Background teachers strive to succeed with inclusive education

  Drama - an inclusive form of teaching and learning     Background  –  teachers  strive  to  succeed  with  inclusive  education   Teaching   and  ...
Author: Sophie Summers
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Drama - an inclusive form of teaching and learning     Background  –  teachers  strive  to  succeed  with  inclusive  education   Teaching   and   learning   are   complex   processes   and   there   is   no   simple   way   to   fulfil   the   increasing   demand  for  inclusive  education.    This    demand  was  stated  by  the  Salamanca  Declaration  (UNESCO,   1994)  in  the  following  terms:  “The  fundamental  principle  of  the  inclusive  school  is  that  all  children   should  learn  together,  wherever  possible,  regardless  of  any  difficulties  or  differences  they  may  have”   (p.   11).   It   was   accepted   by   Norway   and   nearly   a   hundred   other   nations,   included   New   Zealand.       Principles   of   equality,   inclusive   and   adapted   education   are   superior   in   Norwegian   primary   and   secondary  comprehensive  education  (KD,  2006;  KUF,  1994),  nevertheless  research  shows  there  is  a   long   way   to   go   to   realize   these   principles   (Haug,   2003).   The   effort   to   include   all   students   in   whole   class   teaching   and   learning   activities   must   go   further   than   students   being   together   in   a   social   and   academic  community,  which  primarily  seems  to  emphasis  students  working  individually  according  to   their  own  plans  and  not  at  all  really  joining  a  learning  community  (Haug  &  Backmann,  2007).     Norwegian  research  shows  that  today's  teaching  still  is  characterized  by  the  same  working  methods   as   in   the   latter   half   of   last   century,   regardless   of   curriculum   revisions.   The   most   important   change   that  has  occurred  over  the  past  decades  is  that  teaching  in  a  whole  class  context  is  reduced  in  favour   of   individual   work.   Further   research   shows   this   is   a   challenge   in   relation   to   pupils'   social   and   academic   learning   because   there   is   little   room   for   a   dialogue-­‐based   whole   class   discussion   (Klette   et   al.,  2008).  This  development  is  due  to  the  demand  for  individualised  education,  and  the  challenges   to  fulfil  this  demand  within  whole  class  teaching.  The  challenge  is  to  find  a  good  balance  between   being   included   in   a   learning   community   and   learning   activities   adapted   to   each   student’s   abilities   and   possibilities.   This   is   not   at   all   easy,   and   there   is   not   one   right   way   or   method   to   success,   but   research   suggests   that   qualities   like   variation   in   teaching   and   learning   methods   combined   with   a   structured   and   well   conducted   process   can   be   one   out   of   many   ways   to   provide   quality   in   education   for  all  (Dalhaug  Berg  &  Nes,  2007).       1  

