Literatura académica sobre el tema "Teachers of deafblind people – drama"

This paper discusses a musical drama based on Japanese folk tales presented by a junior high school special needs class and how these activities related to a community music therapy that promotes cultural growth in the local community. The results clarified two points. First, a musical drama that utilized the musical resources and local resources of special needs class students created relationships between regular class students, teachers, and local people, and empowered special needs class students. Second, the knowledge gained from community music therapy is also useful for inclusive education-oriented activities.

Teaching speaking In Indonesian, many teachers have made much effort to find good methods, strategies, techniques, media and teaching materials to make the most of it. They have tried hard to maximize every way in the teaching and learning process. The socio drama method also has an influence on student learning outcomes. The purpose of the research method used is experimental. The population in this study were 250 people students of class VII SMPS PLUS Kasih Ibu Patumbak, while the sample is class VIII-A (20 students) as an experimental group that teaches storytelling techniques in narrative text and class VIII-B. (20 students) as a control group were taught without telling. This research was conducted through the following The test is a drama conversation. Researchers of several drama conversations related to English answered 2 people with drama. The results show that there is an increase in students speaking skills using storytelling techniques. After calculating the data, then the researcher found that the t-test t-test obtained that the value of observed ≥ ttable, namely 6.436 > 2.086. on significance level α = 0.5. Thus, it can be concluded that H0 is rejected and Ha is accepted. An can be interpreted that Performing socio drama significant effect on increase students' motivation in speaking english.

Nowadays not only formal but also non-formal education plays a significant role in the context of lifelong learning. By getting involved in various non-formal education activities, with overall and personality development, children and young people socialise, gain new experiences, and acquire new social roles. The wider the spectrum of non-formal education activities, the more possibilities there are for each child and young person to find the most suitable to get involved in according to their interests, needs, abilities, future intentions and goals. One of the forms of non-formal education for children and youth is theatre art non-formal education, which finds its theoretical methodological base in drama pedagogy. School drama clubs, optional course of public speech, drama studio etc. have a significant role and contribute to the promotion of students’ personality development and socialisation. The aim of this article is to give a theoretical justification of the youth theatre art non-formal education in the context of drama pedagogy historical development. The approaches, principles, new methods of drama pedagogy were and are currently used by teachers-practitioners in many countries not only in the drama non-formal education but also throughout formal education – by including drama elements as learning techniques and methods across different subjects, thus making the drama pedagogy universal, constantly present everywhere and at all times.

During spring of the academic year 2020-2021, the English Didactics department of the Freie Universität Berlin offered a seminar on drama pedagogy. Given the pandemic and a syllabus which promised future teachers ‘teaching through actual classroom practice’ it was decided to take the in-person sessions between university students and grade six students online. The result of these collaborative drama lab sessions were Earth Speakr messages which, after being practiced online, were recorded in person at school in the Earth Speakr app by the English teacher, a university student assistant and the course instructor. Once uploaded, these messages become part of the global Earth Speakr artwork initiated by the artist and climate activist Olafur Eliasson. This article lays out some of the parameters, contexts and challenges of the sessions. These are complemented by individual reflections as well as outstanding questions for further research. Linguistic actions used in performative teaching, such as acting during an online guessing game or using gestures to practice pronouncing a word can have transformative effects. Even during pandemic times, there is evidence that these experiences can help learners and teachers to connect and find their own place in the social worlds they move in.

