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Journal articles on the topic 'Drama in education (Australia)'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Roy, David. "Mask Usage and Drama Teacher Understanding in Australia." Athens Journal of Education 9, no. 3 (July 26, 2022): 393–412. http://dx.doi.org/10.30958/aje.9-3-3.

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This paper presents the research and findings of how some Australian teachers of Drama engage with masks in the classroom. It is part of a larger research project looking at the potential impacts for masks and education in the Australian curriculum. With masks both synonymous with Drama, and multiple resources available for teachers to engage with masks in the classroom, there was no empirical data on if and how teachers in Australia engaged with masks in the classroom. This research asked teachers to self-report on both their skill level in mask usage and to the extent that they engaged with masks in the teaching of Drama in the classroom. Findings note that whilst the majority of teachers did engage with masks; some quite extensively; many staff indicated their own limitations in training and in foundational theory. In addition, many staff used their own time and resources to upskill themselves, placing an importance of the potential for mask usage with children. This has implications for university education courses, as well opportunities for systems and professional development providers in supporting teachers of Drama in their skill base. Keywords: masks, drama, education, teachers

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Karaolis, Olivia. "Puppets and inclusive practice: Engaging all learners through drama and puppetry in preschool contexts." Teachers and Curriculum 22, no. 2 (November 3, 2022): 7–16. http://dx.doi.org/10.15663/tandc.v22i2.402.

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Inclusive practice in education is supported by a compelling body of research (Cologon, 2019; Graham, 2020; Raphael et al., 2019) policy recommendations (Department of Education, Employment and Workplace Relations [DEEWR], 2009; Te Tāhuhu o Te Mātauranga–Ministry of Education, 2017(Commonwealth of Australia. (2003)) and mandated by legislation such as the Disability Discrimination Act of 1992 (DDA) (Commonwealth of Australia, 2003). It is also reflected in the Australian and New Zealand Professional Teaching Standards (Australian Institute for Teaching and School Leadership, 2014; Teaching Council of Aotearoa New Zealand, 2017). Early Childhood Australia [ECA] (2016) states that “inclusion means that every child has access to, participates meaningfully in, and experiences positive outcomes from early childhood education and care programs” (p. 2). This paper explores what this means for early childhood educators and examines the concept of inclusion through the stories of two children and two puppets. A story that outlines how the perspectives of teachers shifted to create places of learning that were welcoming and more inclusive to every child.

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Flaherty, Kate. "Cathcart vs Brooke: a Touring Actress and a Trial of Public Private Identity in the Australian Colonies." New Theatre Quarterly 33, no. 1 (January 10, 2017): 47–58. http://dx.doi.org/10.1017/s0266464x16000622.

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In this article Kate Flaherty examines the sensational contractual dispute that arose between Gustavus Vaughan Brooke and Mary Fanny Cathcart during their Australian colonial tour in 1855. She follows Brooke's attempt to use his theatrical repertoire to achieve and consolidate a legal victory over Cathcart, but argues that this strategy ultimately backfired and elicited a form of judgement by the theatregoing public that countered the judgement handed down by the Supreme Court. Conversely, coverage of the case in Australian newspapers is identified as shaping reviews and sharpening the edge of the stage dramas. The article provides a focused instance of the complex interplay of dramatic works, cultural politics, gendered power, and publicity that characterized nineteenth-century theatrical touring. Kate Flaherty is a lecturer in English and Drama at the Australian National University, a member of the International Shakespeare Conference, and a Senior Fellow of the Higher Education Academy. She is author of Ours as We Play It: Australia Plays Shakespeare (University of Western Australia Press, 2011), as well as numerous essays on how Shakespeare's works play on the stage of public culture.

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O'Toole, John. "Scenes at the Top Down Under: Drama in higher education in Australia." Research in Drama Education: The Journal of Applied Theatre and Performance 7, no. 1 (March 2002): 114–21. http://dx.doi.org/10.1080/13569780210337.

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5

Humphreys, Sheridan. "Rethinking our protagonists: Absence on screen and meta-narratives of empire." Journal of Screenwriting 13, no. 3 (November 1, 2022): 361–74. http://dx.doi.org/10.1386/josc_00106_1.