Socio-­‐cultural  approaches  to  inclusive  education   Embedded  in  a  socio-­‐culturally  perspective  to  learning  is  an  understanding  that  learning  is  a  social   activity,  and  the  ultimate  goal  for  learning  is  a  more  successful  and  satisfactory  participation  in  the   practise   of   the   social   and  cultural   community   (Bråten,   2002).   The   goal   of   satisfactory   participation   in   the   social   learning   community   is   anchored   in   the   Core   Curriculum   for   primary   and   secondary   education.  Here  the  chapter  about  The  integrated  human  being  is  summed  up  to:  “…realize  oneself   in   ways   that   benefit   the   community”   (KUF,   1996,   p.   50).   Pedagogy   inspired   by   the   socio-­‐cultural   tradition   calls   for   a   teacher   that   is   proactive   towards   the   students   and   gives   them   practical   and   intellectual   challenges   in   the   learning   process   (Lindqvist,   1999).   Moreover   the   teacher   needs   to   plan   and   take   responsibility   for   the   students’   creative   experiences   as   part   of   the   learning   process   (Madsen,  2006;  Paludan,  2006).  This  correspond  well  with  the  chapter  Effective  Pedagogy   in  the  The   New  Zealand  Curriculum  (New  Zealand  Ministry  of  Education,  2007).     Norwegian  research  shows  that  the  learning  outcomes,  in  terms  of  motivation  and  welfare,  are  so   low   for   some   students   that   the   school   limits   and   hinders   their   development   and   learning.   It   is   especially   students   that   show   problematic   behaviour   and   students   with   learning   disabilities   that   suffer   in   school   (Nordahl   &   Sunnevåg,   2008).   It   is   above   all   disquieting   that   the   problems   these   students  get  in  school  show  a  clear  coherence  with  the  individualised  and  traditional  teaching  style   that   dominates   in   Norwegian   classroom   (ibid).   This   calls   for   education   to   be   socially   and   culturally   situated   (Säljö,   2002).   Moreover   it   calls   for   education   to   include   creative/constructivist   situated   learning   activities   to   engage   all   students   in   the   learning   process   and   find   ways   to   do   inclusive   education  as  whole  class  teaching.  In  this  article  I  look  at  how  this  challenge  is  met  when  students   explore   a   novel   through   a   teacher’s   use   of   process   drama,   and   how   this   process   drama   served   as   whole   class   inclusive   education,   focusing   on   the   extremely   shy   students   and   on   those   who   act   up   disruptively  in  class.      Methodological  approach     In   this   action   based   project   the   researcher   conducted   drama   based   intervention   in   cooperation   with   three  teachers  from  grade  9,  teaching  two  classes  each.  In  total  6  classes  and  around  130  students   participated.  Since  many  of  the  grade  9  students  struggle  with  reading  and  others  do  not  at  all  like  to   read   a   whole   novel,   the   teachers   participating   wanted   to   explore   to   what   extent  teaching   student   active   drama   processes   in   a   whole   class   context   could   motivate   the   students   to   read.   A   fictional   work,  a    novel,    Darlah,    by  Johan  Harstad1  (Harstad,  2008)  was  selected  to  inspire  reading  in  this  age   group.    The  students  were  able  to  get  the  novel  for  free  through  the  library  to  read  on  their  own,   about  a  month  before  we  started  this  project.     The   teachers   wanted   to   integrate   all   students   in   this   reading   project,   especially   the   students   who   normally   went   to   specific   assisted   group   lessons.   The   intervention   was   developed   by   the   researcher,   that  is  to  say  the  researcher  created  a  process  drama  consisting  of  six  separate  teaching  lessons  to   be   taught   during   a   month   in   all   six   classes.   The   researcher   and   the   class   teachers   decided   to   co-­‐                                                                                                                         The fiction novel Darlah is translated and published (or will be) in Denmark, Sweden, Finland, Iceland, The Faro Island, Germany, France, The Netherlands, Turkey, USA, Great Britain, Mexico, Brazil, Bangladesh, Taiwan, Vietnam and Korea. 1

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operate  in  the  carrying  out  of  the  project,  to  order  to  build  a  learning  community  (Wenger,  2004).   The  researcher  started  to  teach  in  three  of  the  classes  with  the  actual  class  teacher  as  observer  and   co-­‐teacher,  while  the  teachers  taught  on  their  own  in  the  other  three.  Half  way  through  this  there   was   a   change-­‐over,   so   all   classes   experienced   being   taught   by   their   class   teacher   and   by   the   researcher  in  co-­‐operation  with  the  class  teacher.   The  hallmark  of  action  based  research  is  an  involved  and  participating  field  researcher;  in  this  case   the  involvement  was  into  the  teaching  and  learning  processes  of  the  classroom,  to  improve  relations   and  practice  (Stringer,  2008).  The  role  of  action  researcher  is  demanding  and  the  researcher  has  to   resist  the  temptation  to  mark  findings  in  line  with  the  expectations  of  the  project  and  try  to  create   the   needed   distance,   particularly   when   researching   into   one’s   own   field   (Tiller,   2004).   This   was   especially   in   the   researcher’s   mind   since   there   is   a   lot   of   international   research   that   has   already   shown   how   integrating   art   based   and   aesthetic   learning   processes   strengthen   the   learning   environment   and   the   learning   result   in   a   positive   way   (Andersen   &   Duun,   2013;   Bamford,   2006;   Erickson,  2005;  Fiske,  2002;  Podlozny,  2000;  Simpson,  2006;  Stevenson  &  Deasy,  2005;  Sæbø,  2005,   2009).     The   research   methods   were   observation   of   the   teaching   and   learning   process,   reflective   dialogue   with   teachers   and   various   questionnaires   to   students   and   teachers.   The   students   answered   a   one   page   questionnaire   at   the   beginning   and   the   end   of   the   project,   including   both   quantitative   and   qualitative  questions,  while  the  teachers  answered  a  two  page  qualitative  questionnaire  some  weeks   after   the   project.   For   this   article   the   main   research   method   is   a   phenomenological   discourse   (Rendtorff,  2004)  based  on  the  researcher’s  data  as  a  reflective  practitioner  in  addition  to  reflective   dialogues  with  the  teachers  and  data  from  the  participating  students’  and  teachers’  questionnaire.   All  direct  quotes  are  translated  into  English  by  the  author.     The  “Darlah”  teaching  programme     The   fiction   novel   Darlah   is   about   NASA   expedition   that   will   return   to   the   moon   to   investigate   something  mysterious  and  terrible  that  happened  in  1972.  The  venture  seeks  to  gain  publicity  and   money   by   inviting   three   adolescents   to   participate   through   a   competition.   Strange   and   mysterious   things  happen  to  each  of  the  youngsters  before  departure,  and  after  arriving  at  the  moon  one  after   another  of  the  astronauts  and  the  young  ones  mysteriously  disappear.  Finally,  only  Mia,  the  young   girl   from   Stavanger   is   left.   She   understands   that   an   alien   monster   replicates   all   it   meets   and   kills   them   afterwards.   Mia   gets   away   from   the   moon   and   returns   to   earth,   but   eventually   the   reader   understands  that  the  Mia  who  returns  is  not  at  all  Mia  from  Stavanger,  and  the  book  ends  as  a  true   horror  novel  should.     The   process   drama   was   built   up   of   ten   sequences   based   on   the   stories   of   the   three   young   people   and  foreshadowing  some  events  in  the  book.  The  first  and  last  sequence  included  teacher-­‐in-­‐role  in   a  whole  class  improvisation.  In  the  remaining  eight  sequences  the  students  worked  in  small  groups   around   in   the   classroom   with   a   wide   repertoire   of   drama   strategies   like   role   modelling,   freeze   frames   with   lines   and   thought   tracking,   and   short   improvised   role   plays   to   explore   selected   situations  from  the  book.  The  results  of  these  drama  activities  were  shared  in  the  process  and  finally   3

