A case study investigation into drama in education as an effective teaching methodology to support the goals of outcome based education
- Authors: Elliott, Terri Anne
- Date: 2011
- Subjects: Drama in education -- South Africa Competency based education -- South Africa Curriculum planning -- South Africa Student centered learning -- South Africa Critical thinking -- Study and teaching -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2160 , http://hdl.handle.net/10962/d1008306
- Description: The introduction of outcomes based education (OBE) in the form of Curriculum 2005 (C2005), the National Curriculum Statement (NCS) and the Revised National Curriculum Statement (RNCS) in post-apartheid South Africa resulted in a shift from a content-centred to a learner-centred view on education. This transition took place rapidly as the new government wanted to introduce a democratic education system after the divisive Bantu education system from Apartheid. However, after the changes were implemented, education in South Africa was theoretically outcomes based but practically many educators were still teaching in a content-centred manner. The research puts forward the proposal that drama-in-education (D-i-E) is a useful means by which to align the practical and theoretical goals of OBE within the context of South Africa's current RNCS. This hypothesis drives the main research question: "Can D-i-E be an effective teaching methodology to realise the goals of the RNCS and generate OBE learning environments in a South African high school?" D-i-E is a learner-centred teaching methodology and in practise it meets many of the goals and Critical Cross-Field Outcomes (CCFOs) of OBE. Some of these include the fact that learners can: • Practice problem-solving skills; • Engage with critical and creative thinking; • Grow cultural and aesthetic sensitivity; • Work effectively in groups; and ii. • Learn in inclusive environments that cater for different learning styles and levels. The research examines the use of D-i-E as an outcomes based methodology by which the RNCS could be implemented in the classroom. This is explored through the use of qualitative research in the form of a case study investigation at a South African high school. The case study was conducted with Grade 11 and Grade 12 Dramatic Arts learners and involves an analysis of a D-i-E approach to learning. The conclusion that D-i-E is an effective outcomes based teaching methodology which could assist educators in realising the RNCS was largely reached through participant observation of D-i-E classes and by analysing the learners' journals in which they reflected on D-i-E experiences. The learners' feedback about the experience was generally positive and they reflected that they found D-i-E beneficial because of the fact that it engaged them experientially. They also reflected that D-i-E provided them with a more meaningful and exciting way of learning. These findings are however only generalisable to the type of context (Dramatic Arts learners from a well-resourced girls' high school) in which the research was conducted. The findings provide detailed insight into a specific case study and may be beneficial to educators in South Africa who aim to make use of the same or similar methodologies in their classroom practice. D-i-E also supports many of the underlying tenants of OBE such as learner-centredness, learner diversity and inclusive learning, and can effectively aid educators in implementing the RNCS in an outcomes based way.
- Full Text:
- Authors: Elliott, Terri Anne
- Date: 2011
- Subjects: Drama in education -- South Africa Competency based education -- South Africa Curriculum planning -- South Africa Student centered learning -- South Africa Critical thinking -- Study and teaching -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2160 , http://hdl.handle.net/10962/d1008306
- Description: The introduction of outcomes based education (OBE) in the form of Curriculum 2005 (C2005), the National Curriculum Statement (NCS) and the Revised National Curriculum Statement (RNCS) in post-apartheid South Africa resulted in a shift from a content-centred to a learner-centred view on education. This transition took place rapidly as the new government wanted to introduce a democratic education system after the divisive Bantu education system from Apartheid. However, after the changes were implemented, education in South Africa was theoretically outcomes based but practically many educators were still teaching in a content-centred manner. The research puts forward the proposal that drama-in-education (D-i-E) is a useful means by which to align the practical and theoretical goals of OBE within the context of South Africa's current RNCS. This hypothesis drives the main research question: "Can D-i-E be an effective teaching methodology to realise the goals of the RNCS and generate OBE learning environments in a South African high school?" D-i-E is a learner-centred teaching methodology and in practise it meets many of the goals and Critical Cross-Field Outcomes (CCFOs) of OBE. Some of these include the fact that learners can: • Practice problem-solving skills; • Engage with critical and creative thinking; • Grow cultural and aesthetic sensitivity; • Work effectively in groups; and ii. • Learn in inclusive environments that cater for different learning styles and levels. The research examines the use of D-i-E as an outcomes based methodology by which the RNCS could be implemented in the classroom. This is explored through the use of qualitative research in the form of a case study investigation at a South African high school. The case study was conducted with Grade 11 and Grade 12 Dramatic Arts learners and involves an analysis of a D-i-E approach to learning. The conclusion that D-i-E is an effective outcomes based teaching methodology which could assist educators in