Last Satuarday I was invited by Dr Peter O’Connor to his home in Auckland after a previous meeting that Paula arranged for me. Peter has his own Applied Theatre company in New Zealand, that are very successful and receive major funding from the government and companies to deliever educatation/outreach packages and deliever. (www.appliedtheatre.co.nz)

Peter’s arts practice is based on his training with Dorothy Heathcote and Cecily O’Neill in London in the 80’s. He works largely with teacher/particapint in role, Mantle of the Expert and most importantly everyone being in the drama together, working as a group, to achieve and objective or a goal. Peter believes in the work set out by Heathcote and O’Neill and believes in the practice of educational drama to be in Heathcotes words, from the chapter Role-taking (1968) from the book Dorothy Heathcote collected writings on education and drama:

” Educational drama can be defined as having two significant aspects and aims. One of these we can define as ‘creative work’ the other as ‘coping work’. Both are significant areas of experience in developing person. A broad definition of educational drama is ‘role-taking’, either to understand a social situation more thoughuly or to experience imaginatively via identification in social situation.”

“Putting yourself in somebody elses shoes”

WORKING OUT THE DIFFERENCES AND SIMILARITIES:

While at Peter’s we got to talking about dramatherapy and the work the I am doing with Paula in the special education school, because next week Peter in going into special education schools in west Auckland to lead drama in education workshops and both of us were curious of the differences. Peter began to question me which was very helpful as to finding these differences and similarities in dramatherapy and drama education and also there principils and there objectives. These are the sort of notes I cam up with at the time:

DRAMATHERAPY

More touchy feely anicdotial

(The Sesame approach)

Slade and Way, both originally

Performers/actors not academics.

Focus on the individual. Uses physical elements as well as noises and short phrases, of a specific character but not really being the character in role for longer that 5 seconds or so in the story.

How is the problem of the drama/story resolved?

The problem is resolved through the story itself rather than through the children as a group. More individual change and development rather than group.

In a session with Paula using the story of the Thunder God which is a chinnese story – the action of digging is used. Digging in the dramatherapy sense comprised of digging individually (Why are we digging, by digging what goal are we achieving?)

The physical attributes of learning is there but the inner questioning may not be there.

SMALLER GOALS……..

DRAMA IN EDUCATION

Means being in the drama working on creative drama methods such as hotseating, teacher in role, mantle of the expert etc.

Taking on the role of others to have a view and an understanding of the world we live in. In order to achieve a collective social change while working through problems in a group together.

Digging in drama in education would be that you would dig together in a group say pirates and your quest is to get treasure, you must dig deeper and harder (the children would take on the role of pirates working together to get the treasure.

BIGGER GOAL

The above are only my thought so far as i continue to work in my placement i develop my views and opinions and i will continue to present my thoughts on this topic in my blogs and in my report.

(Peter Brook)

After reading this Brook quote I began to reflect further on my own experience in New Zealand, and that I should see this experience as another in my creative mind that is being opened slowly for me. By seeing a different culture like New Zealand that does not have a singular culture made of one race and one language. Instead many cultures combined to create to create a culture that has many different sounds, smells, colours, shapes and attitudes. This in turn has influenced me to a larger or lesser extent in the way I hear sounds, the smells I smell, the interpretation my eyes see various colours and shapes, resulting in a shift in my own attitude. I have found through this shift that I have now a wider collection of hats to put on in my work as a facilitator, with more experience for more situations and groups. Overall I am inspired as a creative individual in my arts practice as a workshop writer and facilitator, to see my own practice differently – as a new culture filters through to create new sounds, shapes etc resulting in the hope of a shift in other attitudes not just my own, as I continue my journey of exploration both in my own country and abroad.

FACILITATION…

How do we learn to facilitate?

It is I believe paramount that as a creative workshop leader and facilitator, to have the opportunity to watch other professionals facilitate workshops using various methods in various situations and then to ask questions…. Why did you do that exercise like that? What were your intentions? Etc.

Something Paula has reaffirmed for me is that to be able to facilitate and especially to facilitate well is a skill it does not happen by accident… You plan, you prepare, you have a clear understanding of your aims and objectives and how you are going to achieve these, you learn by your mistake. You use you voice and body to encourage and engage your group, and the one the I believe is fundamental to your role as facilitator in the circumstance that I am in just now with Paula, which is working in special education schools is to encourage a productive relationship with teachers and support staff. Put in place boundaries, outcomes and expectations of both you as a facilitator and the member of staff, in order to establish a positive working relationship and session so that all involved will benefit fully from the drama experience.