 

included   in   the   whole   class   discussion   on   what   happens   in   the   book,   how   what   happens   can   be   understood  and  what  the  book  is  about:  the  goals  of  the  teaching  programme.     When  this  project  started  a  few  students  had  read  the  whole  book,  some  had  read  a  bit  and  a  lot   had   read   nearly   nothing.   Since   all   students   were   to   be   included   in   the   teaching   programme,   and   many  of  the  students  are  struggling  with  reading,  it  was  not  demanded  that  everyone  should  read   this  novel  at  home.  But  they  were  definitely  encouraged  to  read  alongside  the  teaching  that  went  on   over  a  couple  of  weeks.  All  sessions  started  with  a  whole  class  summing  up  by  the  teacher  and  the   students   that   had   read   the   actual   chapter.   Important   key   words,   information,   and   frames   for   the   drama  work  to  be  done,  were  written  on  the  black  board.       All  students  are  to  be  active  and  cope  with  the  first  learning  activity   The  first  chapter  of  the  book  tells  of  a  secret  meeting  where  the  most  powerful  men  in  the  United   States  are  gathered  to  determine  whether  NASA  should  take  on  a  new  expedition  to  the  moon.  The   teacher  begins  the  class  with  a  brief  discussion  and  summary  of  the  book's  framework  and  content   for   this   secret   meeting.   Having   a   clear   frame   for   a   drama   situation   to   be   improvised   is   one   of   the   most  important  rules  to  ensure  that  all  are  active  in  the  drama,  and  it  is  essential  for  shy  and  socially   disruptive  students.  The  shy  need  frames  to  dare  to  play,  and  the  socially  disruptive  need  frames  to   know   what   the   limits   are   for   the   drama   improvisation.   The   conversation   continues   about   who   these   powerful  people  present  at  the  meeting  could  be,  and  both  students  and  teachers  give  suggestions.     Students  are  then  asked  to  imagine  that  they  participate  in  this  secret  meeting,  that  the  classroom  is   the  meeting  room  and  they  decide  who  they  will  be  at  the  meeting.  The  teacher  knows  that  the  start   will  mainly  be  about  the  pros  and  cons  of  inviting  young  people  to  go  to  the  moon,  and  the  students   need  only  a  general  and  superficial  knowledge  about  the  role  they  choose.  The  teacher  announces  it   is  just  in  time  for  a  break  in  the  meeting  with  fruit,  coffee,  water,  etc.,  and  the  participants  are  asked   to  discuss,  a  second  time,  in  groups  of  two  or  three  what  they  think  about  getting  young  people  to   go  to  the  moon.  This  drama  strategy,  to  fabricate  a  pause  in  the  meeting,  was  chosen  to  ensure  that   all  students  would  actively  participate  in  the  improvisation.     The   fact   that   the   entire   class   simultaneously   improvise   in   small   groups   around   in   the   classroom,   creates   both   an   opportunity   and   a   learning   pressure   to   argue   for   or   against   the   proposal.   This   is   because  when  everyone  improvises  simultaneously  there  is  no  audience  for  each  group,  except  the   two  or  three  playing  together.  This  is  a  great  advantage  for  shy  students  who  rarely  will  participate   in  whole  class  discussions  because  the  focus  here  is  concentrated  on  the  one  who  is  speaking.  The   teacher   asks   students   to   place   themselves   randomly   around   the   room   and   says   that   she   will   be   in   the  role  as  the  secret  leader  DR,  chairman  of  the  meeting,  and  she  displays  a  white  long  scarf  that   she  will  wear  when  she  is  in  role  as  DR.     It  is  a  challenge  for  the  teacher  to  make  this  instruction  and  planning  conversation  before  the  drama   starts  as  short  as  possible  and  ensure  that  most  students  participate  in  the  conversation.  If  it  is  too   long,   verbal   and   teacher-­‐dominated,   it   is   my   experience   that   most   students   fall   off   the   tracks   simply   because  they  are  not  mentally  or  physically  active  and  creative  in  the  learning  situation.  My  research   4

