1. A resource using drama based
active learning methodologies in the CSPE classroom
by Valerie Lewis
1010TAKETAKE
AACTIVECTIVE LLEARNINGEARNING MMETHODOLOGIESETHODOLOGIES
3. 3
This resource is intended for any teacher who is looking for a
little bit of inspiration and innovation for their CSPE classroom, not
only for themselves but also for their students.
CSPE has been on the curriculum for some time and we have
been fortunate with the range and variety of excellent resources.
However this range can sometimes be a little over whelming as we
struggle to figure out the best pack with the best lesson plan.
This resource isn’t about lesson plans and content but is offered
as a stimulus to take a familiar topic and approach it in a different
way. While the title of the resource emphasises active learning it is
the vehicle of drama methodologies which will take us on our journey.
Often the notion of using Drama in Education or Drama in
Education methodologies in the classroom conjures up more
apprehension than enthusiasm, as we query whether we have enough
’drama’ without introducing some more. “Drama is just messing about,
they won’t learn anything, they’ll just run riot: I’m not skilled enough,
I’m not a specialist: I don’t have the time/space: Drama is putting on
plays, my students aren’t performers…..”
Practitioners from Aristotle to Dorothy Heathcote provide all
the theoretical and academic evidence needed to dispute the
previous concerns and practicing teachers in classrooms all over the
world provide the school based confirmation that drama
methodologies can and do work.
Dear TeacherDear Teacher
4. 4
Planning and structure is still in existence in the drama based
classroom and context and rules are made clear from the outset, both
for teacher and student. Not all methodologies need large amounts of
space and can be as big or small as you choose to make them - operating
within everyone’s comfort zone.
The CSPE curriculum aims to prepare students for active
participatory citizenship - how better then by using active participatory
methodologies. Drama methods provide an opportunity to broaden and
challenge the learning environment of the classroom. They can create a
safe setting to explore/experience issues in an approach that engages
both students and the teacher. Rather
than being a ‘production’ they are a useful
tool for extending learning experiences in a
controlled environment.
Drama is sharing, involving,
understanding and communicating, in all its
formats. Interpreting and analysing the
silence of a student in role can prove far
more productive and interesting than
interpreting the silence of a student in class.
The following pages are about drama as an educational tool. Use
them individually, collectively, in part or in whole, but do have a go at
using them.
Enjoy!
5. 5
Of the many concerns raised, assessing the learning can often be one of
the major misgivings that educationalists have about using Drama methodologies.
How can we grade or acknowledge a process? Particularly a process which,
because of it’s very nature, does not always have set outcomes. This can be even
more of an issue as you are not teaching drama but citizenship - so what do you
assess?
Begin by telling students at the outset what you are looking for “Children
perform better when they know what they are expected to achieve”.
(KennethTaylor) Students like to succeed and naming the intentions and goals
gives them a clear point to aim for. It also reinforces for you as teacher what you
are looking for; content, engagement, dialogue, interaction, story telling or
numerous other areas that you can choose to include.
These methodologies provide for assessing both formally and informally,
looking throughout the process for signs of engagement and towards the end for
signs of understanding. While some of the homework and options listed with each
activity will provide some assessment opportunities, here are some other ideas.
AssessmentAssessment
Informal
We can stop and reflect
Analyse (verbal)
Discussion
Repeat/redo
Questions
Observation
Engagement
Listen and Respond
Formal
Word Poem - language/
grammar
Written letters/narratives
Research
Written evaluations as
characters in role or
objectively
Photographs
Drawings
Surveys
6. 6
Citizenship education, more than many other subjects, often brings us into the
realm of teaching “controversial issues”. While much has been written about how
to plan, prepare for and deal with such issues, often the dynamics of a given
room, group, teacher or particular day, individually and collectively, can impact
far more on the outcome than any pre-emptive effort you may put in place.
Sometimes the controversy may be less of a global one and more of a local
personal issue. Better then to place emphasis on the strategies for teaching the
issue rather than the issue itself. With any issue that may become controversial
the ground rules are the same - our desire as teachers to create a safe and
respectful environment where students can explore the things that matter.
