This paper is a recent drama research study completed in 2015. The focus is on the benefits for primary school teachers when they embark on developing their subject specific knowledge, engage in professional development and argues that the profession would benefit greatly from using autoethnography methodology to support them in an ever increasing challenging working environment. The paper recognises some of the current difficulties that face the profession, in Scotland and more widely. We believe that this article is consistent with and develops themes, arguments and discussion from papers in your journal in recent times. This is the first phase of our research which looks to use drama development to increase pedagogical effectiveness within drama but more widely in other curricular areas also.
Andrew Killen and Pauline Cooney
In a world deeply affected by globalisation, negotiating effectively across cultural diversities has vital and increasing importance. As individuals and groups, we have different physical, psychological, social or cultural characteristics. In addition to the ones that we acquire innately some other differences are the very parameters of what socio-economic, cultural, technological or political changes may be in effect. Accordingly, it can be claimed that the society we live in today is formed by these differences. Education in a sense perceives changes and differences not as a problem but a source of richness and this point of view is sine qua non of our changing times. Drama in education, both as an approach and an effective method, has an utmost importance for cross-cultural education, which can raise awareness of our differences and is one of the major elements that help us enrich our capability of living together in a given society. The present study aims to emphasise the very place and importance of drama in education with cross-cultural references within the concept of our differences in relevant societies.
Hasan Akbulut and Ruken Akar Vural
Set against the context of the recently published Arts in Education Charter, which encourages a partnership approach between artists and schools, this article reports on a study conducted with the Community and Education Department at the Abbey Theatre, the National Theatre of Ireland. It evaluates the impact of high quality theatre performance in primary schools, and explores the relationship between artistic integrity and curricular demands. Using a multiple case study approach with 348 participants in five schools, the article provides evidence of how students and teachers responded to the element of live performance within a loosely defined Theatre in Education/Theatre for Young Audiences tradition. The report also highlights the challenges experienced in relation to the delivery of the educational component of the programme, particularly relating to the availability of time in busy school schedules.
Carmel O’Sullivan, Heidi Schoenberger and Philip Kingston