Paula’s facilitation skills that I have encountered so far is that after being at Rosehill special education school in Papacura south Auckland for that last 10 years, she knows the children and staff very well, and the working relationships overall are strong. However it wasn’t always like this, she had to teach staff about her drama methods and structure and what she expected of them and in return what they should expect of her. She very much implements and supports the teachers in the class rules set in place for the pupils. This is why for instance the pupil’s backbone for each session is always to sit on the chair. (The chair is reinforce within the dramatherapy workshops, as the pupils deal much better when the have a structure such as to sit on their chairs, it allows them to concentrate and to take on the role as the audience as well as taken centre stage as the performers, the chair is always a safety net. Paula always uses short sentences and simple language when verbal language is needed, in order for the children to understand the stories and the drama attached, she believes drama is about doing rather than listening. All children are encouraged to participate in all of the activities; everyone will always get a turn in order to promote fairness and equality. Children are reminded to wait their turn and not to shout out in order to instil the class rules within the dramatherapy session and to develop their social skills further within a group, promoting patience, co-operation and social conduct. There are only rare occasions when pupils are excluded from the dramatherapy sessions either by Paula or the teachers.

Drama and the arts in general are prioritised at Rosehill by the headteacher who works around her budget in order to finance the arts in her curriculum, sacrifices have been made in order to do this, for instance she has chosen the arts over speech and language therapists and believes the art therapies have a great positive impact on her pupils and staff and the school community at a large.

The majority of the pupils in the school are Maori and pacific Island origins. Each class has a maximum capacity of 14 with at least 2-3 support staff and 1 teacher. The classes are based on each childs mental age the biological age for pupils within the school which is a government run school is 5-21.

The day begins at 9:15 with the first class, on this specific day the first class was 8 boys who were profondly mentally and physically disabilied, in this case the support was 2-1. The session stared by sitting around in a semi circle with Paula in centre on a wheelie stood, each support work sat between two children including mysel, aiding the children to be involved.

Paula works largely if not totally with stories and story re-enactment within all the classes, but with each class dependent on ability the delivery is very different and the skills needed for facilitaton varies. Within this particular class the session began with a very shor verbal introduction to the story lasting probarly 20 seconds, next a song would be sung by the group going like so:

Hello “Micheal” Hello “Micheal” etc “How are you today”

The child would then be assisted to respond my sticking their thumb up, to say that they were well.

Each member of the class was sung too and a response received with the aid of support staff.

Next the story Thunder God came alive with Paula introducing very simple movement along with song

I am the Thunder God, see what i can do………

I can rain fall from the sky…….

The children would feel raindrops on their palm by the support worker and on this occasion me using their fingertips. etc different movements using hands and arms. Next more action would be done using gestures and song.

A story usually lasts 3-4 weeks, each week a different section of the story is told to each class. All stories must contain, alot of action instead of dialoge the main characters usually have a challenge to get over either in a human form or in the enviroment.

The sessions are always highly stuructured and tactile, each child in all encourage to take part. Teachers and support workers are their to assist and to experience the drama alongside the children.

“The structure of the myth or old tale provides the safe passage, enabling us to negotiate ruff sea’s, hear the siren’s song, meet the three headed dog and return safe, sometimes stirred or even uncomfortable, but with the possibility of greater awareness.” (Watts, 1985 p6)

Questions I feel that must be asked prior to creating the package…..

What support and assistance are the scottish government needing to fulfil their intended objectives for education?

What do special education schools need to do to achieve and fulfil their intended objectives set out by the governemt of Scotland?

What teaching methods in the arts, specifically drama do teachers have (through their training, or prior/after?)

 How could being involved in this work increase the teachers learning as well as the pupils?

How could drama workshops fit in with the already established curriculum?

THE PURPOSES OF CREATING AN EDUCATION/OUTREACH PACKAGE-

Educational-Develop the skills both educational and social for children and teacher.

Development-Develop the curriculum and teaching methods already in place.

Interactive – To create a new/initive approach to drama in a classroom

To Decress The Parachute Effect – To set up a package that is simple,effective and adaptiable enough for students/teachers of mixed abilities to carry on the work once the facilitator has left.

TARGET AUDIENCE-

Primary special education classes and teachers comprising of pupils with mental, physical and behaviuoral difficulties.

To enhance the childs learning both academically, creatively and cognitively in order ot develop skills within a classroom at primary level, both as individuals and in a group. Using methods of drama with a central focus on stories and re-enactment.