 

and  experience  show  that  it  is  better  to  get  the  drama  started  and  then  stop  the  drama  to  give  more   information  on  the  way,  if  needed.     When   everyone   has   found   her/his   starting   position,   the   teacher   gives   the   signal   and   the   drama   starts.  Students  improvise,  while  the  teacher  in  role  as  DR  observes  that  all   groups  get  started  in  the   discussion.  If  anyone  has  problems,  DR  gives  help  by  talking  to  them  in  role.  When  the  groups  have   discussed   for   some   time,   DR   stops   them   by   saying:   "Gentlemen   -­‐   it   is   the   time!   Let   us   vote".   DR   conducts   the   voting,   writes   up   the   results   on   the   board   and   ensures   that   all   vote.   In   one   of   the   classes   I   learned   that   a   few   students   did   not   vote.   Instead   of   asking   who   had   not   voted,   and   thus   expose  the  students  for  their  failure,  for  whatever  reason,  I  respond  in  role  as  DR,  making  the  lack  of   action  a  part  of  the  fiction  and  say:  "Yes,  I  understand  very  well  if  you  think  it  is  a  difficult  choice.  But   you  know  as  well  as  me,  that  the  contract  for  this  meeting  is  that  you  all  must  vote.  You  can  all  think   through  once  more  and  then  we  vote  again”.  And  of  course,  now  all  students  vote.  DR  comments  on   the   results,   thanks   everyone   for   the   meeting,   takes   off   her   scarf   and   is   the   teacher   again,   a   clear   signal  that  the  drama  is  over.     This   first   learning   activity   in   the   process   drama   worked   according   to   its   intentions.   Teachers’   step   by   step   structured   introduction   and   limiting   of   the   improvised   drama's   content   and   frames   gave   the   students   sufficient   thematic   and   technical   information   to   start   improvising   and   ensured   that   everyone   could   participate   according   to   their   abilities   and   experience.   This,   I   find,   is   the   most   important   premise   for   the   success   of   an   inclusive   whole   class   teaching   and   learning   situation.   In   this   first   learning   activity   the   teacher   provides   instruction   for   the   task   in   ways   that   are   clear   and   accessible   to   students   with   special   social   or   academic   needs   to   ensure   that   each   student   can   experience  mastery  in  the  task.     What  is  special  is  that  this  mastery  is  not  hidden  in  any  individual  learning  activities,  which  only  the   teacher  and  the  pupil  know  about.  On  the  contrary,  there  is  an  open  adjustment  of  the  task  since  it  is   all   happening   in   the   class   community   and   gives   all   students   the   opportunity   to   show   each   other   that   they  can  participate  in  a  dialogue  based  collaborative  learning  activity.     The   fact   that   each   student   can   be   successful   in   this   first   learning   activity   is   important   for   two   reasons.   The   most   important   thing   is   that   it   seems   inspiring   for   each   individual   student   and   therefore  motivates  each  student  to  put  effort  into  his  or  her  own  learning  process.  In  addition,  the   positive  shared  experience  opens  for  an  accepting  learning  environment,  when  students  experience   that   everyone   has   something   to   contribute   to   the   community,   and   that   all   must   contribute   in   relation  to  their  own  competences.  This  is  particularly  relevant  when  students  work  in  groups  with   small  drama  situations  under  teacher  supervision.  I  will  now  look  at  a  few  examples.       The  inclusion  of  shy  and  withdrawn  students  in  the  learning  community     If  there  is  a  particularly  shy  and  socially  withdrawn  student  in  a  class,  it  is  quickly  evident  when  the   pupils  start  with  group  activity  and  especially  if  the  result  is  to  be  shown  to  the  rest  of  the  class.  In   one  of  the  classes  a  very  clever  girl,  according  to  the  teacher,  nearly  never  participates  in  group  or   whole   class   learning   activities.   I   cannot   remember   that   she   stood   out   in   the   first   teacher   in   role   5

