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Frimberger, Katja. "Towards a Brechtian research pedagogy for intercultural education : cultivating intercultural spaces of experiment through drama". Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4593/.
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This PhD thesis develops a Brechtian research pedagogy for intercultural education. Taking its lead from progressive intercultural educators and researchers who conceptualise intercultural experiences as being ‘radically embodied’, this thesis is underpinned by a concept of culture as fluid and constantly ‘in the making’. In order to give ethical and pedagogical consideration to such a performative view of culture, Brechtian thinking and theatre practice is employed and translated into the intercultural education research space. Placing Brechtian Verfremdung – ‘estrangement’ - at the heart of methodology, such research pedagogy works from within the precarity of intercultural spaces. Based on an immanent ethics that emerges from and shapes within the relationships built in the research space, the researcher’s role is that of the facilitator and co-producer of data. A Brechtian research pedagogy is thus considered a mode of production; one that does not conceptually presuppose ethics and pedagogy, but considers them as ‘becoming’ and integrated within its methods. It asks two questions i) can a Brechtian informed approach to pedagogy create and change experiences of ‘strangeness’ and ii) if so, how is this achieved and manifested? The focus of this thesis is international students’ dynamic and in flux experiences of strangeness. During four half-day workshops in consecutive weeks, a group of ten international postgraduate students encounter a Brechtian research space, where, using drama, creative writing and filming methods, they engage in an open, embodied conversation on ‘intercultural experiences’. I trace participants’ process of intercultural learning and ‘intercultural making’ through the embodied methods used in the drama research workshops. These embodied methods stimulate a variety of reflective modes and produce multilayered data for analysis: pictures, conversations, creative writing pieces and even non-verbal gestures. In order to prevent an early reification of these ‘texts’ into academic ‘strangeness knowledge’, they are in turn estranged and used in a mode of artistic production. This allows for active thinking about the research question as well as aids reflection on the modes of encounter within the research space. ‘Estrangement’ draws attention not only to the content of intercultural stories used, but to their inherent discursive structures and the effects these can have on participants’ well-being. The research project’s main emphasis, then, is on the process of research and starts to work towards a respective Brechtian representational practice by developing the term ‘dialogic aesthetic framing’. It is suggested that representations should be equally seen as modes of production, dependent on an audience’s active reading between the research’s ‘metaphoric gaps’. Future research would seek to develop this more product-oriented focus further, so as to test and develop concrete artistic, representational practices for a Brechtian research pedagogy.
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Donelan, Katriona Jane, i n/a. "The Gods Project: Drama as Intercultural Education. An Ethnographic Study of an Intercultural Performance Project in a Secondary School". Griffith University. School of Vocational, Technology and Arts Education, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060609.111246.
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This thesis investigates the role of drama in the intercultural education of young people. It considers the relationship between the fields of drama education, intercultural performance and ethnography. The drama curriculum is explored as a site of intercultural learning and performance pedagogy. The thesis also examines the place of ethnography as an embodied, participatory practice in intercultural drama pedagogy and performance research. The study is placed in a context of international exchange and cultural pluralism, and is framed by debates about intercultural performance and the appropriation and representation of cultural narratives. This investigation of interculturalism within the drama curriculum is grounded in an ethnographic study conducted in Melbourne, Australia in a multicultural secondary school community. The study documents the experiences of approximately forty young people who participated in an African drama and performing arts project called The Gods Project. Jean, a Kenyan performing artist who was undertaking a two-year residency in the school, led the intercultural performance project. Participants were involved in drama and performing arts workshops, an African creative arts camp and a performance of a play, The Gods are not to Blame, by Nigerian playwright Ola Rotimi. The interpretative account of the project draws on ethnographic data from the first year of Jeans residency in the school and six months of intensive fieldwork in the second year of her residency. It also includes longitudinal data that was collected from a group of participants up to four years after the project. I collaborated with Jean and with a group of senior students, who volunteered to be student co-researchers, to record and analyse the diverse experiences of participants in The Gods Project and to interpret its educational, social, and aesthetic impact within the school context. Jeans pedagogy of intercultural story telling within the drama classroom and her role as a cultural guide throughout the project was explored. As a participatory ethnographic researcher, drama educator and assistant director, I worked alongside Jean and the students as they played with, talked about, resisted, created, adapted, subverted, embodied and performed intercultural performance texts. Drawing on Turner (1982) and Schechner (1988), I conceptualised The Gods Project as an intersecting social and aesthetic drama. The phases of social drama and ritual were used as a framework for the data analysis and as a structure for the narrative account of the project. Turners concepts of the liminal/liminoid and communitas were applied to the participants experiences at the creative arts camp and within the workshop and performance space. Dark play was identified as the young peoples response to the difficult social drama they were involved in; their subversive play provided a way to engage with the strangeness of the cultural material and the plays dark story and themes. The participants dramatic play informed the emerging aesthetic drama and facilitated their intercultural meaning making. The students efforts to make sense of and interpret a performance text embedded in a Yoruba context resemble the task of an ethnographer attempting to understand and represent socio-cultural experiences. The study demonstrates that through a process of collaborative intercultural reflexivity, ethnography can enhance intercultural drama education. The pedagogical features of The Gods Project are related to Turners concept of performance ethnography and the role of a cultural guide in intercultural teaching and learning is highlighted. With the guidance of their Kenyan teaching artist many of the young people engaged with different socio-cultural perspectives, actively explored new cultural performance conventions and art forms, and experienced the complexities of intercultural representation. The study reveals evidence of significant social, personal, intercultural and artistic learning outcomes for participants within this school-based performance project. However, the study also reveals the difficulties and challenges of implementing an innovative intercultural project within a school context. It demonstrates that kinaesthetic, playful, embodied and performative experiences are central to intercultural teaching and learning.
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Donelan, Katriona Jane. "The Gods Project: Drama as Intercultural Education. An Ethnographic Study of an Intercultural Performance Project in a Secondary School". Thesis, Griffith University, 2005. http://hdl.handle.net/10072/368076.
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This thesis investigates the role of drama in the intercultural education of young people. It considers the relationship between the fields of drama education, intercultural performance and ethnography. The drama curriculum is explored as a site of intercultural learning and performance pedagogy. The thesis also examines the place of ethnography as an embodied, participatory practice in intercultural drama pedagogy and performance research. The study is placed in a context of international exchange and cultural pluralism, and is framed by debates about intercultural performance and the appropriation and representation of cultural narratives.
This investigation of interculturalism within the drama curriculum is grounded in an ethnographic study conducted in Melbourne, Australia in a multicultural secondary school community. The study documents the experiences of approximately forty young people who participated in an African drama and performing arts project called ‘The Gods Project’. ‘Jean’, a Kenyan performing artist who was undertaking a two-year residency in the school, led the intercultural performance project. Participants were involved in drama and performing arts workshops, an ‘African’ creative arts camp and a performance of a play, The Gods are not to Blame, by Nigerian playwright Ola Rotimi. The interpretative account of the project draws on ethnographic data from the first year of Jean’s residency in the school and six months of intensive fieldwork in the second year of her residency. It also includes longitudinal data that was collected from a group of participants up to four years after the project.
I collaborated with Jean and with a group of senior students, who volunteered to be ‘student co-researchers’, to record and analyse the diverse experiences of participants in The Gods Project and to interpret its educational, social, and aesthetic impact within the school context. Jean’s pedagogy of intercultural story telling within the drama classroom and her role as a ‘cultural guide’ throughout the project was explored. As a participatory ethnographic researcher, drama educator and ‘assistant director’, I worked alongside Jean and the students as they played with, talked about, resisted, created, adapted, subverted, embodied and performed intercultural performance texts.
Drawing on Turner (1982) and Schechner (1988), I conceptualised The Gods Project as an intersecting social and aesthetic drama. The phases of ‘social drama’ and ritual were used as a framework for the data analysis and as a structure for the narrative account of the project. Turner’s concepts of the ‘liminal/liminoid’ and ‘communitas’ were applied to the participants’ experiences at the creative arts camp and within the workshop and performance space. ‘Dark play’ was identified as the young people’s response to the difficult social drama they were involved in; their subversive play provided a way to engage with the ‘strangeness’ of the cultural material and the play’s ‘dark’ story and themes. The participants’ dramatic play informed the emerging aesthetic drama and facilitated their intercultural meaning making.
The students’ efforts to make sense of and interpret a performance text embedded in a Yoruba context resemble the task of an ethnographer attempting to understand and represent socio-cultural experiences. The study demonstrates that through a process of collaborative ‘intercultural reflexivity’, ethnography can enhance intercultural drama education.