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In this article I argue that responsibility for diversity needs to be inbuilt at a much earlier stage in the screen drama production process – from the very moment, indeed, when protagonists and plotlines are first conceived. Genuine diversity is everyone’s responsibility, not just the ‘diversity manager’ or ‘diversity initiative’. This is an issue for screenwriters, for the education of screenwriters and it is something that screenwriting research needs to explore. My focus falls here on historical drama, for which I argue that inbuilt diversity is especially pressing. Populist ideas about the past impact the lives of ethnic minorities today, and are perpetuated by invisibility, which is then treated as evidence of that same invisibility. I explore how Britain’s relationship with colonial Australia is understood – and perpetuated – through the meta-narrative of Empire and culture and how this informs my approach to my own writing practice. This article is based on the papers presented at the 2017 Screenwriting Research Network (SRN) conference, University of Otago, Dunedin; the 2019 European Association of Studies of Australia (EASA) Conference in Toulon, and at the 2019 Australian Association of Writing Programs (AAWP) conference, University of Technology, Sydney.

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Stinson, Madonna. "Speaking up about oracy: the contribution of drama pedagogy to enhanced oral communication." English Teaching: Practice & Critique 14, no. 3 (December 7, 2015): 303–13. http://dx.doi.org/10.1108/etpc-07-2015-0055.

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Purpose – The purpose of this paper is to consider the growing interest in oracy and to propose the pedagogy of process drama as an ideal model for the dialogic classroom. Design/methodology/approach – This paper takes the form of an explanatory case study where the author draws on a successful drama/oracy project in a primary school in Brisbane, Australia, to illustrate the connections between Alexander’s five indicators of a dialogic classroom and the process drama in which the students participated. Findings – The application of this process drama as pedagogy for the teaching and learning of oracy has contributed positively to students’ oral communication skills and intercultural awareness. In addition, parents provide positive feedback about student engagement in school and developing self-confidence because “they have something to say”. Research limitations/implications – There was no formal pre-post test for the oral communication skills on this study, instead the researchers developed a draft “oracy” checklist which deserves further interrogation and development. Practical implications – There are implications for the use of process drama as a means of creating and sustaining the dialogic classroom. Teacher professional development would be required to assist the planning and delivery of dramas that allow for the deep and complex learning evidenced in this study. Social implications – This is an ideal vehicle for assisting in the development of empathy, collaboration, emotional intelligence and intercultural understanding. Originality/value – This is an example of an extremely high-quality curriculum plan and implementation. The importance of engaging in implicit and explicit instruction of oral communication for the twenty-first century should not be underestimated. The process drama allows oral language to be foregrounded, with additional learning opportunities from a range of other learning areas, brought together in a coherent and complex model of practice.

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7

Arrighi, Gillian, and Victor Emeljanow. "Entertaining Children: an Exploration of the Business and Politics of Childhood." New Theatre Quarterly 28, no. 1 (January 31, 2012): 41–55. http://dx.doi.org/10.1017/s0266464x12000048.

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This article explores the conflict between the constructions of childhood and their political/legal implications in the context of the entertainment business, as related to the demands imposed upon children by parents and theatre managers in the late nineteenth and early twentieth centuries. Once children could move freely both within and between countries, these conflicts and concerns assumed a global dimension. Through a number of case studies, the authors offer some fresh observations about how legal and social imperatives affected the transmission of values about children employed as entertainers between Britain and Australasia during the period from 1870 to the start of the First World War – from the Education Acts of the 1870s to the legislation of 1910–1913 restricting the export of child entertainers. Gillian Arrighi is a Lecturer in Drama at the University of Newcastle, Australia. She has recently published articles in Theatre Journal (Dec 2008), Australasian Drama Studies (April 2009 and Oct 2010), and in Impact of the Modern: Vernacular Modernities in Australia 1870s–1960s (Sydney, 2008). She is associate editor of the e-journal Popular Entertainment Studies. Victor Emeljanow is Emeritus Professor of Drama at the University of Newcastle, Australia, and General Editor of the e-journal Popular Entertainment Studies. He has published widely on subjects ranging from the reception of Chekhov in Britain and the career of Theodore Kommisarjevsky, to Victorian popular dramatists. He co-wrote with Jim Davis the award-winning Reflecting the Audience: London Theatregoing 1840–1880 in 2001, and his chapter on staging the pirate in the nineteenth century was included in Swashbucklers and Swindlers: Pirates and Mutineers in Nineteenth-Century Literature and Culture, edited by Grace Moore (2011).

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Quinones, Gloria, Avis Ridgway, and Liang Li. "Developing a drama pedagogy for toddler education." Journal of Early Childhood Research 17, no. 2 (January 14, 2019): 140–56. http://dx.doi.org/10.1177/1476718x18823235.