Monolog memiliki kompleksitas dan kekhususan tersendiri karena meskipun merupakan wicara seorang diri, wicara ini disapaikan di hadapan orang lain. Perkembangan monolog perlu diikuti dengan pembinaan agar sekolah dan masyarakat tidak memandangnya sebagai pementasan drama yang ala kadarnya. Monolog perlu disikapi sebagai genre pementasan drama, yang bila dikemas dengan sungguh-sungguh dapat menjadi tontonan teter yang menarik.Permasalahan yang dihadapi adalah masih banyak guru Bahasa Indonsia belum memeiliki ketrampilan dalam bermonolog. Pelatihan ini dilaksanakan di laboratorium Komputer SMA 4 Kota Ternate yang merupakan kerja sama Tim PKM Fakutas Keguruan dan Ilmu Pndidikan Universitas Khairun dengan Musyawarah Guru Bahasa Indonesia Kota Ternate yang berjumlah 24 orang. Tujuannya agar setelah mengikuti peltihan, peserta pelatihan dapat mementaskan monolog dengan baik dan dapat melatih siswa bermonolog dalam kegitan pembelajaran Bahasa Indonesia. Kegiatan Pelatihan Monolog dilaksanakan dengan menggunakan Teknik Permodelan. Pelatihsn dilakukan melalui 3 tahapan yaitu tahap pertama tahap penyajian materi, kemudian tahap pementasan atau permodelan monolog dan yang ketiga adalah praktek monolog oleg guru-guru peserta pelatihan.Hasil yang diperoleh yaitu berdasarkan hasil pengamatan, nara sumber menilai sebagian besar guru yang tampil sudah bagus dalam bermonolog. Hanya ada bebarap guru saja yang kelihatan agak malu sehngga kurang bisa berekspresi secara maksimal. Selain itu, hasil evaluasi menunjukkan bahwa sebagian besar guru sudah bisa bermonolog dengan baik. Terlihat dari tabel hasil evaluasi kemampuan guru dalam bermonolog terdapat 6 orang atau 33,3% guru yang termasuk dalam kriteria sangat baik, 11 orang atau 61,1% guru yang berkemampuan baik, 1 orang atau 5,5% yang masuk dalam kriteria kurang baik dalm bermonolog, dan tidak ada guru atau 0% yang termasuk dalam kriteria sangat kurang. Ini menunjukkan bahwa solusi atau harapan kegiatan pelatihan agar 75% guru yang ikut dalam pelatihan ini dapat bermonolog dengan baik bisa tercapai Monologue Training with Modeling Techniques for Indonesian Language MGMP Ternate City Monologue has its own complexity and specificity because even though it is a solo speech, it is delivered in front of other people. The development of monologues needs to be followed by coaching so that schools and communities do not view them as perfunctory drama performances. Monologue needs to be considered as a genre of drama performance, which if properly packaged can become an interesting tethered spectacle. The problem faced is that there are still many Indonesian teachers who do not have the skills in monologue. This training was carried out in the Computer laboratory of SMA 4 Ternate City which is a collaboration of the PKM Team of the Faculty of Teacher Training and Education at Khairun University with the Indonesian Language Teacher Conference of Ternate City, totaling 24 people. The goal is that after attending the training, the trainees can perform monologues well and can train students in monologues in Indonesian language learning activities. Monologue Training Activities are carried out using Modeling Techniques. The training is carried out through 3 stages, namely the first stage of presenting the material, then the stage of staging or modeling the monologue and the third is the practice of monologue by the trainee teachers. The results obtained are based on observations, resource persons assessed that most of the teachers who performed were good in monologues. There are only a few teachers who look a little embarrassed so they can't express themselves optimally. In addition, the results of the evaluation showed that most of the teachers were able to monologue well. It can be seen from the table that the results of the evaluation of the ability of teachers in monologue are 6 people or 33.3% of teachers who are included in the very good criteria, 11 people or 61.1% of teachers who have good abilities, 1 person or 5.5% who fall into the criteria are not good in monologue, and there is no teacher or 0% which is included in the very poor criteria. This shows that the solution or hope of training activities so that 75% of teachers who participate in this training can monologue well can be achieved.

This research aims to prove the effectiveness of using audiovisual media in learning to write drama scripts for students. The population in this research were students of class XII Social Science which collected 90 people from three classes. The sample was determined by purposive sampling technique in order to obtain 2 classes as the experimental and control classes. The research design was a quasi-experimental. The instrument used is a drama writing test. The collected data were analyzed using descriptive analysis and inferential analysis in the form of independent t-test. The results showed that the group using audiovisual media obtained better results than audio media. The results of the study were evidenced by a t-test which showed that audiovisual media was effectively used in learning to write drama scripts. The implication of this research is that teachers can improve students' ability to write Indonesian drama scripts using audiovisual media. Abstrak: Penelitian ini bertujuan untuk membuktikan keefektifan penggunaan media audiovisual dalam pembelajaran menulis naskah drama siswa. Populasi dalam penelitian ini adalah siswa kelas XII IPS yang berjumlah 90 orang dari tiga kelas. Sampel ditentukan dengan teknik purposive sampling sehingga diperoleh 2 kelas sebagai kelas eksperimen dan kelas kontrol. Desain penelitian adalah eksperimen semu. Instrumen yang digunakan adalah tes menulis drama. Data yang terkumpul dianalisis menggunakan analisis deskriptif dan analisis inferensial berupa independent t-test. Hasil penelitian menunjukkan bahwa kelompok yang menggunakan media audiovisual memperoleh hasil yang lebih baik dibandingkan media audio. Hasil penelitian tersebut dibutikan dengan uji-t yang menunjukkan bahwa media audiovisual efektif digunakan dalam pembelajaran menulis naskah drama. Implikasi penelitian ini adalah guru dapat meningkatkan kemampuan siswa menulis naskah drama bahasa Indonesia dengan menggunakan media audiovisual.