The pedagogical features of The Gods Project are related to Turner’s concept of performance ethnography and the role of a ‘cultural guide’ in intercultural teaching and learning is highlighted. With the guidance of their Kenyan teaching artist many of the young people engaged with different socio-cultural perspectives, actively explored new cultural performance conventions and art forms, and experienced the complexities of intercultural representation. The study reveals evidence of significant social, personal, intercultural and artistic learning outcomes for participants within this school-based performance project. However, the study also reveals the difficulties and challenges of implementing an innovative intercultural project within a school context. It demonstrates that kinaesthetic, playful, embodied and performative experiences are central to intercultural teaching and learning.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Vocational, Technology and Arts Education
Full Text
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Choi, Yoon-Jeong. "Being outside and inside : dialogic identity and intercultural communication through drama in teaching English as an international language". Thesis, Durham University, 2003. http://etheses.dur.ac.uk/1084/.
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Lucut, Andrea. "Integration och dramapedagogik- en dialog?" Thesis, Högskolan i Gävle, Akademin för utbildning och ekonomi, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-12314.
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Integration är ett komplext begrepp som kan ses utifrån flera perspektiv och synvinklar. Dramapedagogik emellertid utgår från olika typer av värdeord baserade i en gemensam värdegrund. Centrala begrepp i detta är demokrati, acceptens och alla människors lika värde. Syftet med uppsatsen är att kartlägga, systematisera och problematisera forskning om hur drama kan användas, eller har använts i integrationssyfte. Hur ser dialogen ut inom forskningsfältet drama och integration? Vad säger det om dramapedagogikens betydelse i integrationsprocesser? Kan man urskilja några teman och i så fall vilka? Som metod används en litteraturstudie med en kvalitativ ansats som vilar på utvalda begrepp som ingår i en integrationsprocess. Resultatet visar fyra olika kategorier där drama används som metod i integrationsprocesser. Drama för att främja mångkulturalism och interkulturell kompetens, kulturell identitet genom drama och teaterprocesser, drama som resurs för språkinlärning samt drama och teaterprocesser med syfte att spegla och engagera samhället.Integration is a complex concept that can be approached from several perspectives and viewpoints. Drama in Education, however is based on different types of core values based in shared values. The keys to these are democracy, acceptance and equal dignity. The purpose of this paper is to identify, systematize and problematize academic research on how drama can be used, or has been used for integration purposes. What does the dialogue within the researchfield regarding drama and integration look like? What does it say about dramas role in integration processes? Are there any themes to be seen? The method used is a literaturestudie with a qualitative approach that is based on selected concepts included in an integration process. The results show four different categories in which drama is used as a method for integration. Drama for promoting multiculturalism and intercultural competence, cultural identity through drama and theater processes, drama as a resource for language learning and drama and theater processes in order to reflect and engage society.
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Popova, Vlada. "Youth development through intercultural performance: A case study from Wesbank Arts and Culture Group, South Africa". Thesis, University of the Western Cape, 2005. http://etd.uwc.ac.za/index.php?module=etd&.
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The research took place while the author worked as a volunteer theatre practitioner with the Arts and Culture Group in Wesbank township near Kuils River, Cape Town, South Africa. This organisation was founded in 2002 and was the result of one woman's efforts to keep the children of Wesbank off the streets, by keeping them busy through dance, song and drama. This study investigated the impact of basic theatre training, working towards performance and the performative act itself on the psyche of the drama group participants. More specifically, the study investigated in what ways being involved in a performance can help children and young people in an underprivileged community of Wesbank to develop confidence, a sense of competence, self-reliance, creative thinking, responsibility and the ability to work as an ensemble. The research was to a great extent focused on cross-cultural communication. How could the "Cape Coloured"
and Xhosa members of the group overcome cultural barriers and express their cultural uniqueness equally through taking part in multicultural theatre performance.
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Awi, Jane Pumai. "Creating new folk opera forms of applied theatre for HIV and AIDS education in Papua New Guinea". Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/81643/1/Jane%20Awi%20Thesis.pdf.
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This research investigated the potential of folk opera as a tool for HIV and AIDS education in Papua New Guinea. It began with an investigation on the indigenous performativities and theatricalities of Papua New Guineans, conducting an audit of eight selected performance traditions in Papua New Guinea. These traditions were analysed, and five cultural forms and twenty performance elements were drawn out for further exploration. These elements were fused and combined with theatre techniques from western theatre traditions, through a script development process involving Australians, Papua New Guineans and international collaborators. The resulting folk opera, entitled Kumul, demonstrates what Murphy (2010) has termed story force, picture force, and feeling force, in the service of a story designed to educate Papua New Guinean audiences about HIV and the need to adopt safer sexual practices. Kumul is the story of a young man faced with decisions on whether or not to engage in risky sexual behaviours. Kumul's narrative is carefully framed within selected Papua New Guinean beliefs drawn from the audit to deliver HIV and AIDS messages using symbolic and metaphoric communication techniques without offending people. The folk opera Kumul was trialled in two communities in Papua New Guinea: a village community and an urban settlement area. Kumul is recognisable to Papua New Guinean audiences because it reflects their lifestyle and a worldview, which connects them to their beliefs and spirituality, and the larger cosmological order. Feedback from audience members indicated that the performance facilitated HIV and AIDS communication, increased people's awareness of HIV and AIDS, and encouraged behaviour change. Tellingly, in one performance venue, forty people queued for Voluntary Testing and Counseling immediately after the performance. Twenty of these people were tested on that night and the other twenty were tested the following day. Many of the volunteers were young men – a demographic historically difficult to engage in HIV testing. This encouraging result indicates that the Kumul folk opera form of applied theatre could be useful for facilitating communication and education regarding sexual health and safer sexual behaviours in Papua New Guinea. Feedback from participants, audience members and other research stakeholders suggests that the form might also be adapted to address other social and development issues, particularly in the areas of health and social justice.
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Lei, Daphne Pi-Wei. "Performing the borders : gender and intercultural conflicts in premodern Chinese drama /". Thesis, Connect to Dissertations & Theses @ Tufts University, 1999.
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Thesis (Ph.D.)--Tufts University, 1999.Adviser: William Sun. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 264-283). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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Blewitt, David. "Drama in Tudor education : education in Tudor drama". Thesis, University of Bristol, 1986. http://hdl.handle.net/1983/9c1050cb-a734-4151-b3f4-63ff22554368.
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The present work argues for the invaluable contribution of boy actors to the evolution of Tudor drama. Since most young scholars later went up to university or the'Inns of Court, I have also considered the course of drama in those institutions. This drama in education was given its prime impetus by visiting professional troupes, whose itineraries included schools, universities and the Inns. The education in drama they set before their audiences helped shape the schools drama, which was able to develop and expand in a way denied the professionals by the consequences of the Reformation. Not till Leicester's men established themselves at the Theater were the professionals enabled once again to strive towards their eventual pre-eminence. The argument in those'sections dealing with the colleges of Winchester, Eton and Westminster is supported by original archival material hitherto unavailable in print. The Introduction states the situation at the moment of the foundation of the Theater and of the first Blackfriars. That significant moment marked the beginnings of the decline in the fortunes of the forces of drama in education. The prehistory is rooted in the broad educational changes of the late fifteenth and early sixteenth centuries (Chapter I) and in the seminal effect upon the drama of the sermons of the mendicant preachers of the later Middle Ages (Chapter I). These twin influences forged the drama of pre-Reformation England, defined the roles of professionals and boys alike (Chapter II).
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Kagolobya, Richard. "Symbolic interaction and intercultural theatre performance dynamics in Uganda : the case of Makerere Universitys Intercultural Theatre Collaborations". Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/96034.
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Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This dissertation investigates and examines the dynamics of intercultural theatre practice. Existing scholarship on interculturalism in theatre praxis regards intercultural theatre as a site for bridging cultures and cross-cultural performance traditions, and for investigating the performance of power between the collaborating parties, learning, cultural imperialism, cultural translation and hybridity, among other features. However, much of the existing literature does not offer a historical perspective allowing one to understand the dynamics of contemporary North-South collaborations. Moreover, most studies do not adequately weave the experiences of the participants in such collaborations into their analyses. This study contributes to filling that research gap. This research specifically seeks to investigate and examine the dynamics of intercultural theatre collaborations in Uganda, taking Makerere University‘s Department of Performing Arts and Film‘s intercultural theatre activities in recent years as case studies. The inquiry was mainly driven by the impetus to explore the North-South intercultural theatre dynamics and to examine the socio-cultural, socio-political, socio-economic features and other notions that were manifested in these intercultural theatre collaborations and performances. In order to pursue the above line of inquiry I used a multiple case study design by examining three cases: the Stanford-Makerere, New York-Makerere and the Norwegian College of Dance-Makerere collaborations. The multi-case study model was reinforced by the use of personal interviews, direct observation, focus group discussions, document analysis and emails of inquiry in order to solicit the views of individuals who had participated in the above collaborations. Theoretically, the study is hinged on a multiplicity of concepts and discourses: symbolic interaction, intercultural communication, theatre studies, postcolonial studies, international education and the discourse on globalisation. In the analysis of the different cases it was discovered that the issue of economic inequality in the contribution towards the funding of the collaborations, among the different modes of power performativity manifested in the collaboration processes, sometimes leads to an imbalance in the decision-making process. Consequently, the power imbalance contributes to the North-South intercultural theatre collaborations‘ unending crisis of identification with imperialism. The study further shows that there are cultural, linguistic, pedagogical, structural and socio-psychological aspects of difference that are negotiated during the course of the collaborations. It was found that the process of navigating the socio-cultural differences provides the participants with an experiential learning environment of living with/within and appreciating cultural differences, thus providing a bridge across the socio-cultural divide. The cultural bridge in theatrical terms, however, leads to the generation of theatrical hybridity and fusion, which again brings into play the debate on intercultural performance authenticity/inauthenticity in theatre discourse. Also, based on the view that intercultural theatre collaborations are microcosms of multifaceted global intercultural interactions, it was seen that the socio-cultural differences that are negotiated through the intercultural theatre collaborations can give one a microcosmic platform for critiquing the grand concept of the ―global village‖ and the associated notion of ―world cultural homogenisation‖. Since this study uses a novel multidisciplinary approach in the analysis of intercultural theatre phenomena, I believe it will contribute to critical theatre studies in Uganda and elsewhere. The findings will also hopefully contribute towards the assessment of intercultural theatre collaborations at Makerere University in order to improve them. The study will also advance the view that intercultural theatre‘s aesthetic and experiential processes can help in interpreting and understanding our respective multicultural environments. Broadly, it will contribute to the discourse on intercultural communication, performance and cultural studies.