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This article examines how an educator develops a drama pedagogy through the course of her dramatic interactions with three toddlers. A cultural-historical approach was used to explore the concepts of dramatic interactions and dimensions of drama pedagogy. Visual research methodology involved video observations and a reflective interview with the educator. A case example uses an everyday moment that took place in an Australian childcare centre. This is discussed to show how drama pedagogy unfolds to support toddlers’ learning and development. The case example occurs in a special space known as the neighbourhood space. A drama pedagogy has been conceptualised through three dimensions: a space that has dramatic qualities, interactions and narratives. These foster an inquiry stance in toddlers. It is argued that drama pedagogy is an intentional pedagogical approach to engage toddlers in the neighbourhood space. This article gives focus to an educator who embraces a dramatic conversation style we call dialogue commentary.

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Jacobs, Rachael. "Stories told and performed: a methodology for researching drama assessment in schools." Qualitative Research Journal 20, no. 1 (July 12, 2019): 19–33. http://dx.doi.org/10.1108/qrj-04-2019-0037.

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Purpose A methodology that combined ethnographies, including the ethnography of performance with narrative inquiry was used in a research project investigating the assessment of senior secondary Drama performance in Australia. The paper aims to discuss this issue. Design/methodology/approach After a temporal change in the research approach, it was decided that the research method needed to capture the Drama performance assessment phenomenon as it was lived and experienced. Findings As a result, methodological choices shifted from procedural documentation and document analysis to ethnographic observations that were able to capture the more nuanced aspects of the relationship between Drama performance and assessment, embracing tacit learning, agendas, cultures, experiences and understandings. Originality/value This paper reflects on the methodological dilemmas and choices made when studying artistic and aesthetic texts in the classroom, and poses considerations for future researchers conducting inquiries in aesthetically rich learning environments.

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O’Toole, John. "The basic principles of a socially just arts curriculum, and the place of drama." Australian Educational Researcher 48, no. 5 (October 8, 2021): 819–36. http://dx.doi.org/10.1007/s13384-021-00480-6.

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AbstractThis paper provides a descriptive historical analysis of the planning and writing of the Australian Curriculum: The Arts which occurred from 2009 to 2013. This process involved extensive consultation across a range of stakeholders, including curriculum research, background reading and analysis that preceded the Australian Curriculum, Assessment and Reporting Authority’s writing process. The curriculum itself was underpinned by a range of democratic principles, including the importance of developing a socially just curriculum. This necessitated extensive discussion which interrogated the terms excellence and equity to ensure a high-quality arts education was accessible for all students, regardless of their background. The implementation of these principles is then explored through the perspective of the Drama writing team, including the importance of the subject Drama in developing a sense of inquiry and empathy in students by exploring their own and others’ stories and points of view. The final curriculum document for the Arts, and specifically for Drama exemplifies the importance of these social justice principles in responding to the Melbourne Declaration on Educational Goals for Young Australians (2008) which advocates for equity and excellence in Australian schooling and for all young Australians to become successful learners, confident and creative individuals and active and informed citizens.

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Saunders, John Nicholas. "Using drama-rich pedagogies with the episodic pre-text model to improve literacy." Teachers and Curriculum 22, no. 2 (November 3, 2022): 49–61. http://dx.doi.org/10.15663/tandc.v22i2.401.

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School Drama Classic is a co-mentoring teacher professional learning programme developed through a partnership between Sydney Theatre Company and the University of Sydney’s School of Education and Social Work. Developed in 2009, this teacher professional learning programme aims to enable primary teachers to develop the expertise and confidence to use drama-rich pedagogy with quality children’s literature to enhance learners’ English and literacy skills. By 2021 it had reached more than 35,000 teachers and students across Australia and more recently in New Zealand. While a growing body of research has explored aspects of the School Drama programme, relatively little focus had centred on student outcomes. This article focuses on one of my doctoral research case studies (Saunders, 2019), a Year 5 class at Gungahlin Public School (pseudonym), a co-educational public school in Sydney’s inner west. A range of data collection methods was employed within this qualitative study, including teacher interview (before, during and after the intervention), student focus groups (during and after the intervention), benchmarking of student literacy (before and after the intervention) and a pre- and post-programme survey for students. Richardson’s (1997) concept of crystallisation was used to analyse the data. The findings suggested positive shifts in student English and literacy outcomes in the selected focus area (inferential comprehension) using drama-rich pedagogy with an episodic pre-text model.

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Butcher, Kym, Glenn Pearce, and Donald Ross. "Using educational drama to teach investments management: Evidence of cross-cultural relevance from Australia and China." International Journal of Management Education 15, no. 1 (March 2017): 67–83. http://dx.doi.org/10.1016/j.ijme.2017.01.005.

