Pub Date : 2016-07-02DOI: 10.1080/14452294.2017.1279459
K. Donelan, V. Johnson, J. O’Toole
Abstract As part of the first Drama Australia Symposium in 2016 three of Australia’s best loved ‘vintage’ drama educators, who had been instrumental in the establishment of the association, were asked to contribute a keynote. Kate Donelan, Val Johnson and John O’Toole drew on their shared memories of the 40 years since the foundation of Drama Australia to highlight key moments in the association’s history. Here is the script they presented to delegates, 1st October, 2016, Adelaide.
{"title":"Where did we come from (and why does it matter?): shared memories of Drama Australia*","authors":"K. Donelan, V. Johnson, J. O’Toole","doi":"10.1080/14452294.2017.1279459","DOIUrl":"https://doi.org/10.1080/14452294.2017.1279459","url":null,"abstract":"Abstract As part of the first Drama Australia Symposium in 2016 three of Australia’s best loved ‘vintage’ drama educators, who had been instrumental in the establishment of the association, were asked to contribute a keynote. Kate Donelan, Val Johnson and John O’Toole drew on their shared memories of the 40 years since the foundation of Drama Australia to highlight key moments in the association’s history. Here is the script they presented to delegates, 1st October, 2016, Adelaide.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74574126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/14452294.2016.1276674
Robyn Shenfield
Abstract In this paper, I argue that certain drama education practices pedagogically trouble didactic moral instruction and offer open and fertile ground for the exploration of morally ambiguous dilemmas. Referring primarily to the work of Joe Winston, I posit that theories of drama as moral education point to the desirability of an open moral agenda, and particularly that context and cultural specificity are essential when attempting to understand and experience moral issues in the classroom. In order to illuminate this issue I refer specifically to I’m Too Old for a Trike Now, a story drama structure by Carole Miller and Juliana Saxton. This story drama showcases the openness of the dramatic form and its effectiveness for meaningful exploration of moral ambiguities. I contend that it is through open and affective drama pedagogy that critical reflection and a more mature level of understanding is able to develop.
本文认为，某些戏剧教育实践在教学上干扰了道德说教，为道德模糊困境的探索提供了开放和肥沃的土壤。主要参考乔·温斯顿的作品，我认为戏剧作为道德教育的理论指出了开放道德议程的可取性，特别是当试图理解和体验课堂上的道德问题时，背景和文化特殊性是必不可少的。为了阐明这一问题，我特别提到了Carole Miller和Juliana Saxton创作的故事剧《I’m Too Old for a Trike Now》。这部故事剧展示了戏剧形式的开放性及其对道德歧义进行有意义探索的有效性。我认为，只有通过开放和情感的戏剧教学，批判性反思和更成熟的理解水平才能得到发展。
{"title":"Perspectives on moral ambiguity and character education in the drama classroom","authors":"Robyn Shenfield","doi":"10.1080/14452294.2016.1276674","DOIUrl":"https://doi.org/10.1080/14452294.2016.1276674","url":null,"abstract":"Abstract In this paper, I argue that certain drama education practices pedagogically trouble didactic moral instruction and offer open and fertile ground for the exploration of morally ambiguous dilemmas. Referring primarily to the work of Joe Winston, I posit that theories of drama as moral education point to the desirability of an open moral agenda, and particularly that context and cultural specificity are essential when attempting to understand and experience moral issues in the classroom. In order to illuminate this issue I refer specifically to I’m Too Old for a Trike Now, a story drama structure by Carole Miller and Juliana Saxton. This story drama showcases the openness of the dramatic form and its effectiveness for meaningful exploration of moral ambiguities. I contend that it is through open and affective drama pedagogy that critical reflection and a more mature level of understanding is able to develop.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73497030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/14452294.2016.1276736
Susan P. Mullane
{"title":"Mindful movement: the evolution of the somatic arts and conscious action","authors":"Susan P. Mullane","doi":"10.1080/14452294.2016.1276736","DOIUrl":"https://doi.org/10.1080/14452294.2016.1276736","url":null,"abstract":"","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88630174","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/14452294.2016.1279463
The following material comprises the original editorial from the very first NADIE Journal plus an insert from in the centre pages. It has been re-typed for inclusion in this edition but the original spelling and style has not been modified or edited. This reprint is an important record (literally) of the discussions that took place during the first drama education conference held in Australia, at Terrigal, NSW, in December, 1975. It seems entirely appropriate that we partner these discussions with the key issues talked about by each of our State and Territory presidents in 2016, more than 40 years later. Some of the issues raised in discussion in 1975, seem irrelevant today with drama now so solidly established as part of the curriculum landscape in Australia. It is worth considering how much has changed (including the use of ‘kids’ to indicate children or students – something we would not get away with in a publication today) but there is a good deal of material here, which warrants deep and ongoing reflection. One of the things that struck me was how important it was for our earlier drama educators to grapple with the nature of drama in an educational context, what might constitute a drama curriculum, what pedagogies are effective, how we assess and report so that the learning in drama is identifiable. In contrast, our current issues seem to be largely those of infrastructure and, to a degree, advocacy. I leave these pages wondering how much better we can become at being certain we understand what learning in drama is and can be, and how much better we can become at communicating that to non-drama educators and community members.