To allow teachers to be involved in activities related to drama, in which they can particapate and eventually facilitate at their own disgression. In order for themselves and the children to gain control over their learning of self and others  through story and story re-enactment. Furthermore to increase teachers ability to manage and handle their classroom in a creative and pro-active fashion. With the hope that they will develop increased methods of teaching.

An overall hope that teachers may be able with the correct flexiable material and support to continue working with their class, in the ways setout by the package and the initial facilitator. Eventually resulting in the methods being put in place not necessarily within the intended DRAMA time, but also intergrated into other areas of the curriculum.

However:

WHERE IS THE MONEY?………. Government!

Adapt package to what the govenment wants and will fund, therefore resulting in schools being able to accept he package easier without financial worry!

The form i see myself using for the document is an initial website as a lure for the government,schools and teachers with all the workshops and information provided. The to back it up interactive workbooks that may have quizzes, games and colouring sections for the children to use alongside the workshops and after for reflection. The teacher will also have a teachers workbook, with tips,suggestions most asked questions etc and an opportunity to reflect.

Throughout all my areas of work this term

WORKSHOP

EDUCATION/OUTREACH PACKAGE

REPORT

I think i will use the Jennings model from creative drama as a starting point of understanding the work ahead, during and after.

As a creative person I feel the need to see new things in this vast world that we all live, to engage my imagination and broaden my creativity. While working I am reminded that I am in a difference country, culture and society, even from simplke things like walking into a primary school and there classroom, office door and playground free to anyone to walk in and look around. In Scotland this is very different especially after the tragidy in Dumblaine, the schools are shut to the outside eye, locked and security cameras guard the perimiters. The effects of such different approaches must be great on the children whop have the freedom as well as those that dont.

Tomorrow i am giving a 30 minute talk to 150 students at the education faculity in New Zealand about my culture, course and education beliefs to raise debate and discussion with those who are currently like me studying and trying to push and pull our way though understand the world we live and what impact our future careers may have on society.

Then on Tuesday im meeting for coffee with the Education minister, to discuss special education in New Zealand and the resourses that are avaiable to teachers and pupils in mainstream schools dealing with ADHD or Autism.

My weeks are long 10-12 hour days:

MONDAY- 10am in the morning i leave for Paula’s office do work with Paula till four such as planning, funding etc. Then 4 – 6 we are in workshops/rehersals with INTERACTING a group of adults with learning disabilities, who are currently working on a performance for Friday at a very important disability awareness conference. TUESDAY IS PRETTY MUCH THE SAME.

WEDNESDAY/THURSDAY – 8AM leave for Paula’s – 10-3 school – 4-6 Interacting 7-8 get home. Special education school dramahterapy workshops with various class of various physical,mental and behavioural difficulties (Paula’s been leading dramatherapy workshops here for 10 years)

FRIDAY 10-6 Office work and INTERACTING workshops.

Busy Busy!!!

Throught this term i feel my overall out look through my report will be in the realms of Dramatherapy and the similiarities between educational drama.
DRAMATHERAPY – EDUCATIONAL DRAMA
1. Little rules 1. Rules set out by School (behaviour)
2. Curriculum setout by Gov 4 Art
2. Based purely on what the child is willing to do.
3. Relaxed
4. Flexiable
5. Based on ability

Children with learning difficulties particapating in drama are never forced into role play!

CHOICE is the name of the game – Choice is immensely important if the work is going to be theraputic….
Would offering choice in an educatuion system work?
Is choice educational? or even does it breed learning/social skills? Or should children be taught at school that choice and choosing what you can and cant do in life is a luxury that many adults cannot have in the workings of a modern world, and if they do it is very rare and often due to money and power.

Children with learning difficulties often face the impact of choices been made for them on their behalf from daily tasks to money to careers etc, by teachers, parents and careers etc.

Can choice ever be a realistic educational option in a modern day classroom?

Qoutes form Paula’s book that i find very interesting to question further when i begin are as follows:

” Taking responsibility for one’s choice is a learning experience.” HOW?

” I can think of no better way for reinforcing a childs selfhood.”

Selfhood? What could the other ways be?

DRAMATHERAPY – CHILDREN WITH BEHAVIOURAL/LEARNING DIFFICULTIES – EDUCATION

The bigger picture….. How do they effect each other…?
EFFECT, PURPOSE, RESULTS, PROBLEMS, SUCCSESSES.

Looking forward to begin on Monday!!!!