AFRIKAANSE OPSOMMING: Hierdie proefskrif ondersoek die dinamika van interkulturele teaterpraktyk. Bestaande navorsing oor interkulturaliteit in die teaterpraktyk beskou interkulturele teater as ‘n forum vir die oorbrugging van kultuurgrense en interkulturele opvoeringstradisies, en vir die ondersoek na aangeleenthede soos die uitvoering van mag tussen die deelnemende partye, leer, kulturele imperialisme, kulturele vertaling en hibriditeit. Die bestaande literatuur bied egter grotendeels nie ‘n historiese perspektief waaruit die dinamika van kontemporêre Noord-na-Suid-samewerkings verstaan kan word nie. Verder verweef die meeste ondersoeke nie die ervarings van die deelnemers aan sulke samewerkings bevredigend in hul analises nie. Hierdie ondersoek dra by tot die vul van daardie navorsingsgaping. Hierdie navorsing poog spesifiek om die dinamika van interkulturele teatersamewerkings in Uganda te ondersoek deur van onlangse interkulturele teateraktiwiteite aan die Departement Uitvoerende Kuns en Film aan die Makerere Universiteit gebruik te maak as gevallestudies. Die beweegrede vir die ondersoek is hoofsaaklik die verkenning van die dinamika van interkulturele Noord-na-Suid-teatersamewerking en ‘n ondersoek na die sosio-kulturele, sosio-politiese en sosio-ekonomiese kenmerke en ander opvattinge wat in hierdie interkulturele teatersamewerkings en -opvoerings gemanifesteer het. Om hierdie ondersoek te onderneem, het ek drie gevalle in ‘n meervoudigegevallestudie-ontwerp bestudeer: die samewerkings tussen onderskeidelik Stanford en Makerere, New York en Makerere, en die Norwegian College of Dance en Makerere. Die meervoudigegevalle-ontwerp is versterk deur die gebruik van persoonlike onderhoude, direkte waarneming, fokusgroepgesprekke, dokumentanalise en e-posnavrae in ‘n poging om die opvattings van individue wat aan die bogenoemde samewerkings deelgeneem het, te verkry. Teoreties is die studie gefundeer in ‘n veelvoud konsepte en diskoerse: simboliese interaksie, interkulturele kommunikasie, teaterstudies, postkoloniale studies, internasionale opvoedkunde en die diskoers oor globalisering. In die analise van die verskillende gevalle is bevind dat die kwessie van ekonomiese ongelykheid in bydraes tot die befondsing van samewerkings, onder die verskillende modusse van magsperformatiwiteit wat in die samewerkingsprosesse gemanifesteer het, soms ‘n wanbalans in die besluitnemingsproses tot gevolg het. Gevolglik dra hierdie magswanbalans by tot die nimmereindigende krisis van identifikasie met imperialisme waaronder interkulturele Noord-na-Suid-teatersamewerkings gebuk gaan. Die ondersoek toon verder dat daar kulturele, linguistiese, pedagogiese, strukturele en sosio-psigologiese verskille is wat oorkom moet word vir suksesvolle samewerkings om plaas te vind. Daar is bevind dat die hantering van sosio-kulturele verskille die deelnemers van ‘n eksperimentele leeromgewing voorsien vir die belewing en waardering van kultuurverskille, waardeur die sosio-kulturele skeiding oorbrug word. Die kulturele brug lei egter, in toneelmatige terme, na die ontwikkeling van toneelmatige hibriditeit en versmelting, wat weer die debat oor die outentisiteit al dan nie van interkulturele opvoerings in die teaterdiskoers aktiveer. Verder is daar, gebaseer op die siening dat interkulturele teatersamewerkings mikrokosmosse van veelvlakkige globale interkulturele interaksie is, bevind dat die sosio-kulturele verskille wat deur interkulturele teatersamewerkings oorkom word, ‘n mikrokosmiese platform kan voorsien vir die kritisering van die begrip van die sogenaamde ―wêrelddorpie‖ en verwante nosies van wêreldwye kulturele homogenisering. Aangesien hierdie ondersoek ‘n nuwe multidissiplinêre benadering tot die analise van interkulturele teaterverskynsels gebruik, glo ek dit sal bydra tot die teaterkritiek in Uganda en elders. Die bevindinge sal hopelik bydra tot die assessering van interkulturele teatersamewerkings aan Makerere Universiteit om hulle te verbeter. Die ondersoek sal ook die siening voortdra dat interkulturele teater se estetiese en ervaringsprosesse kan help met die interpretasie en verstaan van ons onderskeie multikulturele omgewings. Breedweg sal dit bydra tot die diskoers oor interkulturele kommunikasie, opvoering en kultuurstudie.
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Cutugno, Carmela. "Intercultural performance and dialogue : from Richard Schechner Performance Studies onwards". Thesis, University of Kent, 2014. https://kar.kent.ac.uk/47431/.
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Through a historical, theoretical and methodological excursus, this thesis analyzes the birth, development and current identity of Performance Studies, an academic research field that, born in the United States at the end of the Seventies, has always been reluctant towards any attempt to be defined. If Performance Studies conceives performance both as an object of analysis and as a methodological lens, and if, as pointed out by Richard Schechner, everything can be studied "as" performance and so investigated according to the analytical categories of this discipline, then, with a transitive and "meta-methodological" shift, this doctoral research takes Performance Studies as its object of study, observing it "as performance" and using the same methodological tools suggested by its object of analysis. This work investigates how the object of study of Performance Studies is, following Schechner’s theory, the "behaved behavior", and thus how, as a result, the repertoire, even before the archive can be regarded as the true custodian of "embodied practices". Focusing on examples of performative "reenactment" such as those by Marina Abramović and Clifford Owens, as well as on the efforts undertaken by the UNESCO’s Intangible Cultural Heritage section, it suggests valid examples of "archiving performance". The paper then examines cases that exemplify the successful identification of "studying performance" and "doing performance", it underlines the crucial and inescapable role played by the on-field research, understood as "participant observation", and highlights the constant social and political commitment of Performance Studies. This dissertation addresses and supports the effectiveness of Performance Studies in itself as an innovative tool able to analyze a world increasingly performative in its dynamics. Thanks to its both interdisciplinary and intercultural nature, Performance Studies seems to be a proper lens through which to promote different levels of performance dialogue among cultures which are locally different but globally comparable.
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Wedel, Heike. "Darstellendes Spiel auf Englisch als Perspektive für den bilingualen Sachfachunterricht". Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2010. http://dx.doi.org/10.18452/16204.
