Teacher-in-role as a problem-posing method for learners in a special needs school in South Africa
- Authors: Hellemann, Phemelo Cordelia
- Date: 2018
- Subjects: Special education -- Activity programs -- South Africa , Special education -- South Africa , Drama in education -- South Africa , Drama -- Therapeutic use -- South Africa , Children with mental disabilities -- Life skills guides , Kuyasa School (South Africa)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/62549 , vital:28205
- Description: Paulo Freire’s problem-posing pedagogy urges for a creative and collaborative educational environment between learners and teachers that encourages critical thinking and engagement. This research explores how special needs pedagogical approaches in South Africa can transform their classroom practices to embrace creative and collaborative teaching methods such as drama. Drama-in-education (D-i-E) is an area where the learner and teacher relationship is characterised by creativity and engagement. This qualitative study considers the uses of drama as a teaching and learning method for learners in the Skills Phase class at Kuyasa Special School, Grahamstown. The research aimed to provide learners with intellectual barriers to learning with access to D-i-E. This was done through a series of practical drama lessons, which broadly aimed to enhance life skills and work environment competencies such as communication, problem-solving and interpersonal relations. The lessons followed a cross- curricular approach that integrated aspects of the Life Orientation (Grade 10-12) curriculum and the Drama (Creative Arts Grade 7-9) curriculum. This practice-led study reflects on how Dorothy Heathcote’s teacher-in-role (t-i-r) drama technique was implemented to teach topics and themes extracted and adapted from the Life Orientation learning area. This drama-based pedagogy employs three elements of Freire’s problem-posing education model, which are learner-centred, problem-posing and liberated pedagogy. The study discusses how these elements manifested in the lessons conducted, and how this approach benefited and improved the learners’ critical thinking skills, self-esteem and confidence. This study therefore provides a broad understanding of the possibilities of a drama-based pedagogy within a South Africa context of learning disability, proposing an alternative pedagogical approach in South African special schools. The findings contribute to the academic literature on D-i-E in South Africa and advocate for the inclusion of learners with learning disabilities within the performing arts education.
- Full Text:
- Date Issued: 2018
- Authors: Hellemann, Phemelo Cordelia
- Date: 2018
- Subjects: Special education -- Activity programs -- South Africa , Special education -- South Africa , Drama in education -- South Africa , Drama -- Therapeutic use -- South Africa , Children with mental disabilities -- Life skills guides , Kuyasa School (South Africa)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/62549 , vital:28205
- Description: Paulo Freire’s problem-posing pedagogy urges for a creative and collaborative educational environment between learners and teachers that encourages critical thinking and engagement. This research explores how special needs pedagogical approaches in South Africa can transform their classroom practices to embrace creative and collaborative teaching methods such as drama. Drama-in-education (D-i-E) is an area where the learner and teacher relationship is characterised by creativity and engagement. This qualitative study considers the uses of drama as a teaching and learning method for learners in the Skills Phase class at Kuyasa Special School, Grahamstown. The research aimed to provide learners with intellectual barriers to learning with access to D-i-E. This was done through a series of practical drama lessons, which broadly aimed to enhance life skills and work environment competencies such as communication, problem-solving and interpersonal relations. The lessons followed a cross- curricular approach that integrated aspects of the Life Orientation (Grade 10-12) curriculum and the Drama (Creative Arts Grade 7-9) curriculum. This practice-led study reflects on how Dorothy Heathcote’s teacher-in-role (t-i-r) drama technique was implemented to teach topics and themes extracted and adapted from the Life Orientation learning area. This drama-based pedagogy employs three elements of Freire’s problem-posing education model, which are learner-centred, problem-posing and liberated pedagogy. The study discusses how these elements manifested in the lessons conducted, and how this approach benefited and improved the learners’ critical thinking skills, self-esteem and confidence. This study therefore provides a broad understanding of the possibilities of a drama-based pedagogy within a South Africa context of learning disability, proposing an alternative pedagogical approach in South African special schools. The findings contribute to the academic literature on D-i-E in South Africa and advocate for the inclusion of learners with learning disabilities within the performing arts education.