 

activity.  Maybe  she  was  part  of  a  group  of  three  during  the  role  play  of  the  break  discussion  in  the   secret   meeting   and   had   the   opportunity   to   just   listen   to   the   two   other   in   the   group.   Maybe   she   was   one  of  those  who  did  not  vote  for  or  against  going  to  the  moon  in  the  first  place,  but  who  voted  after   pressure  from  the  teacher  in  role.   The   group   activity   following   the  first   teacher-­‐in-­‐role   sequence   is   to   create   a   promotion   for   television   to  motivate  young  people  to  apply  to  join  the  moon  team.  Here  the  group  that  this  shy  girl  joined   experienced  problems.  The  girl  is  communicating  well  with  her  peers,  but  will  not  participate  in  the   game.  Because  the  teacher  is  pro-­‐active  in  giving  guidance  this  is  picked  up  quickly,  even  though  at   that  point  I  knew  nothing  about  the  girl.  The  group  asks  me  if  everyone  has  to  join  the  drama,  and   my   answer   is   "Yes,   for   sure   they   should!"   I   understand   the   problem   quickly,   since   the   girl   when   I   address   her   is   listening   and   responding   by   shaking   or   nodding   her   head,   and   she   is   either   looking   down  with  a  rather  apathetic  expression  or  staring  blankly  out  into  emptiness.  After  some  discussion   back   and   forth,   I   suggest   that   she   could   play   a   youngster   who   turns   on   the   TV,   looking   at   the   advertising  promotion  that  the  rest  of  the  group  perform,  and  act  that  she  is  not  at  all  interested.   This   she   accepts,   probably   because   she   can   sit   with   her   back   to   the   class   during   the   presentation,   and   her   role   will   only   involve   taking   the   TV   control   and   turn   on   the   TV   commercial.   This   solution   has   a   positive   effect   on   the   whole   group   since   the   girl   still   is   included   in   the   learning   community   and   the   group  can  succeed  with  their  role  play.   The  next  lesson  in  this  drama  process  starts  with  a  learning  activity  where  students  in  groups  are  to   explore   and   present   frozen   images   from   the   lives   of   the   three   young   people   who   are   selected   to   participate   in   the   mission   to   the   Moon.   After   the   teacher's   introduction   of   a   frame   and   possible   content   for   the   drama   work,   students   are   divided   into   groups.   The   shy   girl   ends   up   in   a   group   of   students   who   are   to   work   on   and   present   the   figure   Mia,   a   young   girl   from   Stavanger.   The   group   chooses   to   work   on   the   situation   when   Mia   gets   the   message   that   she   has   been   chosen   to   participate.  Mia  is  playing  in  a  girl  band.  She  is  not  at  all  interested  in  going  to  the  moon;  it  is  her   mother   who   has   submitted   an   application   for   her.   The   situation   the   group   chooses   to   create   is   a   frozen   image   of   the   situation   when   the   mother   comes,   cheerful   and   smiling,   with   the   acceptance   letter   in   her   hand,   into   the   room   where   the   band   is   practising   and   interrupts   the   girl   band   in   the   middle  of  their  playing.     The  group  start  out  well  enough,  discussing,  choosing  and  agreeing  upon  the  situation.  Then  when   the  roles  are  to  be  distributed  the  same  problem  as  last  time  occurs,  and  they  ask  again  if  everyone   has  to  join  the  role  play.  Again,  my  answer  is  yes,  and  I  suggest  that  she  could  be  one  of  the  girls  in   the   band   who   think   it   is   both   foolish   and   stupid   that   the   mother   comes   running   in   like   that   and   that   she  thinks  the  whole  situation  is  boring  and  uninteresting.  That  is  like  she  plays  out  what  she  actually   feels   about   the   lesson   situation,   but   she   integrates   her   feeling   into   the   action   and   role.   I   am   very   open   and   tell   her   with   a   smile   that   I   do   understand   that   she   thinks   what   we   are   doing   is   both   boring   and  uninteresting,  but  she  can  just  bring  these  feelings  into  the  role  and  the  play,  even  though  none   of  the  girls  in  Mia's  band  responded  in  this  way.  It  does  not  matter  because  the  group  can  create  the   play  the  way  they  want.  This  helped  the  girl.  She  joined  the  frozen  image  and  even  spoke  a  brief  line   saying  she  did  not  like  to  be  interrupted  during  practice.    