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Deutschlandweit nehmen die Schulen zahlenmäßig von Jahr zu Jahr zu, die ein bilinguales Angebot z.B. als Zweig oder als Modul in ihr Unterrichtsprogramm aufnehmen. Die meisten Angebote sind in englischer Sprache, aber auch andere – vor allem europäische Sprachen – spielen eine Rolle. Mittlerweile gibt es bilinguale Angebote in fast allen Fächern, wobei die gesellschaftswissenschaftlichen Fächer wie z.B. Geschichte und Geographie nach wie vor dominieren. Überraschenderweise spielt das Fach Darstellendes Spiel in der Diskussion um potenziell geeignete bilinguale Fächer weder in der Theorie noch in der Praxis eine nennenswerte Rolle. Mit der Wahl dieses Themas für die vorliegende Dissertationsschrift wird der bilinguale Sachfachunterricht Darstellendes Spiel erstmals in das Blickfeld der Forschung gerückt. Damit werden sowohl dem Sachfach als auch dem bilingualen Unterricht neue Perspektiven eröffnet. In der vorliegenden Dissertation wird folgenden übergeordneten Fragestellungen nachgegangen: Wie kann das bilinguale Sachfach Darstellendes Spiel für die Sekundarstufen I und II der allgemeinbildenden Schulen konzipiert werden? Worin liegt das besondere Potenzial des bilingualen Sachfachunterrichts Darstellendes Spiel? Welches sind seine spezifischen Merkmale? Dabei soll aufgezeigt werden, wo und in welchem Maße der Einsatz der Fremdsprache die sachfachliche Arbeit positiv oder negativ beeinflusst bzw. welche Auswirkungen der Unterricht im Sachfach auf den Fremdsprachenerwerb hat. Zur Beantwortung dieser Fragen wurde eine Auswahl existierender Ansätze zum szenischen Spiel im Fremdsprachunterricht unter Einbeziehung allgemeiner Überlegungen zur Funktion von Theaterspiel analysiert und zu den Besonderheiten des bilingualen Sachfachunterrichts in Beziehung gesetzt. Das auf dieser Basis erstellte Konzept wird in seinen vielfältigen Potenzialen analysiert und ausgelotet und mit Hilfe eines Praxisbeispiels in englischer Sprache veranschaulicht.The number of schools in Germany which offer to teach one or more subjects in a foreign language (content and language integrated learning = CLIL) is still growing. The subjects often chosen for this type of instruction are Geography and History. Other subjects are less frequently taught in a foreign language. The courses vary in length (a number of school years or only some weeks). Drama is very rarely chosen as a CLIL-subject, and there are hardly any reports of successful teaching of or scientific literature about CLIL Drama. This thesis puts CLIL Drama for the first time in the centre of scientific research, thus opening new prospects for Drama and CLIL. The main questions this thesis attempts to answer are the following: What could a concept for CLIL Drama look like for pupils at state schools aged between 13 and 18? How can the potential value added of CLIL Drama be described? What are its key features? This thesis also points to the advantages and disadvantages of CLIL Drama. In the search for an answer to the above questions the author has analysed existing approaches to teaching a foreign language (mainly English, but also German and French) with the help of drama, including the current German discussion about bilingual teaching at state schools. Furthermore, the author presents an alternative look into what theatre is about in this context. On the basis of the results of her research the author draws up a broad concept for CLIL Drama at German secondary schools. The thesis concludes with an illustration of a CLIL Drama project (in English) launched among 14-year-olds at a German gymnasium.
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Chen, Irene Wen-Ling. "EFL learners developing critical intercultural awareness through process drama : dialogue and discovery". Thesis, Durham University, 2013. http://etheses.dur.ac.uk/8464/.
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The overall aim of this research study is to look for a paradigm shift in foreign language (English) education in Taiwan. By challenging the role of foreign languages teaching and learning in the reproductive purpose of education systems, this study addresses the significance and urgency of developing critical intercultural awareness (CIA) in Taiwan students’ language learning experience. This study is a reflective account of an action research project that explores the how and why CIA can be developed in process drama praxis in the context of the Advanced English Learners’ Programmes for 27 junior high school students in Taiwan. Drawing on the theoretical framework of socio-cultural and educational drama theories for foreign language learning, this study follows the line of performative inquiry (Fels, 1999; 2000; 2008). As such, the drama site is regarded as a space for reflective action to take place, the drama workshop is seen as a collective experience of reflection, in which the participants are made able to problematise the current situation, to see things from different and distanced perspectives, and develop understanding in every moment of encountering with others, while co-constructing meanings together through dialogue and critical reflections. The narrative accounts of this inquiry serve to answer the major research question: How would a process drama syllabus help EFL learners develop critical intercultural awareness? The qualitative data demonstrated how such the multilayered mental space in drama allowed the language learners to develop flexibility and mobility through a freedom in the choice of action endowed upon them by the drama syllabus. The analysis revealed how drama created a milieu for the participants to engage, to negotiate, and co-construct meanings with SELF and Others from critical perspectives. The foreign language learning experience serves as a contact zone in which the SELF is deconstructed and reconstructed through a constant interplay and negotiation of meaning with the OTHER. The drama syllabus and approaches furthered this inter-space experience, deepened the impact of encountering the OTHER, and thus enabled the process of recognizing and re-strengthening of one’s own cultural identity. The evidence in the research demonstrated that, when given appropriate opportunities, the EFL learners are able to develop critical intercultural awareness though the language learning experiences. A model for the development of such intercultural education is then constructed through this study. The research thus argues for a need of a critical pedagogy approach in the foreign language classroom.
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Rowe, Julisa. "A guide to ethnodramatology developing culturally appropriate drama in cross-cultural Christian communication : a comparative study of the dramas of Kenya, India and the United States /". Theological Research Exchange Network (TREN), 2004. http://www.tren.com.
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Rothwell, Julia C. "Let's eat the captain! Thinking, feeling, doing : intercultural language learning through process drama". Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63847/1/Julia_Rothwell_Thesis.pdf.
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This research investigated the sustained use of process drama in a middle school foreign language classroom. The experience led to widespread learner engagement, a deeper contextualisation of the language as a socio-cultural practice, and a willingness to use the spoken and written language, regardless of limited proficiency. The drama required that language use be context and culture specific, contingent and multi-modal, which encouraged the beginner students to "mushfake" or improvise spoken and written text. Particularly important was the way the body was used through drama to express emotion, remember language and to illustrate the sociocultural context of its use.
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Mabuchi, Hitoshi 1955. "Discourses of intercultural education in Japan". Monash University, Faculty of Education, 2001. http://arrow.monash.edu.au/hdl/1959.1/9052.
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Harpe, Sabina Dorothea. "Children's conceptions of drama in education". Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/30644.
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This study has been an investigation of children's views of drama in education. It
invited children to reflect on the dramatic process as used by a classroom teacher in the
context of integrated units of study. The specific research question addressed was:
What are children's conceptions of drama when used by a non-specialist classroom teacher as an integral part of learning?
Children, ages 10-12 years, were observed and then interviewed in a semi-structured manner. The data were analyzed according to the phenomenographical research methodology. This suited the intent of the study in that the aim of phenomenography is to discover and describe the world as seen by participants. The results were presented in the form of conceptions which are descriptions representing the various ways people view, experience or conceptualize their experiences. Seven such conceptions, falling into three different groups, were discovered. The first group identified three ways in which children viewed drama as a purposeful strategy used by a teacher: (a) drama is a tool, (b) drama is a way of linking, and (c) drama is a novel way of teaching. The second group identified three ways in which children viewed themselves participating in the dramatic process: (a) drama is something one must take part in, (b) drama is play, and (c) drama takes on a life of its own. The third group dealt with one specific area of drama and identified role taking as being like the donning of a cloak.
Insights from the study centered around three major observations: (a) the importance of understanding the meaning making of learners, (b) the importance of reflection, and (c) the power of drama in education as an educational strategy. Implications for educators and recommendations for further research were derived from these themes.Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
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Okoli, Emmanuel Chinyeaka. "Reconciling cultural values through drama education". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq20798.pdf.
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Finneran, Michael J. "Critical myths in drama as education". Thesis, University of Warwick, 2008. http://wrap.warwick.ac.uk/1987/.
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Drama as education is a relatively young concern, which has been primarily occupied with developing a strong tradition of practice. As a result it has suffered from a dearth of theoretical and critical engagement. This situation has led to the existence of a range of unquestioned beliefs and practices that underpin much of the governance, traditions, knowledge and operation of drama in educational settings. The thesis examines the existence and location of the community of drama as education, reviews the discourse of the community, and seeks to understand previous attempts at demythologising. This thesis proposes a critical understanding of the idea of myth in order that it can be used in a positive and beneficial manner. Utilising a post-modern critical research methodology, it constructs a bricolage of theoretical perspectives that collectively are used to locate, identify and interrogate areas of myth. A new typography of myth reveals four dominant areas of operation, and examines the manner in which myths impact upon the educational and cultural institutions in which they occur. The forces that conceive of, operate and perpetuate myth are understood to be language, power and ideology. These elements operate in conjunction with each other, with human agency at the helm. The thesis is in nine chapters. Chapter 1 sets the scene and introduces the range of the research. It is followed by Chapter 2 which seeks to put in place a range of theoretical perspectives upon which the methodology is constructed. Chapter 3 provides further theoretical insight into the location of the research, and Chapter 4 constructs a critical mythic bricolage, defines its usage, and proposes a contemporary typology of myth. Chapter 5 identifies the ‘Point of Entry Text’ – the primary school drama curriculum in the Republic of Ireland, and deals with the category of governing myths. Chapter 6 is concerned with traditional myths, Chapter 7 examines epistemological myths, and Chapter 8 teases out operational myths. Finally, Chapter 9 looks to the future of myth after demythologising, and seeks to begin engaging with the inevitable process of remythologising.
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Wissmann, Cheryl. "Linking creative drama with Christian education". Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Al, musaiteer Suliman Saleh. "The Saudi students' experience in intercultural communication". University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1439568586.