- Full Text:
- Date Issued: 2018
Drama in South African secondary schools meeting the challenges of educational change
- Authors: Carklin, Michael Larry
- Date: 1996
- Subjects: Drama in education -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2133 , http://hdl.handle.net/10962/d1002365 , Drama in education -- South Africa
- Description: South Africa is undergoing fundamental transformation at all levels of government and civil society, requiring a firm commitment to redressing the legacy of apartheid and to the development of South Africa's people. Part of this commitment is to undertake research which complements transformation processes, investigating the most appropriate ways to meet the challenges posed by such change. This study examines the potential of drama in the secondary school to meet key educational challenges, motivating strongly for the inclusion of drama as part of the formal curriculum in all schools. Social transformation has been greatly influenced by policy such as the Reconstruction & Development Programme (RDP) and subsequent Government White Papers which identify the need to develop South Africa's human resources as crucial. It is in this light, arid in the context of great disparity that exists across the education spectrum, that learning experiences of high quality must be provided in schools. It is argued that drama, as an lift form and an educational medium, is able to provide such qualitatively sound learning experiences because it is essentially learner-centered, experiential and holistic, offering unique ways of knowing, understanding and gaining insights. However, the classroom drama experience needs careful conceptualisation itself, particularly in view of the fact that life experiences of pupils are characteriseg by multiplicity and diversity within a new era of social and cultural mixing, as well as increased global interaction through, for example, the mass media and the internet. This study thus argues from a post-structuralist perspective, which embraces notions of multiplicity, proposing a reconceptualisation of the classroom drama experience that challenges the oppositional or binary perspectives that have previously characterised the way we think about drama and education. Example~ include art versus utilitarianism; process versus product; drama versus theatre. Investigating the classroom drama experierice in the light of developments in postmodern theatre, this study proposes that classroom drama should be seen as a form of theatre itself and suggests the term theatricalisaction to describe this classroom-theatre process which is based on action, reflection, experience and creative expression. It becomes a theatre of activity or an activating theatre. In this light classroom drama is considered in a specifically South Mrican context. In particular, this study examines the ways in which the following contexts impact upon the drama experience: the education system, the place of the arts within that system, and cultural and linguistic diversity in the classroom. Drawing on policy documentation, conference proceedings and studies that have been carried out in multiculturalism and multilingualism, the specific educational challenges facing South Africans are identified. In further exploring the potential of drama to meeting these challenges, this study documents the results of surveys conducted with drama teachers and with ~students who have studied drama as one of their formal subjects, highlighting in particular their perceptions, perspectives and experiences regarding the aims and value of drama education. Finally, in light of the information gained from teachers and learners, and of the concepts and contexts investigated, this thesis considers the ways in which the drama experience can contribute to meeting three primary educational challenges: the building of a culture of learning; the development and empowerment of pupils; and the embracing of cultural and linguistic diversity. This study concludes that drama is able to contribute significantly to educational change because of the teaching and learning processes it offers as an art form, and in particular, a theatre form. It is such a participatory, democratic classroom-theatre which provides a teaching and learning approach that should be at the core of transformation.
- Full Text:
- Date Issued: 1996
- Authors: Carklin, Michael Larry
- Date: 1996
- Subjects: Drama in education -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2133 , http://hdl.handle.net/10962/d1002365 , Drama in education -- South Africa
- Description: South Africa is undergoing fundamental transformation at all levels of government and civil society, requiring a firm commitment to redressing the legacy of apartheid and to the development of South Africa's people. Part of this commitment is to undertake research which complements transformation processes, investigating the most appropriate ways to meet the challenges posed by such change. This study examines the potential of drama in the secondary school to meet key educational challenges, motivating strongly for the inclusion of drama as part of the formal curriculum in all schools. Social transformation has been greatly influenced by policy such as the Reconstruction & Development Programme (RDP) and subsequent Government White Papers which identify the need to develop South Africa's human resources as crucial. It is in this light, arid in the context of great disparity that exists across the education spectrum, that learning experiences of high quality must be provided in schools. It is argued that drama, as an lift form and an educational medium, is able to provide such qualitatively sound learning experiences because it is essentially learner-centered, experiential and holistic, offering unique ways of knowing, understanding and gaining insights. However, the classroom drama experience needs careful conceptualisation itself, particularly in view of the fact that life experiences of pupils are characteriseg by multiplicity and diversity within a new era of social and cultural mixing, as well as increased global interaction through, for example, the mass media and the internet. This study thus argues from a post-structuralist perspective, which embraces notions of multiplicity, proposing a reconceptualisation of the classroom drama experience that challenges the oppositional or binary perspectives that have previously characterised the way we think about drama and education. Example~ include art versus utilitarianism; process versus product; drama versus theatre. Investigating the classroom drama experierice in the light of developments in postmodern theatre, this study proposes that classroom drama should be seen as a form of theatre itself and suggests the term theatricalisaction to describe this classroom-theatre process which is based on action, reflection, experience and creative expression. It becomes a theatre of activity or an activating theatre. In this light classroom drama is considered in a specifically South Mrican context. In particular, this study examines the ways in which the following contexts impact upon the drama experience: the education system, the place of the arts within that system, and cultural and linguistic diversity in the classroom. Drawing on policy documentation, conference proceedings and studies that have been carried out in multiculturalism and multilingualism, the specific educational challenges facing South Africans are identified. In further exploring the potential of drama to meeting these challenges, this study documents the results of surveys conducted with drama teachers and with ~students who have studied drama as one of their formal subjects, highlighting in particular their perceptions, perspectives and experiences regarding the aims and value of drama education. Finally, in light of the information gained from teachers and learners, and of the concepts and contexts investigated, this thesis considers the ways in which the drama experience can contribute to meeting three primary educational challenges: the building of a culture of learning; the development and empowerment of pupils; and the embracing of cultural and linguistic diversity. This study concludes that drama is able to contribute significantly to educational change because of the teaching and learning processes it offers as an art form, and in particular, a theatre form. It is such a participatory, democratic classroom-theatre which provides a teaching and learning approach that should be at the core of transformation.
- Full Text:
- Date Issued: 1996
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