teaching careers. This study emphasizes the potential of creative drama education to increase the pedagogical competencies of pre-service teachers and the importance of integrating such courses into the education process of pre-service teachers. [ABSTRACT FROM AUTHOR]

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