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Borg, Axisa Glorianne. "Intercultural education through school geography in Malta". Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10041945/.
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Population mobility and globalisation led to social, political and economic challenges globally, raising complex debates related to citizenship, human rights, democracy and education. Intercultural education is a response to the culturally heterogeneous societies. As understood in this study, it is a means to address the inequalities in education systems. It is a commitment to social justice by reducing achievement gaps. The challenge lies in translating this principle into practice within highly structured school systems. This research questions how school geography addresses the principles of intercultural education within the Maltese Islands. Both geography education and intercultural education are concerned to develop themes related to the changing global context. This study tracks if teachers of geography, in their role as ‘curriculum makers’, embrace the underlying principles of intercultural education and ‘powerful disciplinary knowledge’, to address social inequity. ‘Powerful knowledge’ as conceived by Michael Young considers subjects as a resource that enables teachers to take the students beyond their experience to higher forms of thought, to avoid perpetuating current inequalities. This research is a mixed methods case study. The data generation includes a questionnaire, several informal interviews and two focus group discussions with teachers of geography, a documentation review and a research journal. The scenario portrayed by the participating teachers is that of a heavy loaded exam oriented system that does not allow for flexibility, where often teachers cannot engage students with disciplinary knowledge and activities that allow them to think critically and reflect on alternatives. Most of the teachers seek to drive the students to reflect on their context and social equity, but not necessarily through disciplinary knowledge. This reflects teachers’ disposition but points out that unless they are aware of their ‘equity literacy’ and considers disciplinary knowledge as a teaching resource, they risk perpetuating education inequalities.
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Anderson, Colin. "Teaching Social Studies Through Drama". DigitalCommons@USU, 2017. http://digitalcommons.usu.edu/etd/6836.
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Educators and researchers have long discussed methods for improving student achievement in the social studies and history. Research on student attitudes reveals that the social studies suffers from a lack of interest among students. Common complaints among students are that the subject is tedious, does not relate to their lives, is not particularly useful for their future careers, is repetitive, or that it is simply boring (Schug et al., 1982}. Even when students recognize the utilitarian value of skills they learn from social studies/ history, they rarely express an interest in the subject (Chiodo, 2004). After reviewing the body of literature on student attitudes towards the social studies, Shaughnessy and Haladyna (1985} concluded, "most students in the United States, at all grade levels, find social studies to be one of the least interesting, most irrelevant subjects in the school curriculum" (p. 694). Russel and Waters (2010) linked these attitudes to the prevalence of passive learning (lecture, worksheets and other busy work, and rote memorization) within contemporary social studies classrooms. Studies examining social studies/ history education suggest that pedagogical techniques from drama/ theatre may be effective at teaching these subjects by helping students actively engage with and retain material. Drama-based strategies can be particularly effective in improving student reading skills (Rose et al., 2000). By strengthening such basic skills, drama/ theatre helps support student achievement in social studies/ history. Teaching strategies that utilize historical narrative have been shown to get students to effectively engage with and improve their understanding of social studies content (Downey et al, 1991; Brophy et al., 1991). Drama can act as a form of historical narrative and be particularly effective at reaching students (Otten et al., 2004; Jackson et al., 2005). Drama-integration methods also complement the social studies curriculum by being well suited for multicultural education practices,
cross-curricular learning, and the investigation of social justice issues (Gay & Hanley, 1999; Fautely &
Savage, 2011; Lement & Dunakin, 2005}.
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Pena-Dix, Beatriz Maria. "Developing intercultural competence in English language teachers : towards building intercultural language education in Colombia". Thesis, Durham University, 2018. http://etheses.dur.ac.uk/12619/.
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This research is a qualitative exploratory, constructivist study that aims to investigate Colombian (public sector) English language teachers’ existing or prospective intercultural communicative competence (ICC) to understand their teaching profiles and then to be able to build upon them. To achieve my aims, teachers’ perspectives on culture and interculturality are explored based on the underpinning assumption that there is a need to transform language education in Colombia and move forward from the «cultural turn» to the «intercultural turn». Within this vision of language teaching, teachers can become, in a near future, intercultural mediators who enlarge the objectives of contemporary language teaching to build Third Spaces for dialogue and negotiation through English. This study is motivated by one main research question: how do Colombian English language teachers’ current practices, beliefs, and professional self-concepts relate to an envisaged profile of the intercultural English language teacher? This question is embedded in the research aim of providing a comprehensive understanding of current English language teaching in Colombia, including teachers’ experiences and perspectives on culture and interculturality. While exploring the literature on ICC, insight was gained into how the teaching of languages becomes a natural scenario to develop ICC and the transformed role of the language teacher as an agent of change and pedagogical progress in transnational and global contexts (Crozet, 2017; Guilherme, 2002, 2007; Porto & Byram, 2015; Risager, 2000, 2007; Sercu et al., 2005). The empirical findings show that teachers feel positively disposed to intercultural competence English language teaching (IELT), but their approaches to culture are mainly essentialist and nationalist, based on communicative language teaching (CLT) approaches. Despite efforts and infrequent demonstrations of IELT, their profile does not meet yet the expectations pertaining to the knowledge, skills and attitudes that are desirable for IELT. However, they have a positive disposition to advance towards IELT. Based on these findings, a tripartite model and a statement of philosophy were proposed to help English language teachers move forward towards ICC. Finally, this investigation provides valuable insights into the status quo of ICC and ELT in Colombia and has practical implications for ELT education programmes, teachers and policy makers who are interested in reanalysing ELT in Colombia.
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Cody, Tracey-Lynne. "Drama education in New Zealand schools: the practice of six experienced drama teachers". Thesis, University of Canterbury. School of Teacher Education, 2013. http://hdl.handle.net/10092/7545.
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This research investigates drama teaching practice in New Zealand primary and secondary schools, through a case-based qualitative inquiry into the practice of six experienced drama teachers. The study reveals that whilst drama education is couched within the Arts learning area of the national curriculum, the educational philosophy enacted by participants encompasses a broad vision for drama education, which extends learning beyond a technical knowledge of theatre and theatre-making towards the domains of social and personal meaning-making and emancipatory knowledge. Explored through the lenses of Artist and Co-artist, the study identifies the socio-cultural nature of the practice of these teachers. Teachers’ artistry is revealed through creative use of drama tools and processes to create aesthetically-rich learning experiences. The significance of relational pedagogy to teaching and learning in these drama classrooms is also examined within the study. Teachers’ accounts reveal the ways they seek to develop interpersonal relationships with and between students, and establish ensemble-based approaches to learning in drama. As co-artists, participants employ pedagogies that empower students to actively participate in a community of drama practice, intentionally developing students’ capacities for collaboration, creativity and critical thinking, while discovering and developing their artistic-aesthetic capabilities. These teachers share power with students through acts of negotiation, creating dialogic learning opportunities in order to develop student agency as artists and citizens. Attempts to navigate tensions that arise due to increased performativity pressures on teachers and to avoid prescriptive and technocratic delivery of drama curriculum are also explored. In-depth interviews were conducted with participants to discover the complexities of their teaching practice, the philosophy of drama education they hold, and the decisions they make in curriculum content and pedagogy. Observations of classroom practice were also undertaken, along with an analysis of planning documents and an interview with their students. The study provides six rich case studies of drama practice in New Zealand schools, contributing to local and international understandings of enacted drama education within school settings. Implications for educational policy, curriculum design, classroom practice and teacher education arise from this investigation.
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Karlsson, Evelina, i Sofia Larsson. ""Drama har tappat lite status. Men jag tycker drama är viktigt." : Pedagogers perspektiv på förutsättningar för arbete med drama". Thesis, Linnéuniversitetet, Institutionen för utbildningsvetenskap (UV), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-48521.
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Förskolan har en läroplan att utgå ifrån vad gäller innehåll och målsättning i det pedagogiska arbetet. Läroplanen har omarbetats och reviderats och detta har lett till konsekvenser i förskolan som verksamhet. Ett ämne som påverkats är drama som är ett av de estetiska uttrycksformerna där även t.ex. musik, bild och rörelse ingår. Den här studiens syfte är att undersöka vilka möjligheter pedagogerna i förskolan har att arbeta med drama utifrån läroplanen och andra kringliggande ramfaktorer. Genom att analysera både avverkade och aktuella styrdokument för förskolan, samt intervjua yrkesaktiva pedagoger på olika verksamheter framkom det tydligt att handling påverkar konsekvens. Resultatet visar att pedagoger upplever sig styrda av läroplanen, trots läroplanens utveckling från vad som skulle kunna kallas en handbok till ett dokument öppet för egna tolkningar. Drama som ämne kan anses ha låg status där det bortprioriteras, inte av ointresse men på grund av att andra ämnen prioriteras högre. Ramar som tid, kompetens och den politiska styrningen påverkar också det konkreta pedagogiska arbetet. Vilka ramar som pedagogerna själva upplever påverkar dem är ramarna i verskamhetens direkta närhet. Faktorer utifrån var för pedagogerna inte lika synliga.Swedish preschools have their own curriculum to base their educational content and ambitions on. The curriculum has been revisited and revised resulting in implications for the preschool as an institution. Drama is a subject that has remained an integral part from the beginning regulatory documents began to apply, and is one of the forms of expression where music, picture and movement are other examples of it. The purpose of this study is to look into the likelihoods for educators to work with drama based on the intentions of the curriculum and other affecting factors. By examining both old and current regulatory documents, as well as analysing empirical data, acquired through interviews with professionally active preschool educators. It became clear that actions leads to consequences. The result shows that preschool educators feels controlled by the revised curriculum despite the fact that the document has become more open for interpretation than it was before the revision. As a subject drama may be considered to have low status and is cast aside in favor of other subjects. This is not always by choice but it stems from the prioritizing of other subjects and other factors such as time constraints, competence and the political management which affects the educational work. The framework the educators experience affect them the most are the factors closest to the institution itself. Framework and factors that stem from outside the institution were not as obvious to the educators themselves.