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Carter, Carol. "Alice Hoy is not a building: an ethnographic performance about women in academia (Drama Australia Monograph No.13)." NJ 45, no. 1 (January 2, 2021): 71–72. http://dx.doi.org/10.1080/14452294.2021.1981542.

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Garvis, Susanne. "What is going on in early years music planning? A study of early years teachers' weekly plans." Australasian Journal of Early Childhood 37, no. 2 (June 2012): 122–26. http://dx.doi.org/10.1177/183693911203700216.

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ARTS EDUCATION IS AN Important element of the early years curriculum. Children first learn to express themselves through the arts (dance, drama, media, visual arts and music). Furthermore, numerous studies provide evidence that quality learning experiences in the arts contribute in significant ways to social success and impact positively on a child's academic achievement and long-term education. In Australia, early years teachers are expected to teach arts education. This study explored the weekly planning of 76 early years teachers across kindergartens, preparatory classes and Years 1, 2 and 3 in Queensland, Australia. Settings took a structured ‘curriculum-focused’ approach to learning in the early years, which made the exploration of planning important. Our study looked for segments of time devoted to music throughout the week. Content analysis was used to interpret the weekly plans, with three themes emerging: (1) The majority of the weekly plans were dedicated to literacy and numeracy; (2) Little time was devoted to the teaching of music apart from the scheduled 30-minute music lesson with a specialist teacher in some schools; and (3) Of the limited number of weekly plans that featured music, activities were teacher-directed. These results provide insight to the current understanding and value of music education in the early years curriculum. Key messages can be drawn about the importance of professional development, music advocacy in the early years, and curriculum and policy planning.

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Anderson, Michael James, and Kelly Freebody. "Developing Communities of Praxis: Bridging the theory practice divide in teacher education." Articles 47, no. 3 (March 18, 2013): 359–77. http://dx.doi.org/10.7202/1014864ar.

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Teacher education in universities is under pressure. In many new education policies there is a renewed focus on teacher quality, and therefore quality initial teacher education. In some countries this renewed focus has led to a resurgence of “alternative approaches” to teacher education such as Teach for America / Australia. One of the most persistent complaints about pre-service teacher education is that educational theory presented in these programs does not relate sufficiently to the real work of teachers. In an attempt to overcome these real or perceived divides, tertiary drama educators at the University of Sydney constructed a professional experience program based on both the community of practice model (Lave and Wenger, 1991) and Frierean notions of praxis (1972). The community of praxis approach emphasises the importance of integrating theory and practice to support the development of beginning teachers. This article outlines the development, implementation, and evaluation of this approach, including the reasoning behind its foundation and the theoretical and practical significance of such an approach for teacher-educators.

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Lorenza, Linda Merewyn. "Collaborative performance during lockdown: combining devised drama with film concepts to present cyberdrama during the COVID lockdown in Australia." NJ 44, no. 2 (July 2, 2020): 88–105. http://dx.doi.org/10.1080/14452294.2021.1939506.

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Lambert, Kirsten, Peter R. Wright, Jan Currie, and Robin Pascoe. "Data-Driven Performativity: Neoliberalism's Impact on Drama Education in Western Australian Secondary Schools." Review of Education, Pedagogy, and Cultural Studies 37, no. 5 (October 20, 2015): 460–75. http://dx.doi.org/10.1080/10714413.2015.1091260.

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Stinson, Madonna, and John Nicholas Saunders. "Drama in the Australian national curriculum: decisions, tensions and uncertainties." Research in Drama Education: The Journal of Applied Theatre and Performance 21, no. 1 (January 2, 2016): 93–104. http://dx.doi.org/10.1080/13569783.2015.1126173.

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Combes, Louise, and Lauren A Bradley. "To Jurassic Park via Australia: A case study showing how dramatherapy enabled the creation and maintenance of embodied metaphors to support recovery from early psychosis." Dramatherapy 41, no. 1 (April 2020): 37–49. http://dx.doi.org/10.1177/02630672211002791.

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This case study shows how Dramatherapy can engage clients with communication difficulties, which exclude them from standard mental health pathways in early intervention in psychosis services. Deliberately prioritising the client’s newfound modes of expression to shape the narrative within, it is evident Dramatherapy processes; embodiment, projection and role enabled this client to create and then inhabit his own playful metaphors. These metaphors continued to facilitate every-day life challenges. During his Dramatherapy relationship, the client within this case study transitioned from supported accommodation to his own property, progressed to residential rehabilitation for alcohol misuse and finally engaged in cognitive behavioural therapy. From feedback interviews we know he continued to create and use his own protective metaphors 10 months after drama therapy ended. He returned to education as part of his plan to seek appropriate employment and was discharged to his GP.

