Arts education 5142_pt2_october
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This document provides an overview of a drama education workshop for university students. It discusses that drama allows children to learn in unique ways not found elsewhere in the curriculum. It emphasizes that drama education aims to develop skills like movement, voice, storytelling, and developing a character. It also helps students build dispositions such as confidence, collaboration, and risk-taking. The document advocates that drama is an important part of education as it engages students' emotions, intellect, imagination and body in embodied learning.
Arts education 5142_pt2_october
- 1. ARTS EDUCATION 5142: Drama Drama offers children a way of knowing that is not replicated elsewhere in the curriculum. John OToole & Julie Dunn: Pretending to learn (2002) UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 2. Drama education What is the intended learning? Why is it important? What do children bring? WHAT DO WE WANT OUR STUDENTS TO LEARN IN AND THROUGH DRAMA???? UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 3. The multi-dimensional and physical nature of drama activity means that childrens cognitive abilities are engaged more comprehensively than in sedentary learning activities (Jensen, 2001, p72, as cited in Dinham, pge 180). UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 4. Stage one Drama/theatre warm up activity WHY? UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 5. Drama or theatre activities are used to develop a range of skills and competencies such as physical movement skills, imagination, concentration, trust, spatial awareness and team skills. Dinham (2011) pge 187 UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 6. Stage two Knowledge in, skills and practices that form drama education UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 7. Intended learning 1. Voice UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 8. Verbal expression involves using the voice to represent different characters and to convey moods and content expressively by using tone (timbre), intonation (pitch, volume (dynamics) and pace (tempo). Diction (clarity), pronunciation (accuracy) and improvising dialogue are other vocal skills required for dramatic performance. (Dinham 2011, pge 203) UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 9. Readers Theatre Activity: Read the script for Tacky the Penguin by Helen Lester www.teachingheart.net/readerstheater.htm UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 10. Voice Tone Clarity UniSA Drama tut/workshop pt 2, 2nd years October 2013 Pace
- 11. Intended learning. 2. Movement/gesture UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 12. Movement/ gesture Consistent Appropriate UniSA Drama tut/workshop pt 2, 2nd years October 2013 Enhances character
- 13. Mime Mime is acting without words and focuses attention on the use of facial expression, gesture, body language and action. Focus on non-verbal ways of communicating. Dinham (2011), pge 183-7 UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 14. Activity: Opening of birthday present 1) Non-verbally communicate what it is 2) Non-verbally communicate your emotional response UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 15. Intended learning 3. Text UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 16. Text Beginning context Point of tension UniSA Drama tut/workshop pt 2, 2nd years October 2013 Resolution
- 17. Activity: Word prompts for narrative (person, place, object) Focus: structure of the plot beginning, middle and end, with an area of conflict and resolution UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 18. Audience Roles and responsibilities Etiquette UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 19. Audience checklist Drama skills Voice Movement/gesture Maintaining character Story structure Production (lighting/sound/sets..) Drama dispositions Confidence Team work Risk taking Co-operation Issues/moral dilemmas/ character traits UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 20. Drama education why??? UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 21. Research shows that children involved in rich forms of drama education develop greater fluency and versatility in language and nonverbal forms of communication than those who are not (Fiske, 1999, cited in Dinham pge 181. UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 22. The Practice/process Child centered Teacher initiated UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 23. Child Centered Drama corner Play boxes Box of costumes Variety of props .. UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 24. Teacher initiated the practice - process drama Dramatic role play Storytelling Puppets Improvisation Mime Scripts UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 25. Additions to your teaching Windmill Theatre: www.windmill.org.au Patch Theatre: www.patchtheatre.org.au Slingsby Theatre: www.slingsby.net.au No Strings Attached: www.nostringsattached.org.au Carclew Youth Arts Centre: Artist in Schools Program - carclew.com.au Outreach Education (DECD) - Adelaide Festival Centre, Art Gallery of SA, UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 26. Assessment Strategies. UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 27. Assessment What is your assessment focus? (skills or dispositions) Teacher assessment checklist, observation (with or without notes) Peer assessment verbal feedback on performances Group assessment verbal/drawn/written reviews of formal performances Video for teacher, students, parents UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 28. Drama elements Role, character and relationships Situation/setting Focus Tension Space and time UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 29. Drama skills and knowledge Technical: Voice Body Text Audience UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 30. Drama pedagogy Learning in: Focus on the specific skills, knowledge and vocabulary of drama Learning through: Using the dispositions of drama to enhance other learning areas and personal and social competencies. UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 31. Cross curriculum priorities Sustainability: opportunities to explore issues through dramatic role play Aboriginal & Torres Strait Islander histories and cultures: traditional and contemporary dance (SA Kurruru Youth Theatre, National - Bungarra Dance Theatre), visual art Asia and Australias engagement with Asia: Japan: Bunraku Puppetry, Noh Theatre, Kabuki China: Marionette and hand puppets, Opera Vietnam: Water Puppets Indonesia (Bali): Topeng mask dance-drama Indonesia & Malaysia Wayang Kulit (shadow puppets). UniSA Drama tut/workshop pt 2, 2nd years October 2013
- 32. Drama is an embodied form of artistic expression that engages childrens emotions, intellect, imagination, spirit and body. Children have a natural instinct for drama, as seen in their earliest lets pretend forms of play. When children enter the imaginative world of make-believe they enter the world of dramatic play. By building on these instincts, teachers can create rich and satisfying learning experiences for children. Dinham, pge 209. UniSA Drama tut/workshop pt 2, 2nd years October 2013
Editor's Notes
- Teaching for Effective Learning Learning Design
- Revisit previous Communication activity, introduce new one: Where else dance.. 1,2, 3 ( 3 times) Clap 2, 3 Clap, 2, Bend knees
- Where are the overlaps for other areas of learning, and the general capabilities???? Numeracy Critical and creative thinking Personal and social capability Ethical understanding Intercultural understandings Literacy .
- 1. Round robin - name
- Class in half (11 x 2) Additional students will be observers
- What else????
- In groups of 5 Topic: Bullying present 3 sides of the story the bully(ies), the bullied, and the arbitrator (or teacher, or parent/s). Walk around in your designated space when I call freeze create the tableau that demonstrates the 3 aspects.
- Five at a time in front of the group Each one opens present at the end of the 5 openings class group offer ideas of the gift and whether the recipient was pleased or not
- Set of cards place, person, object In groups of 5 create a narrative that highlights prop.
- Write down 3 key reasons.
- What activities would be child centered? What will you plan as the teacher? What do you
- MANTLE OF THE EXPERT Students research topics develop it as a role play. Aboriginal and Torres Strait Islander playwrights: Wesley Enoch Jack Davis Roger Bennett