6

 

It  is  also  appropriate  to  emphasize  that  there  were  several  other  groups  who  had  similar  problems   with  roles  or  with  which  situation  to  choose,  and  they  were  helped  in  a  similar  manner.  However,   this   girl   was   the   most   shy   and   socially   withdrawn   of   all   students   in   these   six   classes.   In   the   third   lesson  I  taught  this  class,  I  cannot  recall  that  there  were  any  particular  problems  in  the  group  that   this  girl  joined,  probably  because  the  group  itself  found  solutions.  The  class  teacher,  who  observed   my  teaching,  said  that  it  was  the  first  time  she  had  seen  this  girl  participating  in  group  activities.  It   made  a  strong  impression  on  this  teacher,  when  observing  my  teaching,  that  it  really  was  possible  to   include  this  girl  in  a  meaningful  way  through  process  drama  as  a  form  of  learning.          The  inclusion  of  socially  disruptive  students  in  the  learning  community     Students   who   are   socially   active   and   who   expect   to   be   listened   to   whenever   they   speak,   however   they  speak  and  whatever  they  are  talking  about,  present  a  major  challenge  in  an  inclusive  learning   process.  If  the  teacher  does  not  consciously  conduct  and  guide  the  learning  activities,  these  students   continue  to  dominate  both  class  discussion  and  group  work  at  the  expense  of  the  rest  of  the  student   group.  These  students  need  clear  limits  and  close  guidance  during  the  entire  learning  process,  but  in   such   a   way   that   their   creative   input   and   contributions   are   maintained   in   a   constructive   way.   Since   these  students  are  socially  outspoken  they  are  not  afraid  to  say  what  they  mean,  and  because  they   have   the   courage   to   talk   against   the   teacher,   these   students   often   work   and   function   very   well   in   teacher-­‐in-­‐role  dramatic  contexts  (Sæbø,  2009).       A   very   confrontational   student   in   one   of   the   classes   was   clearly   totally   dominating   his   group.   He   really  liked  working  with  drama  and  was  certainly  active,  creative  and  enthusiastic.  I  had  finished  the   starting   conversation   about   the   frame   and   content   for   the   drama   activity,   the   groups   had   started   working   and   I   was   actively   following   up   by   going   around   and   listening   to   the   discussion.   When   I   heard  that  he  was  dictating  to  his  peers,  deciding  what  roles  they  are  to  have  and  what  to  do,  I  asked   him:   “Is   this   to   make   agreement   in   the   group   about   what   to   play   and   who   to   play   the   roles?”   He   replied   that   he   has   to   decide   all   this   since   he   is   so   creative   and   the   others   have   no   ideas.   I   asked   the   group  how  they  liked  that  he  decided  everything,  but  they  just  shrugged  their  shoulders.  They  were   probably   either   afraid   or   used   to   the   way   that   if   they   did   what   he   said,   the   group   work   was   successful.     The  boy  repeated  that  he  has  to  be  the  director  otherwise  it  will  all  turn  into  nonsense.  I  said  that   the  best  directors  I  have  met  are  those  who  ask  the  actors  which  role  they  would  like  to  play  and  let   the  actors  help  to  develop  how  a  situation  can  be  played.  Rather  unwillingly,  he  asked  his  peers  in   the  group  one  by  one  what  role  they  wanted  to  play  and  was  very  happy  when  they  responded  with   the  role  he  had  given  them.  "There  you  see,  it  turns  out  the  way  I  planned  it,"  he  says.  "Yes,  but  now   you  gave  them  the  opportunity  to  choose  again,  even  if  they  did  not  do  it,"  I  replied.  I  let  them  work   on   their   own   after   this,   and   heard   that   he   was   more   open   and   asked   them   what   they   thought   about   his   proposal   as   they   worked   on.   The   group’s   result   was   good   and   they   seemed   satisfied   after   having   performed  for  the  class.       In  the  next  teaching  lesson  he  works  together  with  a  new  group.  The  group  has  decided  to  make  a   frozen  image  of  Mia  returning  from  the  moon,  being  found  and  rescued  in  the  capsule.  The  group   7