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Piazzoli, Erika C. "Translation in cross-language qualitative research." Translation and Translanguaging in Multilingual Contexts 1, no. 1 (March 30, 2015): 80–102. http://dx.doi.org/10.1075/ttmc.1.1.04pia.

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This paper considers some methodological implications related to translation in cross-language qualitative research. The paper takes a twofold stance: on the one hand, it argues that, provided the process is carried out with integrity and transparency, translation in cross-language research can be insightful, and can function as a phase of the analysis in itself. On the other hand, ‘interlanguage translation’, that is, the translation of non-native speakers’ utterances in the target language, should be avoided, or at least acknowledged as a limitation of the study. The article draws on a cross-language qualitative research study, conducted partly in Australia and partly in Italy, in the inter-disciplinary field of second language acquisition (SLA) drama education research. The article argues that a multi-approach to equivalence (dynamic, conceptual and dynamic equivalence) may be needed to translate different kinds of texts within the same study, offering a variety of examples to support these claims.

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Carew, Margaret. "Represented experience in Gun-nartpa storyworlds." Narrative in ‘societies of intimates’ 26, no. 2 (December 31, 2016): 286–311. http://dx.doi.org/10.1075/ni.26.2.05car.

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The Gun-nartpa people of northern Australia use represented experience to mark prominence at narrative highpoints. The term ‘represented experience’ refers to verbal expressions that form paratactic relations with surrounding discourse. It encompasses the speech of story actors, environmental sounds, and sound-symbolic renderings of events. Such representations impart moments of drama to narrative discourse, in which shifts in perspective position the deictic centre at an imagined interpersonal space within the storyworld of the narrative. It is here, where the storyteller and audience enter the subjectivity of story actors, that elements of the narrative most clearly express its underpinning cultural proposals. The Gun-nartpa construe the cultural proposals that make up the notional structures of narrative discourse in terms of relational knowledge, in which conceptualisations of ‘belonging’ are of primary value. This relational frame of reference provides context for the interpretation of the evaluative implicatures that arise at highpoints, and lends coherence to Gun-nartpa narrative discourse.

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Hradsky, Danielle, Rachel Forgasz, Andrew Byrne, Jane Carter, Kristy Griffin, and Lauren Miosku. "‘It’s got to be a journey’: learning to teach First Nations content and concepts in the Australian drama classroom." NJ 45, no. 2 (July 3, 2021): 77–96. http://dx.doi.org/10.1080/14452294.2021.2004732.

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Kruger, Jan-Louis, Stephen Doherty, and María-T. Soto-Sanfiel. "Original language subtitles: Their effects on the native and foreign viewer." Comunicar 25, no. 50 (January 1, 2017): 23–32. http://dx.doi.org/10.3916/c50-2017-02.

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This study investigates the impact of same-language subtitles on the immersion into audiovisual narratives as a function of the viewer’s language (native or foreigner). Students from two universities in Australia and one in Spain were assigned randomly to one of two experimental groups, in which they saw a drama with the original English soundtrack either with same-language English subtitles (n=81) or without subtitles (n=92). The sample included an English native control group, and Mandarin Chinese, Korean, and Spanish groups with English as a foreign language. Participants used post-hoc Likert scales to self-report their presence, transportation to the narrative world, perceived realism, identification with the characters, and enjoyment. The main results showed that subtitles did not significantly reduce these measures of immersion. However, subtitles produced higher transportation, identification with the characters, and perceived realism scores, where the first language of viewers and their viewing habits accounted for most of this variance. Moreover, presence and enjoyment were unaffected by either condition or language. Finally, the main results also revealed that transportation to the narrative world appears to be the most revealing measure of immersion in that it shows the strongest and most consistent correlations, and is a significant predictor of enjoyment. Se estudia el impacto de los subtítulos en el mismo idioma de la narrativa audiovisual según el idioma del receptor (nativo o extranjero). Estudiantes de dos universidades australianas y una española fueron asignados al azar a uno de dos grupos experimentales en los que se veía un drama con la banda sonora original en inglés con subtítulos en esa misma lengua (n=81) o sin subtítulos (n=92). La muestra incluía un grupo control de hablantes nativos de inglés, además de grupos de hablantes nativos de chino mandarín, coreano y español con inglés como lengua extranjera. Como medidas post-hoc, los participantes reportaron, mediante escalas Likert, su percepción de presencia, transporte, realismo percibido, identificación con los personajes y disfrute. Los resultados muestran que los subtítulos no reducen las medidas de inmersión. Además, que los subtítulos producen mayores puntuaciones de transporte, identificación con los personajes y percepción de realismo, cuya varianza se explica, esencialmente, por la primera lengua de los receptores y sus hábitos de visionado. Asimismo, los resultados señalan que ni a la presencia y ni al disfrute les afectan la condición experimental o el idioma del receptor. Finalmente, muestran que el transporte es la medida más reveladora de la inmersión porque produce las correlaciones más fuertes y consistentes, aparte de ser un predictor significativo del disfrute de los espectadores.