realising the RNCS was largely reached through participant observation of D-i-E classes and by analysing the learners' journals in which they reflected on D-i-E experiences. The learners' feedback about the experience was generally positive and they reflected that they found D-i-E beneficial because of the fact that it engaged them experientially. They also reflected that D-i-E provided them with a more meaningful and exciting way of learning. These findings are however only generalisable to the type of context (Dramatic Arts learners from a well-resourced girls' high school) in which the research was conducted. The findings provide detailed insight into a specific case study and may be beneficial to educators in South Africa who aim to make use of the same or similar methodologies in their classroom practice. D-i-E also supports many of the underlying tenants of OBE such as learner-centredness, learner diversity and inclusive learning, and can effectively aid educators in implementing the RNCS in an outcomes based way.
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Queer transgressions : the choreographing of a male homosexual presence with reference to selected choreographers
- Authors: De Boer, Kyle Dylan
- Date: 2011
- Subjects: Queer theory , Gender identity in dance , Homosexuality in dance , Homosexuality and dance , Male homosexuality , Dance -- South Africa , Choreographers -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2161 , http://hdl.handle.net/10962/d1009442
- Description: Queer Transgressions: The choreographing of a male homosexual presence with reference to selected choreographers explores queer identity and in particular representations of a male homosexual presence in dance. Within the methodological framework of dance studies and queer theory I explore the ―self fashioning‖ of my male homosexual presence in dance. This is achieved by critically deconstructing my choreographic process when making choreography. Therefore this thesis is informed by both academic research and my self-reflexive experience of choreography and dance performance. The deconstruction of my autobiography and choreographic process is discussed with reference to both international and South African queer choreographers. This means that by accounting for my own experiences and approaches toward representing a male homosexual presence in dance, I explore the history and engagements of other queer choreographers also creating such representations. I therefore examine the works of selected choreographers and chart the development of the representation of a male homosexual presence in dance. By exploring the choreographic process of other queer choreographers I identify choreographic tactics that queer choreographers are using when making work. From this point of departure I shift the focus away from international queer choreographers and provide insight into the choreographic processes of South African queer choreographers. By accounting for the works and choreographic processes of South African choreographers, I provide a context in which my choreographic explorations on the subject matter can take place. This choreographic exploration manifests itself through a self-reflexive/autobiographic account on the research and practice of my choreographic process. During my choreographic exploration I set the challenge to both engage with and explore further, established ―queering tactics. This is done with the intention to reveal and create representations of a male homosexual presence in dance.
- Full Text:
- Authors: De Boer, Kyle Dylan
- Date: 2011
- Subjects: Queer theory , Gender identity in dance , Homosexuality in dance , Homosexuality and dance , Male homosexuality , Dance -- South Africa , Choreographers -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2161 , http://hdl.handle.net/10962/d1009442
- Description: Queer Transgressions: The choreographing of a male homosexual presence with reference to selected choreographers explores queer identity and in particular representations of a male homosexual presence in dance. Within the methodological framework of dance studies and queer theory I explore the ―self fashioning‖ of my male homosexual presence in dance. This is achieved by critically deconstructing my choreographic process when making choreography. Therefore this thesis is informed by both academic research and my self-reflexive experience of choreography and dance performance. The deconstruction of my autobiography and choreographic process is discussed with reference to both international and South African queer choreographers. This means that by accounting for my own experiences and approaches toward representing a male homosexual presence in dance, I explore the history and engagements of other queer choreographers also creating such representations. I therefore examine the works of selected choreographers and chart the development of the representation of a male homosexual presence in dance. By exploring the choreographic process of other queer choreographers I identify choreographic tactics that queer choreographers are using when making work. From this point of departure I shift the focus away from international queer choreographers and provide insight into the choreographic processes of South African queer choreographers. By accounting for the works and choreographic processes of South African choreographers, I provide a context in which my choreographic explorations on the subject matter can take place. This choreographic exploration manifests itself through a self-reflexive/autobiographic account on the research and practice of my choreographic process. During my choreographic exploration I set the challenge to both engage with and explore further, established ―queering tactics. This is done with the intention to reveal and create representations of a male homosexual presence in dance.