{"title":"Reprint from NJ 1: 1. Editorial and Insert – The Terrigal Conference","authors":"","doi":"10.1080/14452294.2016.1279463","DOIUrl":"https://doi.org/10.1080/14452294.2016.1279463","url":null,"abstract":"The following material comprises the original editorial from the very first NADIE Journal plus an insert from in the centre pages. It has been re-typed for inclusion in this edition but the original spelling and style has not been modified or edited. This reprint is an important record (literally) of the discussions that took place during the first drama education conference held in Australia, at Terrigal, NSW, in December, 1975. It seems entirely appropriate that we partner these discussions with the key issues talked about by each of our State and Territory presidents in 2016, more than 40 years later. Some of the issues raised in discussion in 1975, seem irrelevant today with drama now so solidly established as part of the curriculum landscape in Australia. It is worth considering how much has changed (including the use of ‘kids’ to indicate children or students – something we would not get away with in a publication today) but there is a good deal of material here, which warrants deep and ongoing reflection. One of the things that struck me was how important it was for our earlier drama educators to grapple with the nature of drama in an educational context, what might constitute a drama curriculum, what pedagogies are effective, how we assess and report so that the learning in drama is identifiable. In contrast, our current issues seem to be largely those of infrastructure and, to a degree, advocacy. I leave these pages wondering how much better we can become at being certain we understand what learning in drama is and can be, and how much better we can become at communicating that to non-drama educators and community members.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82925110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/14452294.2016.1275301
J. Winston
Abstract This article gives an account of a drama based around an adaptation of the English folk tale Yallery Brown which was used to explore drugs related issues. The account is framed by a consideration of the problems and possibilities presented by the darker images that so often characterise traditional tales. Particular attention is paid to the moral agendas within the work in an attempt to investigate if they are as contradictory as at first they might appear.
{"title":"‘Tom Tiver, Tom Tiver met Yallery Brown …’:","authors":"J. Winston","doi":"10.1080/14452294.2016.1275301","DOIUrl":"https://doi.org/10.1080/14452294.2016.1275301","url":null,"abstract":"Abstract This article gives an account of a drama based around an adaptation of the English folk tale Yallery Brown which was used to explore drugs related issues. The account is framed by a consideration of the problems and possibilities presented by the darker images that so often characterise traditional tales. Particular attention is paid to the moral agendas within the work in an attempt to investigate if they are as contradictory as at first they might appear.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89655482","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/14452294.2016.1276675
M. Hunter
Abstract In twenty-first century schooling in Australia, the coherence of curriculum is both a blessing and a curse. Teachers now have the hard-won and delicious license to bring forth (sing forth!) the arts in a mandated place in Australian education. Yet tensions still exist for the mindful arts educator. How do we enable the arts to do what they do best in the hands of children and young people – for instance, humanise, politicise and disrupt – while at the same time ensure the learning is measurable, accountable and, dare we say, containable? This is the tension of our educational era that could actually open up new pathways to school reform and offer fresh ways to view the importance of learning in life, especially for those currently disenfranchised by school systems that seek primarily to measure and contain. Drawing inspiration from the quiet disruptions of visual artists in Tasmanian schools, this presentation invites you to question how the arts more broadly – and drama specifically – can contribute to necessary disruptions in schooling life.
{"title":"Drama education and its necessary disruptions*","authors":"M. Hunter","doi":"10.1080/14452294.2016.1276675","DOIUrl":"https://doi.org/10.1080/14452294.2016.1276675","url":null,"abstract":"Abstract In twenty-first century schooling in Australia, the coherence of curriculum is both a blessing and a curse. Teachers now have the hard-won and delicious license to bring forth (sing forth!) the arts in a mandated place in Australian education. Yet tensions still exist for the mindful arts educator. How do we enable the arts to do what they do best in the hands of children and young people – for instance, humanise, politicise and disrupt – while at the same time ensure the learning is measurable, accountable and, dare we say, containable? This is the tension of our educational era that could actually open up new pathways to school reform and offer fresh ways to view the importance of learning in life, especially for those currently disenfranchised by school systems that seek primarily to measure and contain. Drawing inspiration from the quiet disruptions of visual artists in Tasmanian schools, this presentation invites you to question how the arts more broadly – and drama specifically – can contribute to necessary disruptions in schooling life.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85028204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/14452294.2016.1276737
J. Saunders, M. Stinson
Abstract The inclusion of Drama as a subject in the Australian Curriculum is largely a result of the unwavering advocacy of national associations (like Drama Australia) and alliances, in particular the National Advocates for Arts Education (NAAE). This article briefly outlines stages in national curriculum development in Australia and delineates key organisations and individuals who have contributed to the inclusion of drama within Australia’s national curriculum. The paper draws from previously published material, interviews with representatives from each state professional association, and extended interviews with members of the NAAE. The authors propose that the most significant contributing factor to the inclusion of drama in the educational entitlement for all young people in the Australian national curriculum has been collaborative advocacy, carefully managed by a national advocacy collective.