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Kingsley, Beth. "Community Empowerment: Promoting the Safety and Minimising the Abuse of Older People." Australian Journal of Primary Health 8, no. 2 (2002): 98. http://dx.doi.org/10.1071/py02035.

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Elder abuse is a taboo topic that older people talk about in hushed whispers and community workers are hesitant to raise. Nevertheless the abuse of older people is a social issue and a tragedy of an ageing population. To promote the safety of older citizens health professionals cannot stand by and allow clients to be abused where they experience harm at the hands of someone they know and from whom they should be able to expect safe care. The harmful and damaging nature of elder abuse compels practitioners to work with the community to address and resolve this social problem. Evolving from focus group discussions with older people in Perth, Western Australia, a series of community education and empowerment forums were held under the auspice of The Council on the Ageing (WA) Inc. The forums used an innovative drama format to illustrate the issues of elder abuse and demonstrate potential solutions. Forum evaluation indicated that this format was successful in raising awareness of elder abuse, what it is, why it happens and what resources are available to deal with it. From the forums caregivers and older people learned new strategies on how to minimise their risk of abusing or to resist becoming a victim of abuse.

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Brunner, Diane. "Drama in Education." Teaching Education 9, no. 1 (June 1997): 73–74. http://dx.doi.org/10.1080/1047621970090112.

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van de Water, Manon. "Drama in education: why drama is necessary." SHS Web of Conferences 98 (2021): 02009. http://dx.doi.org/10.1051/shsconf/20219802009.

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The article dwells on the use of drama and performance techniques in education and social work in connection with multiple intelligence theory, emotional intelligence theory, and brain based learning. The author connects the use of drama in the alternative theories of teaching and learning based on recent neuroscientific research, and lays out an integrative approach to teaching and learning that promotes inclusion, diversity, and social awareness, through embodied and contextualized learning. If we perceive cognition and emotion as interrelated, then drama as an educational tool becomes essential. It creates metaphors of our lives, which we lead through both cognitive and emotional domains. Art and creativity play an essential role in connections between the body, emotions, and the mind. Moreover, as we live in relationship to the rest of the world around us, our learning is embodied, our brain, emotions, and physiology are constantly connected. Thus, the article demonstrates that drama and performance are vital in teaching the whole child, whether taught as a discipline or used as a teaching tool. This means, the author claims, educators, neuropsychologists, and theatre and drama specialists have to have open minds and be willing to step out of comfort zones and together make a case for using theatre and drama methods as a way to improve human lives.

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Edmiston, Brian. "Drama as Ethical Education." Research in Drama Education: The Journal of Applied Theatre and Performance 5, no. 1 (February 2000): 63–84. http://dx.doi.org/10.1080/135697800114203.

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Calvert, Dave. "Drama, disability and education." Research in Drama Education: The Journal of Applied Theatre and Performance 18, no. 4 (November 2013): 417–18. http://dx.doi.org/10.1080/13569783.2013.838344.

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Sang Soo Lee. "Japanese Education through Drama." Journal of North-east Asian Cultures 1, no. 39 (June 2014): 361–75. http://dx.doi.org/10.17949/jneac.1.39.201406.021.

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Ward, Julie, Helen Frances Mills, and Alan Anderson. "Drama in the Dale: Transformation Through Community Drama." Harvard Educational Review 83, no. 1 (March 26, 2013): 54–61. http://dx.doi.org/10.17763/haer.83.1.k746345q366v0023.

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During the winter of 2011-2012, Weardale, England, was the setting for an ambitious informal adult education project. In this rural area in the northeast part of the country, the local arts collective, Jack Drum Arts, established a community play project entitled The Bonny Moorhen. This dramatic undertaking aimed to retell the story of the infamous Battle of Stanhope, a local lead miners’ uprising. The project took place in a converted barn and involved a group of sixty learners of all ages and from all walks of life. The troupe formed the choir, band, backstage crew, and company of actors who, with the support of professional artists, built a temporary theater space. Each member of this collective made a personal journey. Here Helen Mills and Alan Anderson, in association with Julie Ward, cofounder and project producer at Jack Drum Arts, offer their personal testimonies from the project.