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Shah-Gordon, Ruta. "Intercultural Competence Development through Civic Engagement". Antioch University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1468846309.
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Henry, Nicole Eiler. "The Importance of Drama as Inquiry". The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392106870.
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Sessoms, Todd Kristian. "Drama in education experiencing for social transformation /". Online pdf file accessible through the World Wide Web, 2007. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Sessoms_T%20MITthesis%202007.pdf.
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Widdows, Joy. "Supportive and oppositional behaviours in drama education". Thesis, University of Exeter, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322265.
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Jones, Gaybrielle Irene. "Using Drama Therapy Techniques in Secondary Education". University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1334167898.
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Wang, Liang. "Internet-mediated intercultural English language education in China's higher education institutions". Thesis, Open University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.530497.
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Björk, Maria. "Bilingual Intercultural Education in Peru : Opportunities and Challenges". Thesis, Södertörn University College, Lärarutbildningen, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1602.
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Offering basic education is the greatest investment the world can make in its future. Basic education improves live opportunity for people and also give them a chance to form a better life for them selves. Too many of Peru’s inhabitants live in extreme poverty and education could help the country improve this situation. In addition, in the rural areas of Peru a lot of people speak another language than Spanish as their mother tongue. The purpose of this thesis is to get a more profound knowledge about matters concerning Bilingual Intercultural Education in Peru.
The research question has been what issues can be found, involving EBI education in Peru; opportunities and challenges? I have researched this through interviews with people working in the rural areas combined with a literature study. I visited schools in the area of Cusco and Anchonga. In Cusco the school did not have EBI education and in Anchonga the visited school did have. Some of the findings made are that it is important for the people involved such as parents, principals and teachers to be supportive of EBI education to make it work. It is also a challenge to find teachers who know the method and are bilingual. Many schools are in addition dependent of support from non-governmental organizations, which are an opportunity and a challenge. Important is also to make some teachers and parents believe that EBI education is not against the social development of the country.
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Samuel, Joan. "Intercultural competency in English art and design education". Thesis, UCL Institute of Education (IOE), 2009. http://eprints.ioe.ac.uk/20589/.
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The enquiry brings a generalist perspective to bear on the culture of art and design education. The disciplinary location is Intercultural Studies and the high modernist, constructivist framework justifies a critique of positivist approaches to research in the cultural field. Selected literary and visual texts are regarded as primary research data and are analysed from competing epistemological positions. The problem addressed IS an apparent neglect of the intercultural dimension of art education in England, and the need for greater attention to, and competency in, this area. English visual culture is featured, exemplified in National Trust properties and other English locations, including some associated with diasporic African Caribbean, South Asian and Jewish communities. Although the National Curriculum requires British citizenship to be addressed, exceptionally for the United Kingdom as a whole, local, English identity is largely ignored. The lack ofthis element of reflexivity is central to the problem. Three, theoretically conflicting, persistent, historiographic narratives explore intercultural competency in English art and art education - and they are each critically examined. Taken together, they demonstrate how extensive and com plex intercultural matters have become at the turn of the twen tieth century. They are supported by investigations of GCSE Art, and other examples of art educational practice identify interstitial dilemmas. It is concluded that art teachers need to become interculturally competent in the contemporary, globalised environment - and that this could be assisted through formal assessment. Proposed benchmarks include: multidimensional contextualisation of art "here and now, then and there"; theoretical rigour in engaging with contrasting narratives and ensuing difficulties; recognising the significance of Englishness within British identity and its integration into intercultural discourse. Proposals are made for change in the higher education of art teachers. The thesis claims to be original: in considering intercultural competency as a subject for assessment, in focusing on English identity, and in its even- handed respect for "traditionalist", "reforming" and "postmodernist" narratives.
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Coats, Cecilia E. "Intercultural awareness education in grades kindergarten through fourth". Scholarly Commons, 2007. https://scholarlycommons.pacific.edu/uop_etds/653.
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This thesis examines how intercultural awareness education can be taught to kindergarten through fourth grade children. The concept of what it means to be interculturally aware and what is needed for teachers to instinct awareness in young students is examined. Literature research and data gathered from teachers through interviews and surveys is used to create a framework for teaching intercultural awareness education. In addition a set of recommendations for instruction and a bibliography for professional development around intercultural education are presented.
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Макаренко, О. Є. "Intercultural Competence of a Teacher and Teacher Education". Thesis, ВВП "Мрія", 2014. http://essuir.sumdu.edu.ua/handle/123456789/59457.
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The article is devoted to the importance of interciltural competence of a teacher both at school and university at present as a way to adapt Ukrainian higher institutions to the educational requirements of the pologna process. The article also gives tha targets and the goals of the intercultural competence trainings for teachers.Стаття присвячена важливості міжкультурної компетентності вчителя школи та викладача вищого навчалоного закладу в сучасних умовах освіти як складової адаптації українських навчальних закладів до освітніх вимог Болонського процесу. В статті також наведено цілі та задачі реалізації міжкультурної компетентності для педагогічної освіти.
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Montano, Steffano. "Theoretical Foundations for an Intercultural, Antiracist Theological Education:". Thesis, Boston College, 2019. http://hdl.handle.net/2345/bc-ir:108647.
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Thesis advisor: Hosffman . OspinoCatholic theological education in the United States of America in the year 2019 (and beyond) must confront the realities of racism and ethnocentrism, and understand how racist and ethnocentric epistemologies intrude into the classroom. These epistemologies interfere with the ways that theological educators are able to teach about and through an anthropology of the imago Dei that demands an equitable valuation of people of color, both socially and theologically. Yet a history of a “white savior complex” pervades Catholic theological education in the U.S. and stands in the way of cherishing the theological agency and contributions of people of color. Such a complex can be addressed through the use of antiracist and intercultural pedagogies that allows the scholarship and experiences of people of color, both students and academics, to achieve equitable impact in theological education and that leads all students to reflect on the development of their racial, ethnic, and cultural identities. The use of four distinct antiracist and intercultural pedagogical pillars are developed and illustrated through vignettes pulled from the experiences of theological educators teaching about racism and ethnocentrism in Catholic colleges and universities in the U.S
Thesis (PhD) — Boston College, 2019
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Theology
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Rosado-May, Francisco Javier. "Intercultural higher education for indigenous Yucatec Maya in Mexico". Pontificia Universidad Católica del Perú, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/112544.
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Mediante una descripción vivencial de la construcción de la Universidad Intercultural Maya de Quintana Roo, este trabajo presenta importantes decisiones tomadas y caminos andados para la implementación de un modelo educativo, intercultural, en un contexto de alto rezago y pobreza de los indígenas mayas en Quintana Roo. Sin descuidar las normas y políticas que aplican a instituciones públicas en México, los esquemas de financiamiento, arreglo institucional y pedagogía intercultural, desarrollados en la UIMQRoo, tomaron en cuenta elementos de aprendizaje/transmisión y de construcción/ innovación de conocimiento que combinan aspectos de la cultura local con la educación convencional. Altos indicadores de retención, titulación, empleabilidad y calidad de los programas educativos, así como opiniones de egresados, alcanzados de febrero 2007 a febrero 2015, hacen pensar que las decisiones condujeron hacia la dirección correcta.This work presents important decisions made during the implementationof the intercultural educational model at the UniversidadIntercultural Maya de Quintana Roo, Mexico, in a context of povertyand conditions of lagging behind the rest of the society of theindigenous Yucatec Maya population. Within the legal frameworkof public universities in Mexico, the financing of projects, thedeveloping of intercultural pedagogy and designing the institutionalsettings, rested on elements that included learning/transmission andconstruction/innovation of knowledge that combined aspects of thelocal culture with conventional education. High figures on indicatorssuch as retention, graduation rate, employability, and quality ofthe academic programs, along with opinions from alumni, achievedduring the period of February 2007 to February 2015, indicate thatthe decisions and actions taken in the beginning of the constructionof the intercultural model at UIMQRoo, were in the right direction.