{"title":"Drama in the Australian national curriculum – the role of advocacy","authors":"J. Saunders, M. Stinson","doi":"10.1080/14452294.2016.1276737","DOIUrl":"https://doi.org/10.1080/14452294.2016.1276737","url":null,"abstract":"Abstract The inclusion of Drama as a subject in the Australian Curriculum is largely a result of the unwavering advocacy of national associations (like Drama Australia) and alliances, in particular the National Advocates for Arts Education (NAAE). This article briefly outlines stages in national curriculum development in Australia and delineates key organisations and individuals who have contributed to the inclusion of drama within Australia’s national curriculum. The paper draws from previously published material, interviews with representatives from each state professional association, and extended interviews with members of the NAAE. The authors propose that the most significant contributing factor to the inclusion of drama in the educational entitlement for all young people in the Australian national curriculum has been collaborative advocacy, carefully managed by a national advocacy collective.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81716626","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/14452294.2016.1279466
M. Stinson
{"title":"Forty plus years of drama education: what do we have to show for it?","authors":"M. Stinson","doi":"10.1080/14452294.2016.1279466","DOIUrl":"https://doi.org/10.1080/14452294.2016.1279466","url":null,"abstract":"","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77107632","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/14452294.2016.1279464
Abstract This report is made up of notes contributed by the speakers on the Presidents’ panel at Looking Forward, Looking Back, the inaugural Drama Australia Symposium held 29 September–2 October 2016, at the University of Adelaide McGill Campus. Each state/territory president, or their representative, was asked to talk about the particular issues that encompass contributing enablers or challenges in individual state contexts. This material helps us gain a point-in-time understanding of the national agenda with a state-by-state focus.
{"title":"National issues and concerns: notes from the presidents","authors":"","doi":"10.1080/14452294.2016.1279464","DOIUrl":"https://doi.org/10.1080/14452294.2016.1279464","url":null,"abstract":"Abstract This report is made up of notes contributed by the speakers on the Presidents’ panel at Looking Forward, Looking Back, the inaugural Drama Australia Symposium held 29 September–2 October 2016, at the University of Adelaide McGill Campus. Each state/territory president, or their representative, was asked to talk about the particular issues that encompass contributing enablers or challenges in individual state contexts. This material helps us gain a point-in-time understanding of the national agenda with a state-by-state focus.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81118163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-07-02DOI: 10.1080/14452294.2016.1276738
J. Dunn
Abstract Process drama is a highly engaging participatory form that is capable of generating rich opportunities for learning. This is especially the case when the drama experiences are built upon pretexts that are aesthetically charged and when the work itself is structured and facilitated by educators with a deep understanding of its true nature. However, in spite of a strong research base that supports its value both in the drama classroom and beyond, a number of myths relating to its use and value appear to be limiting its application. In addition, while many drama teachers make use of the strategies associated with process drama, far fewer offer their learners opportunities to engage in the cohesive and sequenced experiences that this form requires. These myths and misunderstandings are explored within this keynote, while examples drawn from three different learning contexts are used to demystify this important form and provide greater clarity around its nature, purpose, application and value.
{"title":"Demystifying process drama: exploring the why, what, and how*","authors":"J. Dunn","doi":"10.1080/14452294.2016.1276738","DOIUrl":"https://doi.org/10.1080/14452294.2016.1276738","url":null,"abstract":"Abstract Process drama is a highly engaging participatory form that is capable of generating rich opportunities for learning. This is especially the case when the drama experiences are built upon pretexts that are aesthetically charged and when the work itself is structured and facilitated by educators with a deep understanding of its true nature. However, in spite of a strong research base that supports its value both in the drama classroom and beyond, a number of myths relating to its use and value appear to be limiting its application. In addition, while many drama teachers make use of the strategies associated with process drama, far fewer offer their learners opportunities to engage in the cohesive and sequenced experiences that this form requires. These myths and misunderstandings are explored within this keynote, while examples drawn from three different learning contexts are used to demystify this important form and provide greater clarity around its nature, purpose, application and value.","PeriodicalId":41180,"journal":{"name":"NJ-Drama Australia Journal","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85622744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：