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Guneysu, Sibel, and Nida Temiz. "Perceptions about Drama before and After Drama in Education." Procedia - Social and Behavioral Sciences 46 (2012): 2046–50. http://dx.doi.org/10.1016/j.sbspro.2012.05.426.

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Baldwin, Patrice. "Drama: a post-National Curriculum overview of drama in education." FORUM 44, no. 3 (2002): 103. http://dx.doi.org/10.2304/forum.2002.44.3.1.

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Freebody, Kelly. "Discourse in drama: Talk, role, and learning in drama education." NJ 37, no. 1 (January 2013): 65–75. http://dx.doi.org/10.1080/14452294.2013.11649564.

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Avcı, Ayça. "Music Education With Educational Drama." International Journal of Progressive Education 16, no. 5 (October 9, 2020): 242–55. http://dx.doi.org/10.29329/ijpe.2020.277.15.

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Karim, Enas Ibrahim. "Using Drama in Museum Education." مجلة المعهد العالي للدراسات النوعية 1, no. 1 (July 1, 2021): 385–408. http://dx.doi.org/10.21608/hiss.2021.184626.

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36

Burn, Andrew. "Drama education with digital technology." English in Education 45, no. 1 (March 2011): 104–6. http://dx.doi.org/10.1111/j.1754-8845.2010.01086.x.

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Robinson, Daniel B., and Matthew Meyer. "Health education and interactive drama." Health Education Journal 71, no. 2 (June 10, 2011): 219–28. http://dx.doi.org/10.1177/0017896911398811.

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Bailin, Sharon. "Critical Thinking and Drama Education." Research in Drama Education: The Journal of Applied Theatre and Performance 3, no. 2 (September 1998): 145–53. http://dx.doi.org/10.1080/1356978980030202.

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Reyes, Marita VT, and Ma Victoria R. De Santos. "Molecular drama in biochemical education." Biochemical Education 13, no. 1 (January 1985): 11–13. http://dx.doi.org/10.1016/0307-4412(85)90115-3.

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McCullough, Melissa. "Bringing drama into medical education." Lancet 379, no. 9815 (February 2012): 512–13. http://dx.doi.org/10.1016/s0140-6736(12)60221-9.

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Winston, Joe. "Theorising Drama as Moral Education." Journal of Moral Education 28, no. 4 (December 1999): 459–71. http://dx.doi.org/10.1080/030572499103016.

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Thornton, L. "Use of drama in education." BMJ 312, no. 7030 (March 2, 1996): 581. http://dx.doi.org/10.1136/bmj.312.7030.581a.

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Nyberg, Crister. "Fiction in Drama Education Offers Learning Opportunities for All - Philosophical Perspectives in Drama Education." European Journal of Social and Behavioural Sciences 14, no. 3 (August 30, 2015): 1929–37. http://dx.doi.org/10.15405/ejsbs.174.

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Bovell, Andrew. "Gener8: Drama Australia National Conference, Adelaide, 2008 Keynote Address." NJ 32, no. 1 (January 1, 2009): 7–19. http://dx.doi.org/10.1080/14452294.2009.12089341.

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Zheng, Sisi. "Process drama in Chinese education: Possibilities and challenges in governmental policy papers and the curriculum of moral education." Applied Theatre Research 9, no. 2 (November 1, 2021): 155–72. http://dx.doi.org/10.1386/atr_00055_1.

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The article explores the potential of applying process drama in moral education in Chinese schools. By conducting a thematic review of the current national curriculum and policy documents from both historical and contemporary perspectives, the interconnection between the role of art and moral cultivation in China is discussed. Through an analysis of the national curriculum, the article suggests that applying process drama in school education can contribute to learning in the curriculum areas of both aesthetic and moral education. However, the existing commingling of concepts and definitions influences the actual drama practices in China. Consequently, a discussion of terminology is brought in, as well as an argument for the need to include drama as a discrete subject in schools, in addition to its function as a method for educational purposes. A process drama sample from the author’s drama praxis is included. The overall aim of the article is to contribute to an extended understanding of educational drama and theatre in a Chinese context and to gain new insights into possibilities and challenges for the future implementation of drama in education in China.

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Tompkins, Joanne. "‘Homescapes’ and Identity Reformations in Australian Multicultural Drama." Theatre Research International 26, no. 1 (March 2001): 47–59. http://dx.doi.org/10.1017/s0307883301000050.