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Noble, Nicole C. "Intercultural understanding in global education communities : tracing intercultural education in a pre-service teacher training program at the University of Stellenbosch". Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/3961.
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Thesis (PhD (Education)--University of Stellenbosch, 2005.334 leaves single sided printed, preliminary pages i-xiv and numbered pages 1-322. Includes bibliography, abbreviations and list of figures.
Scanned using a Hp Scanjet 8250 Scanner to pdf format (OCR).
ENGLISH ABSTRACT:The world is at a rapid pace being confronted with the need to shift national education policies that reflect basic human rights, with equity and fairness to the forefront. Along side of this herald are demonstrations of active mobilizations on the part of institutions of higher learning to "internationalize" their policies and programs to help to produce global citizens that effectively interact in international settings. As South Africa experiences changing scenes in educational reform government officials, practitioners, and educators face a number of challenges. Particularly, those related to cultural interactions when engaging in activities across the diaspora of school environments. Often these challenges serve as impediments to open communication, understanding and sensitivity amongst diverse cultural groups. As these impediments are faced in classrooms teachers increasingly find themselves at a deficit to adequately host learning environments conducive to its participants. Institutions of higher learning have a responsibility to provide the kind of intercultural dialog that entrenches policies and program curricula that speak to the needs of diverse communities, in particular those preparing future teachers. The research introduces the concept of global education communities to contribute towards shaping the kind of institutions that provide opportunities for students to practice, and become skilled in intercultural understanding. The research also raises serious discussion through the proposal of the elements of intercultural education towards contributive measures to address intercultural education, communication, and training. A case study of a four year pre-service general education training program (BEd GET) at the University Stellenbosch was conducted to trace and examine the presence of intercultural education. Data was collected by means of triangulated document analysis, interviews, and questionnaires. The research looked to a metaphoric analogy using Appreciative Inquiry, power with, and elements of intercultural education. The data was analyzed using qualitative strategies including classification and category construction, with imaginative variation and heuristic inquiry. The findings revealed that themes from intercultural education found expression or appearance in some aspects of the program outcomes, various module offerings, and teacher practice and approaches of the BEd GET curriculum. While the research also revealed that intercultural education does not appear to be a wholly attended pedagogy and practice in the GET program, the findings and interpretations revealed that intercultural education has numerous opportunities for expression and appearance to lay foundations for intercultural practice in theory. Another dimension of the research also revealed that students and lecturers collectively were not familiar with the concept of intercultural education, nor could a distinction between multicultural, and intercultural education be made. Furthermore, students' understandings and feelings reveal some resistance to themes in cultural diversity. The findings seem to reveal a need to incorporate strategies that raise intercultural consciousness. In view of the University of Stellenbosch's plan to internationalize, the findings present critical implications and recommendations toward incorporating intercultural pedagogy and practice into the methodological framework of the BEd General Education program. It finally poses future program and module development with respects to intercultural education and practice through the suggested use of the Hammer and Bennett's (1998, 2002) Intercultural Development Inventory (IDI).
AFRIKAANSE OPSOMMING: Die wereld word teen 'n versnelde tempo gekonfronteer met die noodsaaklikheid om nasionale onderwysbeleid wat menseregte, veral billikheid en regverdigheid, op die voorgrond stel. Saam met hierdie oproep is daar aanduidings van die mobilisering van institusies van hoer opvoeding om hu1le beleid en programme te "internasionaliseer" om burgers te vorm wat effektief met 'n globale wereld kan omgaan. Soos wat Suid-Afiika veranderende situasies ervaar in onderwyshervorming, word amptenare, praktisyns, opvoeders en ander betrokke in onderwysgemeenskappe gekonfronteer met 'n verskeidenheid uitdagings. Veral die verbonde aan kulturele interaksies betrokke by 'n diaspora van skoolomgewings. Die uitdagings dien dikwels as hindernisse vir oop kommunikasie, begrip en sensitiwiteit tussen verskillende kulturele groepe. In besonder wanneer hierdie hindernisse in klaskamers aangedurf word deur onderwysers wat meesal self 'n tekort aan voldoende leerervaring het om leeromgewings in belang van die deelnemers te fasiliteer. Hoeronderwys institusies het 'n verantwoordelikheid om beleid en programkurrikula te voorsien wat interkulturele dialoog verskans wat spreek tot die behoeftes van diverse gemeenskappe, veral die wat voornemende onderwysers voorberei. Die navorsing stel die konsep globale onderwysgemeenskappe voor om by te dra tot die vorming van institusies wat geleenthede skep vir studente om interkulturele begrip te oefen en vaardig daarin te word. Die navorsing stel elemente van interkulturele onderwys voor wat kan dien tot die bevordering van dialogiese betrokkenheid in interkulturele onderwys, kommunikasie en opleiding. 'n Gevallestudie van 'n vierjaar voordiens algemene onderwysprogram (BEd Algemeen) by die Universiteit van Stellenbosch was ondemeem vir spore van en om die voorkoms van interkulturele onderwys in oenskou te neem. Data is versamel deur middel van 'n getrianguleerde dokument analise, onderhoude en vraelyste. Die navorsing kyk na 'n metaforiese analogie waarin waarderende ondersoek, mag-met, en elemente van interkulturele onderwys gebruik is. Vir die analise van die data is kwalitatiewe strategiee gebruik, wat klassifikasie en kategorie konstruksie in kombinasie met verbeeldingsryke variasie en heuristiese ondersoek insluit. Die bevindings toon dat temas van interkulturele onderwys uitdrukking vind of verskyn in aspekte van die programuitkomste, verskillende module aanbiedings, en onderwys praktyke en benaderings van die BEd Algemeen kurrikulum. Terwyl ook bevind is dat interkulturele onderwys nie werklik in die pedagogie en praktyk van die program figureer nie, toon die interpretasie talle geleenthede om interkulturele praktyk te vestig en tot uitdrukking te bring. 'n Ander faset van die navorsing het getoon dat studente en lektore kollektief nie bekend is met die konsep van interkulturele onderwys nie, en dat dit nie onderskei kon word van multikulturele nie. Boonop, het studente se begrip en gevoelens 'n neiging tot verset teenoor temas van kulturele diversiteit getoon. Die bevindinge suggereer 'n behoefte aan die insluiting van strategiee om interkulturele bewussyn te verhoog. In die lig van die Universiteit van Stellenbosch se planne om te internasionaliseer, hou die bevindinge kritiese implikasies en aanbevelings in vir die inkorporasie van interkulturele pedagogie en praktyk in die metodologiese raamwerk van die BEd Algemeen-program. Dit stel die ontwikkeling van modules in interkulturele onderwys en praktyk voor deur die gebruik van Hammer en Bennett se (1998,2002) Intercultural Development Inventory (IDI).
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Woitsch, Ulrike. "Walking through the intercultural field : an ethnographic study on intercultural language learning as a spatial-embodied practice". Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3325/.
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Within concepts on intercultural language learning it is generally acknowledged that the ‘context’ of the individual learning experience plays an important role for the acquisition of a foreign language and intercultural learning processes. A detailed understanding of what it is we call ‘context’ is still missing – as are studies that focus particularly on the language learning environment outside the classroom and the role of everyday space and place for intercultural encounter. This thesis draws largely on spatial theory in addressing space and place as a site of geo-political and social-cultural change, and as a crucial element of intercultural language learning processes. Narratives, de Certeau (1984: 116) says, are “written by footsteps.” The methodological orientation of this thesis follows both the narratives and footsteps of language learners, and as such is anchored in and around the element of movement. In creating a spatial ‘method assemblage’ (Law 2004) that engages both mobile and visual elements, I am arguing for a methodological change in perspective while giving credit to the perspective of language learners and their everyday routes and learning environments. This argument correlates with the particular methodological tool of ‘guided walks’, in which researcher and language learner walk together on daily routes within places of significance. Giving walking a central methodological and analytic role within this thesis underlines those moments of intercultural experience, which are based on movement, transformation and the search for the ephemeral. The particular understanding of intercultural language learning as a ‘spatial-embodied practice’ emerges from an ethnographic study as well as from a detailed examination of the ‘intercultural field’. The various imbalances of the ‘intercultural field’ effect intercultural language learning through the body, as well as the senses and practices of diversity, and re-shape an awareness of space. Not only increased physical mobility, but the complex networks of flows and transnational interrelations, increasingly transform intercultural experience. From this perspective, this thesis argues that language learners weave their intercultural experience through practices of ‘place making’ (Ingold 2011), and by moving in between myriad borders and boundaries.
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Quigg, Seth Watson. "Intercultural Competency Assessment through International Cultural Immersion Programs". Thesis, Prescott College, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1539431.