Students' listening skill activities are expected to be able to interpret the speech that lies in the drama script using film 17 forever and students must pay attention to three stages in listening to drama scripts using film 17 forever, namely, (1) explaining student activities in listening to drama using the use of film. film media 17 forever, (2) Expressing students' ability to listen to drama scripts using 17 forever film media, (3) saying students' responses to using 17 forever film media in listening to drama scripts. Teachers and students of class VIII B totaling 25 people were the subjects in this study. The results of the research on discovery 1 in the first cycle, the score given by the two observers after being accumulated is the average score of students are 68 (active). In cycle II, there was an increase in the score given by the observer and the average score for student activities. The total score is given by the two observers, as well as the average score for student learning activities, is 70. In discovery 2 there is a cycle I average value of student learning outcomes listening to drama scripts, which is 80.0, whereas in cycle II there is an increase to 85.0. The increase occurred from cycle I to cycle II of 4.80, not only that, the number of students who completed exploring education from cycle I to cycle II faced significant changes. In cycle I, from the total number of villages, only 20 people (80.0%) got a complete score. On the other hand, in cycle II, the totality of students found (100%) complete education by listening to drama scripts on film media 17 forever. (In discovery 3) the first cycle of students shared a positive response (responsive) to the education of listening to drama scripts using film 17 forever with an average value of 79.02 In the second cycle, the average value given by students to this education increased to 80.10 (responsive). So that it can be concluded from the initial, second, and third findings, and the explanation above, it can be concluded that research on the use of film 17 forever in education by listening to drama scripts can increase the learning outcomes of class VIII B students of SMPN 1 Banggai Utara.

This study documented the community theatre process for young people led by facilitators from the Play-Spirit Studio and examined how their processes and roles impacted the development of the youths. The program was implemented in four schools in Pichit Province, Thailand, with each project lasting five days. The facilitators used the community theatre process, working with youths between the ages of 9-12 and 13-18 as an intervention in 4 schools, encouraging them to create narratives based on their community. The narratives functioned as a learning process for the youths and as a production for the community audiences. The facilitators' leadership in the process provided a safe learning environment for the youths to explore social issues, assume roles in drama, and reflect on themselves. This was a transformative experience for both the young people and their teachers. The young people developed communication, team-working, and resilience skills through the theatre process while the teachers recognized the youths’ potential and the importance of community engagement in the young people’s learning.

The Internet provides us with a plethora of material to read and view and is the tool that people use today to communicate and acquire information. YouTube is a globally-used platform for individuals and organizations to share audio and visual material. Due to the COVID-19 situation, many teachers in schools and universities have looked to this website to supplement their teaching as it provides a scope and depth of material that is easily and readily accessible to the public. Theatres having been forced to close because of the pandemic have used this platform to share their work, and many teachers, especially those teaching theatre or performance-related studies have accessed recordings of performances to use in the online classroom as it is, as far as I know, the only way to access the arts for free during the pandemic. As a teacher of English language with an interest in drama and theatre arts, I had been viewing many free performances as I hope to share and foster an appreciation of drama and theatre in my students. With that in mind, I attempted to design a theatre reviewing task for use in the EFL classroom. The report shows my findings and my reflections of the task, and reveals that viewing and writing about the theatre arts can have a positive influence on students.