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Seductive Manoeuvres: an analysis of the use of feminist performance strategies as a means of staging alternative sexualities in two dance theatre works
- Authors: Barnard, Joni
- Date: 2011
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/76823 , vital:30627
- Description: Located within the discipline of Performance Studies, this thesis seeks to validate performance and theatre, specifically dance theatre, as legitimate fields of research and enquiry that can enrich the polemics surrounding discourse, representation, the body and identity. Within this thesis I explore and analyse the creative processes and performance strategies used in two dance theatres works: Acty Tang’s Chaste (2007) and my own work entitled Displayed and Framed (2008) and how these strategies support the staging of alternative sexualities. I argue that the staging of alternative sexualities calls for an alternative approach to the performance strategies utilised in the production of space, the representations of the body and the use of text in both works. Each work offers a particular exploration of gender and sexuality in the attempt to represent alternative identities, alternative bodies and alternative sexualities. In this thesis I identify the endeavour to stage ‘otherness’ as a feminist endeavour and thus identify the performance strategies utilised in each work as feminist performance strategies. Through my analysis I wish to highlight the ways in which a feminist approach can contribute to and enrich both the staging of and understanding of alternative sexualities. In both Chaste (2007) and Displayed and Framed (2008), the choreographers of each work are also performers in their own work in an endeavour to explore and represent their own identity. The analysis of my own work requires that I play the multiple roles of choreographer, performer and researcher. In this analysis I provide accounts of my own experiences, processes and struggles of creating Displayed and Framed (2008) which are analysed in conjunction with my readings of Chaste (2007) and Tang’s personal experiences in creating the work. Thus this thesis explores the value of reflection and self reflectivity in the processes of creating performance.
- Full Text:
- Authors: Barnard, Joni
- Date: 2011
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/76823 , vital:30627
- Description: Located within the discipline of Performance Studies, this thesis seeks to validate performance and theatre, specifically dance theatre, as legitimate fields of research and enquiry that can enrich the polemics surrounding discourse, representation, the body and identity. Within this thesis I explore and analyse the creative processes and performance strategies used in two dance theatres works: Acty Tang’s Chaste (2007) and my own work entitled Displayed and Framed (2008) and how these strategies support the staging of alternative sexualities. I argue that the staging of alternative sexualities calls for an alternative approach to the performance strategies utilised in the production of space, the representations of the body and the use of text in both works. Each work offers a particular exploration of gender and sexuality in the attempt to represent alternative identities, alternative bodies and alternative sexualities. In this thesis I identify the endeavour to stage ‘otherness’ as a feminist endeavour and thus identify the performance strategies utilised in each work as feminist performance strategies. Through my analysis I wish to highlight the ways in which a feminist approach can contribute to and enrich both the staging of and understanding of alternative sexualities. In both Chaste (2007) and Displayed and Framed (2008), the choreographers of each work are also performers in their own work in an endeavour to explore and represent their own identity. The analysis of my own work requires that I play the multiple roles of choreographer, performer and researcher. In this analysis I provide accounts of my own experiences, processes and struggles of creating Displayed and Framed (2008) which are analysed in conjunction with my readings of Chaste (2007) and Tang’s personal experiences in creating the work. Thus this thesis explores the value of reflection and self reflectivity in the processes of creating performance.