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This study examines how implementing ethnographic tools and techniques into an international cultural immersion program (ICIP) curriculum specifically influences group members' intercultural competency. For this study, an ethnographic inquiry curriculum is introduced to participants of three different World Challenge Exp edition (WCE) courses. Ethnographic tools and techniques included photo elicitation interviews, structured journaling and taking field notes, and observational activities. WCEs is an international cultural immersion organization based out of the United Kingdom with branches in Australia, New Zealand, United Arab Emirates, the United States,and Hong Kong and runs programs eight to 28-days in length. To gauge the effects the tools and techniques have on each group member's intercultural competency pre and post expedition surveys, and end-of-expedition interviews were employed. Literature on experiential education, ethnography, ethnographic tools and tech niques, and intercultural competencies support the overall project. Additionally, the results, data analysis, discussion of the findings, and recommendations for future studies are presented to summarize and solidify the overall research study. The study results showed that approximately half of the total study population increased their capacity to listen and observe because of the implementation of ethnographic tools and techniques. Additionally, the implementation of ethnographic tools and techniques may have provided insight into how the host culture, and family life are more similar than different to theirs back home. The group member's qualitative answers to the interview questions provided interculturally competent answers and looks in part to be due to the use of ethnographic tools and techniques.
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Aaltonen, Heli. "Intercultural bridges in teenagers' theatrical events : performing self and constructing cultural identity through a creative drama process /". Abo : Abo akademi university press, 2006. http://catalogue.bnf.fr/ark:/12148/cb40981712v.
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Bryson, Lucy Lynn. "Drama + math = dramath". Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4861.
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Arts-Across-the-Curriculum is gaining popularity in the field of education as arts programs are being cut from schools and teachers look for ways to incorporate art in their classroom. Most of these teachers have minimal formal arts training, but recognize the importance of introducing their students to various fine arts disciplines. These educators seek opportunities to learn new ways to bring arts to their students and may bring teaching artists into their classrooms to teach students or teachers. The clear connection between drama and the core subjects of history and literature allow teaching artists to easily create units utilizing both curriculum areas. Mathematics does not present clear connections to drama and the prevalence of mathematics anxiety, especially in the arts, prevents connections from being made. As an educator, theatre artist and lover of mathematics, Arts-Across-the-Curriculum provides me a opportunity to meld these together as a way to help young people find excitement in their education. Partnering with a fourth grade teacher, I developed a unit of lesson plans using playwriting as a way to understand word problems that was user-friendly for a teacher with no arts training. The Dramath Unit was integrated into the class as part of regular curriculum taught by the participating classroom teacher. Based on feedback from the participating teacher, I revised the unit for future use.ID: 029809671; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 88-90).
M.F.A.
Masters
Theatre
Arts and Humanities
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Hatton, Christine. "Backyards and borderlands transforming girls' learning through drama /". The author has requested that a digital copy of the thesis not be made available on public access; please contact Sydney eScholarship - ses@library.usyd.edu.au, 2004. http://hdl.handle.net/2123/5455.
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Thesis (Ph. D.)-- University of Sydney, 2005.Title from title screen (viewed 30 October 2009). Includes tables and questionnaires. Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Faculty of Education and Social Work. Degree awarded 2005; thesis submitted 2004. Includes bibliographical references. Also available in print form.
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Chizik, Sheila Marie. "Drama in education : a classification of teacher questions as they contribute to the drama process". Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25365.
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The purpose of this study has been to examine and define teacher questions and questioning techniques according to their function in the drama process. In order to develop a practical structure for describing these strategies, the design of the study has involved the following procedure: collecting data from the field on questions employed by two leading drama educators; analysing and describing recurrent types of questioning found in the data; organizing this information into a classification system that illustrates the skilful and complex ways in which teacher questions contribute to the drama experience. In the process of developing the classification system, the following general observations were made:
1. Questions were used extensively to promote the drama process.
2. The teacher employed a wide range and diversity of questions.
3. Definite patterns emerged in teacher questioning techniques.
4. Specific kinds of learning were emphasized by teachers within the drama.
Conclusions; It is evident that the use of drama in education requires a complex and unique set of teaching strategies. If such strategies are to be accessible to educators, they must first be clearly identified and defined. Since the investigation into questioning techniques was intended as a preliminary step in this process, the focus was essentially directed towards identifying and classifying the components of methodology. However, in addition to the specific findings, there were a number of broad conclusions and implications which emerged as a result of the research:
1. Research carried out directly in the field has proven to be invaluable for the analysis of the intricate patterns of interaction inherent to the drama process. Without the richness of this perspective, the subtleties of the methods employed by the teacher could not have been adequately described.
2. The extensiveness of questioning strategies reveals that the teacher is an integral part of the social, creative, and educative structure of the drama experience by setting up potential areas of learning and shaping the ideas of the participants into dramatic form. Since teacher questioning plays such a vital role in the process it should be a key element in teacher training and professional development. Teachers need to become aware of the extensive range and diversity of questioning techniques as well as of specific terms with which to discuss the practice critically.
The classification system provides a starting point for dealing with questioning in concrete terms. The arrangement of the system is not meant to imply, however, that there is a hierarchy for questioning, or that the drama process is based on a. linear or sequential theory of learning. Any one element of the taxonomy is as viable as another since questions are asked in response to the needs of the immediate situation. Questioning practice cannot be reduced to a means-end checklist - it must be approached holistically as a skill, a process, an attitude, an art. Only in this way will the teacher's use of questions effectively serve the needs of drama in education.Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
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Ormiston, Patricia. "Drama in education : how successful has the classroom implementation of drama been in elementary schools?" Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31252.
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Education in the Arts is a necessary part of every child's development and drama is included in the Fine Arts strand of the curriculum of the Ministry of Education of British Columbia. The purpose for conducting this study was to examine the success of the implementation of drama in elementary classrooms and to examine teachers' conceptions of drama in the curriculum.
This study attempted to discover to what extent elementary classroom teachers were knowledgeable in the methodology of dramatic playing; its structure, purpose, goals, and rationale for its use, and what types of drama elementary classroom teachers were using to meet the goals of drama as mandated the Fine Arts Curriculum Guide (1985).
Data collection included both written questionnaires and oral interviews. The responses to each question were tabulated and an analysis of variance was conducted. Results from the questionnaires and interviews were compared.
The study revealed that a majority of teachers lacked training in the methodology of drama in education. Teachers interviewed claimed little drama was taking place in their schools, whereas the results of the questionnaires found respondents slightly more positive. In both cases the scarcity in which drama appears in elementary classrooms was blamed on "an already overloaded timetable" and "no training”. Those teachers using drama attributed their success to courses or workshops they had attended.
Most teachers saw the merit of drama in the curriculum but many didn't know how to use it as a learning tool in other subject disciplines. Those integrating drama in their programs used it primarily as an extension of whole language. The results of this study indicated that the implementation of drama could not successfully occur unless teachers were exposed to both the theory and methodology of its use in education.Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
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Renner, Jasmine, i Yi Lin. "Intercultural Communication Competence and Intercultural Communication Apprehension among Chinese Students Studying in the USA". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3048.
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Fleming, Kristina A. "Promoting learning across the curriculum with creative dramatics". Online pdf file accessible through the World Wide Web, 2007. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Fleming_K%20MITthesis%202007.pdf.
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Yoda, Manami. "Henry Caldwell Cook and Drama Education in England". Thesis, Kyoto University (Japan), 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3579948.
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This study aims to clarify the nature of the theatrical way of Henry Caldwell Cook who was the first to introduce theatre into education for English as a first language. This study critically examines the content of his original teaching method, Play Way, and attempts to appropriately place its context in the history of drama education in England in order to explore how effectively drama can be used in language education. The use of theatre for education has a long history. Commencing in ancient Greece and Rome, it has continued until the present time. However, modern drama education has no more than about a hundred years of history. It was Cook and Harriet Finlay-Johnson who opened the history of this theatrical education. Finlay-Johnson had persistently used theatre to teach all subjects, mainly because of her educational stance as an elementary school teacher. She is closely associated with the leaders of DIE (Drama-in-Education) who adhere to the same educational policy. While Cook also used theatre as a means for language education and did his best to maintain a theatrical framework, there is a fundamental difference between Cook's educational method and that of DIE. His Play Way seems to closely resemble TIE (Theatre-in-Education) in that both bring in theatre for school education. However, this similarity is superficial. In the TIE method, while the autonomy of theatre has always been maintained, theatre in Cook's method was used as a means for education to the end, although concurrently he had been able to properly grasp the nature of theatre. Behind such a view of theatre as an educational end in itself is Cook's recognition of the theatricality of human beings. His theatrical teaching tells us that when using theatre as a tool for language education, we must first correctly understand its intrinsic qualities.
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Yoda, Manami. "Henry Caldwell Cook and Drama Education in England". Kyoto University, 2013. http://hdl.handle.net/2433/175025.
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Kyoto University (京都大学)0048
新制・課程博士
博士(人間・環境学)
甲第17676号
人博第643号
新制||人||155(附属図書館)
24||人博||643(吉田南総合図書館)
30442
京都大学大学院人間・環境学研究科共生人間学専攻
(主査)准教授 桒山 智成, 教授 山梨 正明, 教授 田地野 彰, 教授 丸橋 良雄
学位規則第4条第1項該当