 

agreed   upon   how   they   wanted   to   make   this   image.   They   placed   themselves   as   planned,   together   with  all  the  other  groups  around  the  classroom.  The  method  now  required  that  all  students  were  in   their   frozen   images,   while   the   teacher   asked   them   to   work   out   silently   what   they   think   the   figure   they   were   playing   may   feel   and   think   in   the   situation.   This   is   a   good   way   to   develop   students'   understanding   of   the   content   of   the   situation,   but   clearly   demanding   for   this   boy.   He   could   not   concentrate   on   the   task,   kept   talking,   and   poking   his   group   mates,   thus   creating   a   conflict   in   the   group.  I  solved  this  by  placing  myself  quite  close  up  to  him  in  the  frozen  image  and  ask  him  to  look   after  himself.  He  clearly  did  not  like  this,  but  did  accept  it.     When   the   groups   were   to   perform   their   frozen   images,   with   thoughts   and   lines,   to   each   other,   he   was  clearly  annoyed  because  I  still  stood  by  his  side.  He  asked  if  I  was  to  continue  to  stand  there,  and   I  answered,  "Yes,  as  long  as  required".  He  said  that  he  would  manage  to  not  mess  around  with  the   others   if   I   moved   away   a   bit,   so   I   did   and   it   went   pretty   smoothly   when   the   group   showed   its   frozen   image  with  the  improvised  lines.  My  experience  is  that  in  order  to  prevent  students  with  this  kind  of   social   behaviour   destroying   the   teaching   process   for   the   teacher   and   the   learning   process   for   themselves   and   others,   it   is   essential   that   teachers   engage   in   active   follow-­‐up   guidance   and   intervention  when  needed.     In  the  final  role  play  where  the  teacher  was  visiting  the  class  in  role  as  the  author,  the  student  above   and   some   other   socially   disruptive   students   are   amongst   the   most   active.   They   had   many   good,   sincere   and   interesting   questions   that   drove   the   play   forward.   They   asked   what   it   is   like   to   be   a   writer,   how   he   got   his   ideas,   if   he   has   written   other   books,   how   much   he   earns,   and   what   happened   in  fact  with  Mia,  and  so  on.  The  interesting  thing  here  is  that  if  the  frame  for  the  role  play  and  the   teacher's  role  is  clarified  in  advance,  then  the  students  easily  accept  this.  Then  the  students  are  not   so   easily   tempted   to   ask   conscious   "impossible"   questions   or   make   comments   that   are   totally   to   the   side  of  the  topic,  as  they  often  do  in  a  traditional  teaching  situation.     Research   shows   that   the   function   of   teacher-­‐in-­‐   role   is   intriguing   and   attention-­‐trapping   for   all   students.   To   experience   that   the   teacher   plays   a   role,   that   the   drama   is   improvised   within   given   frames,   seems   to   opens   up   a   creative   learning   process   where   students   are   challenged   to   provide   input.   Moreover,   this   develops   students'   involvement   in   the   process,   and   seems   especially   to   motivate   socially   overactive   and   socially   disruptive   students   to   a   more   constructive   effort   in   the   learning  process  (Sæbø,  2009).     Another   very   socially   dominating   and   confrontational   student   in   one   of   the   classes   was   clearly   disappointed  when  the  last  teacher-­‐in-­‐role  activity  comes  to  an  end,  because  he  wanted  it  to  go  on   much   longer.   "Is   it   already   the   end?"   he   asks.   "We   have   nearly   just   begun."   He   has   contributed   actively   during   the   entire   play   and   clearly   had   great   pleasure   and   a   great   need   to   be   in   such   a   positive   and   constructive   learning   situation.   Here   he   experienced   success   in   the   interaction,   while   in   contexts  with  traditional  teaching  styles  he  often  ended  up  in  conflicts  with  teachers  or  peers.  When   I   asked   him   about   this   after   one   of   the   teaching   lessons,   he   said   that   the   regular   classes   were   so   boring  that  he  needed  to  do  something  outrageous  to  have  fun.         8

 