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Staged authenticities an exploration of the representations of AmaXhosa culture within the main programme of the National Arts Festival, 2009
- Reeve, Zoë Rose Louise Patricia
- Authors: Reeve, Zoë Rose Louise Patricia
- Date: 2011
- Subjects: Standard Bank National Arts Festival Performing arts festivals -- South Africa -- Grahamstown Xhosa (African people) -- Music -- Social aspects Performing arts festivals -- Social aspects -- South Africa -- Grahamstown Cultural property -- South Africa -- Eastern Cape
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2146 , http://hdl.handle.net/10962/d1002378
- Description: This thesis investigates the presentation of AmaXhosa traditional dancing and music on the stages of the National Arts Festival (NAF), Main Programme, of South Africa in 2009. Four productions featuring AmaXhosa traditional dancing and music, as well as a fine art exhibition, are analysed to determine how the AmaXhosa culture is being portrayed, what is considered authentic and how these productions may affect the memory of the AmaXhosa nation. In an attempt to understand the position of these productions within the NAF the South African cultural context as well as the NAF is examined. The post-apartheid, post-rainbow nation, South African cultural context is discussed and how the NAF could contribute towards creating a more unified South African identity. Incorporated and inscribed memory categories are related to how one could determine authenticity in traditional indigenous productions. A cautionary note on incorporated memory is linked to efficacy, while a loss of incorporated memory within the AmaXhosa society may result in ritual acts being orientated towards entertainment. If the private culture is consistently displayed in the public realm then it is inevitable that the ways in which the AmaXhosa recollect their history will be altered. The contribution of the transitional spaces of theatres and proscenium arch stages to the choreography and incorporated memory of the performers relates to the collective recollection of the AmaXhosa. Bearing this in mind, this thesis suggests that the NAF is playing a dual role in the evolution of the AmaXhosa. It is both positively contributing to the economic upliftment of a sector of the population and exposing people to this rich and multilayered culture. However, it is also impacting the efficacy of the private culture and fracturing the traditional knowledge of the AmaXhosa by assisting in the inscription of their performance forms. , This thesis consists of three parts (1 pdf document and two video mp4 files)
- Full Text:
- Authors: Reeve, Zoë Rose Louise Patricia
- Date: 2011
- Subjects: Standard Bank National Arts Festival Performing arts festivals -- South Africa -- Grahamstown Xhosa (African people) -- Music -- Social aspects Performing arts festivals -- Social aspects -- South Africa -- Grahamstown Cultural property -- South Africa -- Eastern Cape
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2146 , http://hdl.handle.net/10962/d1002378
- Description: This thesis investigates the presentation of AmaXhosa traditional dancing and music on the stages of the National Arts Festival (NAF), Main Programme, of South Africa in 2009. Four productions featuring AmaXhosa traditional dancing and music, as well as a fine art exhibition, are analysed to determine how the AmaXhosa culture is being portrayed, what is considered authentic and how these productions may affect the memory of the AmaXhosa nation. In an attempt to understand the position of these productions within the NAF the South African cultural context as well as the NAF is examined. The post-apartheid, post-rainbow nation, South African cultural context is discussed and how the NAF could contribute towards creating a more unified South African identity. Incorporated and inscribed memory categories are related to how one could determine authenticity in traditional indigenous productions. A cautionary note on incorporated memory is linked to efficacy, while a loss of incorporated memory within the AmaXhosa society may result in ritual acts being orientated towards entertainment. If the private culture is consistently displayed in the public realm then it is inevitable that the ways in which the AmaXhosa recollect their history will be altered. The contribution of the transitional spaces of theatres and proscenium arch stages to the choreography and incorporated memory of the performers relates to the collective recollection of the AmaXhosa. Bearing this in mind, this thesis suggests that the NAF is playing a dual role in the evolution of the AmaXhosa. It is both positively contributing to the economic upliftment of a sector of the population and exposing people to this rich and multilayered culture. However, it is also impacting the efficacy of the private culture and fracturing the traditional knowledge of the AmaXhosa by assisting in the inscription of their performance forms. , This thesis consists of three parts (1 pdf document and two video mp4 files)
- Full Text:
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