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A consideration of identity formation in contemporary Australian multicultural theatre is offered through a re-assessment of the unsettled (and unsettling) constructions of Australia as ‘home’ in the work of three playwrights. William Yang's Sadness disrupts a localized perception of home, space, and cultural communities to amalgamate two disparate communities (the queer/homosexual community in Sydney and the Asian-Australian, or ‘Austasian’ community) into a reconfigured Australian identity. Janis Balodis's The Ghosts Trilogy uses many actors who play across the unsettled lines of history, amid numerous voices, homes, and homelands that indicate the enormity of what ‘Australia’ comes to signify. Noëlle Janaczewska's The History of Water constructs a way of locating the self by means of a metaphoric home as each character establishes herself on a psychic plane rather than choosing the strictly physical locations to which she has access. In their interrogations of home and homeland, these plays challenge assumptions regarding identity, disrupt notions of the ultimate ownership of land/culture by anyone, and problematize the idea of settlement as it is currently articulated in Australia.

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Prabowo, Bernadus Yoseph Setyo. "Producing For A Short Film: Short Film Abroad as A Study Case." ULTIMART Jurnal Komunikasi Visual 10, no. 2 (March 26, 2018): 53–58. http://dx.doi.org/10.31937/ultimart.v10i2.773.

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ABROAD is a short film, which tells a story of an Indonesian student, Priyo (23) who lived in Brisbane. He had to live in his yellow car, after finding out that his scholarship had been corrupted. Priyo began his new journey when he met Pamela (17), a runaway musician who was stuck in Brisbane for a night during her trip to Sydney. Their friendship grows stronger when they played music and performed together at Brisbane streets. Unfortunately, Priyo’s car was vandalized due to his religion. Later on, their friendship was tested as they explore the city for the first time. The film explores the journey to find the meanings of passion, dream, and faith. Depicted by the main character who is an Indonesian student, the film attempts to share the experience of students who chose to travel outside their home country, in search of better education for better life. Although most part of the story is fiction, the main character (Priyo) is inspired by the real life experience of an Indonesia student in Canberra. He lived in his car for two year while trying to complete his master degree. Dramas that were presented in the storyline were based on the writer’s observation toward his surroundings, friends, and communities. Living and studying in another country could bring great experiences to international students, but at the same time, living through differences in values and beliefs could be a challenging task. The meaning of ‘abroad’ is not just about people who live outside their home country. But, it could also depict people’s experience when they try to get out of their comfort zone in order to achieve a higher goal in their life. Based on these reasons, the main targeted audiences of the film are people from the age of 25 and above. Additionally, the film also attempts to target local audiences, especially parents, as a bridge between parents and children. Hopefully it could prevent the rising number of runaway’s children. The outline of the production begins with the script development, which will be completed by the end of November. As soon as the final script is done, the production will proceed with the pre-production from December until early January. This process includes assembling the crew, finding cast, art design, and composing music. The crew will consist of GFS students for the production crew and some Indonesian students who voluntarily want to help in funding and marketing. The production will start around late January or early February, Bernadus Yoseph Setyo Prabowo adalah staf pengajar pada Program Studi Televisi dan Film, Universitas Multimedia Nusantara. e-mail: bernadus.yoseph@umn.ac.id 54 Vol. X, No. 2 Desember 2017 and the post-production will begin in March. There are some challenges in this project. Firstly, the project has to combine two different cultures between Indonesia and Australia through out the process. However, having an Australian as the director and an Indonesian as the producer can solve these. The other problem is related to the sensitive issue around religion, especially Islam. Recently, the religion feels being judged in Australia because of the action of ISIS (Islamic State in Iraq and Syria) and ISIL (Islamic State in Iraq and Levant). There will be three problems that are going to be discussed in order to resolve the challenges of the project. Keywords: short film, film production, Abroad

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Knapp, Richard. "Teaching drama 11-18." Journal of In-service Education 28, no. 2 (June 1, 2002): 375–400. http://dx.doi.org/10.1080/14759390500200421.

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Lin, Yu-sien. "Drama and possibility thinking – Taiwanese pupils’ perspectives regarding creative pedagogy in drama." Thinking Skills and Creativity 5, no. 3 (December 2010): 108–19. http://dx.doi.org/10.1016/j.tsc.2010.09.001.

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Millward, Peter, Dorothy Heathcote, Liz Johnson, and Cecily O'Neill. "Collected Writings on Education and Drama." British Journal of Educational Studies 40, no. 2 (May 1992): 190. http://dx.doi.org/10.2307/3121406.

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