Abstract Teaching young people how to deal with conflict is rarely part of a school curriculum. Although, as social communities with humans of different ages, and levels of power and status, schools themselves are full of conflict, they are often reluctant for many reasons to acknowledge the fact, and more reluctant to give it an explicit profile by including the teaching of conflict management and transformation within the curriculum. Most conflict and bullying management in schools is reactive (i.e. after the fact), top-down (i.e. done to or with the participants by teachers and school leaders), and any training is extra-curricular. Cooling Conflict was a ten-year action research project in Australia, part of the international dracon project, investigating how drama can provide young people with the cognitive tools to resolve their own and other people’s conflicts, and to manage bullying for themselves. The program developed carefully structured drama pedagogy to give students knowledge and a vocabulary to understand the origins and structures of conflict, and to provide practice in the range of strategies available for resolving, managing or transforming conflict. The aim was to provide the students with autonomy and agency over this knowledge, and peer teaching became an important part of the program, which was (and still is) implemented in a wide range of educational settings internationally, formal and informal. From the outset and wherever possible, the program was deliberately integrated into standard curriculum time and programs, to embed the concept that conflict transformation and management can be learnt through experiential, integral learning. Over ten years, the project accumulated overwhelming evidence that, properly used, drama pedagogy is a valuable method for providing students with the tools they need to manage or transform their own conflicts, and themselves to take responsibility for assisting peers and younger students to do the same.

This research study investigated the relationship between teachers' understanding of the theoretical principles underlying the Van Dijk Curriculum for students labelled deaf-blind and teachers' implementation of related instructional strategies. This study was conducted at the Rafael School located on the campus of the Instituut voor Doven, a school for deaf children, in The Netherlands. Six teachers who were specifically trained for at least three years in the Van Dijk Curriculum at the Rafael School were observed and interviewed during an academic school year. A comprehensive system was developed to examine the dynamic relationship between teachers' understanding and implementation. Using qualitative research methodology, teacher implementation was documented through observations and teacher understanding was documented through interviews. A systematic coding procedure was used to analyze the data. In general, the findings indicated that a relatively consistent relationship was found between teacher understanding and implementation for five of the six teachers. The one exception was a teacher who demonstrated that she understood the theory underlying the curriculum but was not a high implementor of the related instructional strategies. Possible explanations regarding this particular teacher's incongruent relationship of understanding and implementation are presented. This study demonstrates that a systematic procedure can be developed to investigate the relationship of a curricular theory applied to practice. Furthermore, this study provides insight into how teachers' understanding of theory translates into practice. The particular conditions and circumstances under which the relationship of teachers' understanding and implementation was investigated in this study suggest that a shared philosophy, a theory-based curricular model with integrated strategies, and ongoing staff collaboration and administrative support seem to impact this dynamic relationship.

Abstract Children usually first experience drama as performance, and for some the fun leads happily into play-reading with a lively sense of per formative possibilities; but most people first read drama seriously at school, and though many teachers recognize in casting and reading aloud that plays require a different way of reading than novels and poetry, the reductive approach too often embodied in criticism and examining stunts the development of play-reading. There is also a regrettable tendency to treat (expensive) theatre-visits or video resources as either authoritative or culpably ‘unfaithful’ to the sanctioned edition of the text, rather than variant possibilities.

The article presents and discusses the experiences of the author and some colleagues when they tested the use of digital roleplay in several teaching groups. This was done in the context of a fourth-year pedagogy course in Norwegian teacher education for primary and lower secondary school. The course’s syllabus concerns school as an organisation, and as such, collaboration within the school and with external people. The project was a form of action research or self-study of a limited part of the teaching that semester. The research focus was: “What possibilities are there in using digital roleplay to create embodied, transformative and/or enactive learning?” The author shares how the digital roleplay was organised, what the student teachers and the teacher educators thought about the activity and the learning outcome. The theoretical lenses used come from transformative, enactive and embodied learning. The article also examines how drama/roleplay can be used as a mediating tool to promote learning through an interplay of the body, mind, and surroundings, hopefully affecting the whole person and possibly changing the individual. The results indicate that digital roleplay is a viable tool and that the students experienced embodied responses, which in turn influenced their cognition, in this case their understanding of the drama-topic (homework) and drama-focus (how people can use various techniques to dominate situations and gain power in ordinary life). Even so, the author concludes that it takes more than one roleplay session to change a person’s identity.