 Did  the  drama  project  motivate  the  students  to  read?   When   the   drama   project   started   a   big   majority   (about   2/3)   of   the   students   had   not    ,   started   to   read   the   novel,   or   read   very   little.   When   it   ended   this   was   turned   upside   down.   Now   a   big   majority,   (about  70  %)  had  read  either  the  whole  book  (about  25  %)  or  made  a  good  start  (about  45  %).  The   group  who  had      read  nay  or  very  little    was  reduced  to  under  half  the  original  number    (about  30  %).   In  total  the  teachers  were  very  pleased  to  see  that  half  the  students  who  had  only  just    started  to   read  the  novel  in  the  beginning  had  read  a  lot  when  the  project  ended.     All   students   were   not   expected   to   read   the   novel.   The     percentage   (around  30%)     that   read   the   least       clearly  were  those  with  low  reading  competence.    One  student  with  big  reading  difficulties  could  not   praise  the  project  enough:  “Now  I  have  joined  a  learning  process  that  taught  me  what  this  book  is   about.   You   see,   I   could   never   have   read   this   book   on   my   own”,   he   said.   This   boy   had   clearly   experienced  being  part  of  a  whole  class  inclusive  learning  community  and  enjoyed  it.     Several  of  the  experienced  readers,  who  had  read  the  whole  novel  ahead  of  the  project,  read  it  once   more.  “I  realised  I  had  missed  a  lot”  said  one  of  them.  And  another  said:  “I  was  inspired  to  read  it   again   to   understand   more”.   In   total   the   students'   learning   outcomes,     related   to   the   number   of   read   pages   and   to   what   they   learned   about   the   novel   by   exploring   the   content   of   the   novel   through   drama,  were  significant.     The  number  of  read  pages  was  more  than  doubled  through  the  project,  and  the  two  classes  who  had   done   the   least   reading   ahead   did   have   the   biggest   increase   in   read   pages.   The   students’   answers   about   drama   may   explain   this.   About   85%   of   the   students   said   they   liked   or   enjoyed   doing   drama   to   explore   the   novel   since   drama   is   fun,   creates   variation   from   the   ordinary   school   work   and   makes   learning   interesting   and   challenging.   Moreover,   among   this   group,   around   70%   said   drama   motivated   them   to   read,   while   15   %   enjoyed   doing   drama,   but   did   not   like   to   read   or   were   not   motivated   to   read   the   novel.   About   15   %   found   drama   boring   and   silly   and   did   not   like   doing   drama,   but  several  of  these  liked  reading  and  read  more  or  less  of  the  novel.     Of  course  the  students  may  answer  in  a  positive  way  due  to  teachers’  expectation  or  in  a  negative   way  due  to  being  bored  by  all  kind  of  schoolwork.  But  if  we  choose  to  rely  on  the  students’  answers,   is  it  less  likely  that  traditional  teaching  would  have  given  the  same  positive  result.     Teachers’  experiences     The   teachers   found   that   the   way   the   teaching   and   learning   process   in   drama   constantly   varied   between   whole   class,   group   and   individual   activities   within   the   frame   of   one   teaching   lesson   was   exciting.   At   the   same   time   they   experienced   it   as   very   demanding,   due   to   their   lack   of   prior   knowledge   about   process   drama.   One   said:   “It   was   hard   to   engage   the   students   when   I   taught   them   on  my  own  since  doing  process  drama  is  rather  new  to  me”.    All  teachers  expressed  that  they  had   learnt  more  about  inclusive  education,  and  one  said:  “It  was  very  good  to  learn  about  new  teaching   methods   and   new   ways   to   include   all   students   in   whole   class   teaching”.   They   experienced   that   process   drama   gave   a   structure   that   could   help   all   students   to   join   into   the   learning   activities.   Moreover   they   especially   liked   that   in   process   drama   it   is   possible   to   find   constructive   ways   to   9

 

include  all  students  in  a  learning  community,  and  especially  those  who  usually  do  not  participate  or   who  create  problems  in  traditional  teaching  in  a  whole  class  context.       Some  concluding  comments   Obviously  the  positive  results  of  this  project  may  be  caused  by  the  fact  that  a  researcher  takes  over   the   teaching   and   conducts   a   project   with   high   energy   and   strong   will   to   succeed.   When   the   researcher  in  addition  has  high  pedagogical  and  drama  in  education  competence,  this  will,  according   to  research,  increase  the  possibilities  for  success  (Darling-­‐Hammond,  2004)  and  consequently  affects   the  result.  But  on  the  other  hand  research  shows  that  process  based  drama  motivates  students  to   hard   work   in   the   learning   process   also   when   the   class   teacher   is   responsible   for   the   teaching   (Simpson,  2006;  Sæbø,  2009).  I  find  it  very  inspiring  that  the  positive  effect  on  students’  motivation   and  learning  outcomes  when  integrating  drama  processes  in  inclusive  teaching,  is  confirmed  by  New   Zealand  researchers  as  well  (Searle,  2009;  Staples,  2013).  Integrating  drama  in  whole  class  teaching   is   one   out   of   several   ways   to   fulfil   the   demand   for   inclusive   education.   The   challenge   is   the   class   teachers'   lack   of   drama   competency.   Process   based   drama   is   a   demanding   way   of   teaching   and   learning   that   expects   the   teacher   to   be   a   pro-­‐active   leader   taking   responsibility   for   a  teaching   and   learning   process   that   is   structured   so   it   is   possible   for   all   students   to   be   active   and   participate   in   inclusive   education.   This   calls   for   a   teacher   education   where   all   student   teachers   develop   good   enough   drama   competence   to   continue   their   ongoing   professional   development   when   facing   the   challenges  of  the  inclusive  classroom.        

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