The drama methodologies suggested encourage that exploration, guided
within certain structures and allow for the teacher to facilitate rather than
have all the “right answers”. Drama is fundamentally a mirror of our activities in
the wider world, what better way to look at issues in the wider world than to
“try them out” in the safety of the classroom
Controversial IssuesControversial Issues
Classroom OrganisationClassroom Organisation
All of the following methodologies and suggested lessons have been designed and
organised to be completed in a single class period. It should also be possible to
undertake all the activities in a regular classroom, without the need for too much
reorganisation. If possible the latter methods - Student in role/Teacher in role
can benefit from a double period, particularly if being used as a concluding
exercise for a module of work
7. 7
What to expect........What to expect........
The instructions and outlines for each methodology are just starting points.
Some topics lend themselves better to the methods than others and those
included are suggestions for lessons that have already been tried. Everything is
open to change and adaptation to your own classroom. These methods are
merely a starting point to begin the process.
How to…..
Why Use It
L
Options
HHH
What does it mean - some of the symbols you’ll see
Its important to have some good reasons for using a
methodology - other than it was something different. These few lines explain
some of the educational theory behind why a particular approach might be useful.
This should be fairly self explanatory. These boxes outline, in a
general sense, the materials, set up and ground rules for each methodology. They
highlight the overall essence of the approach and any issues that may arise.
L is for Literacy and Learning. Some methodologies lend themselves towards a
particular type of learning and it can be useful to know what this is from the
outset. This information may also be useful when looking at assessment modes.
Where possible I have tried to recommend some extensions or
alternatives to the methods presented. We don’t all have the same space,
equipment, facilities (or students) so I have included some possible different
approaches
The homework - some possible assignments that provide an extension or
follow through after the activities.
8. 8
This is a different kind of brainstorming exercise that involves the
entire class group. Often the general class brainstorm results in
information from a regular few students. This exercise includes all students and encourages
them to think more creatively about a topic. The feedback is visual and can be displayed and/
or referred to throughout the following weeks, forming the foundation for ongoing work.
Students brainstorm individually
and then in groups to create a poem based on a given topic.
Wordbank - Students can create a word bank based on the chosen topic.
Grammer - Select different descriptive phrases, and discuss and
highlight their grammatical features.
L
Why Use It
How to…..
This exercise follows a THINK – PAIR- SHARE method
The topic is written on the board
THINK – each student individually writes 5 words that they can think of, about the topic
PAIR – Each student then turns to the person beside them and shares their list. This pair
of students receives a new sheet of paper and rewrites their joint list of words. If any
words are similar, they will only to be written once.
SHARE – The ‘pair’ now work with another pair. This new group repeats the process to
create a larger bank of words – again repeated words are removed. (If they are really
lucky and creative it is possible that there will be twenty words in their word bank)
This word bank will now form the basis of the word poem. No other new words can be
used in the poem except for prepositions or short connecting words e.g. In, on, by, to, the
The students will work in groups to create a poem using the bank of words and connecting
words. The poem does not have to rhyme and lines can be as long or short as required.
Spare words can be used in the title. Words cannot be repeated. Students should write
out their poem on A2 sheets where possible and the poems read to the class as written.
Take 1 ~Take 1 ~ Word PoemWord Poem
9. 9
Compare student poems to other poems/songs about the topic.
Discuss the use of storytelling in poems/songs.
Revisit the exercise again at the end of a topic to explore new/additional learning.
SHARE
Streets, smelly, cold, family, job, drugs,
drink, begging, lost, refugee, poor,
sick, hungry, disease
Student 1
Streets
Smelly
Cold
Family
Job
Student 4
Poor
Sick
Drink
Job
Hungry
Student 2
Drugs
Drink
Streets
Begging
Disease
Student 3
Family
Lost
Cold
Drugs
Refugee
Student 1 + 2 (PAIR A)
Streets Smelly Cold
Family Job Drugs
Drink Begging Disease
Student 3 + 4 (PAIR B)
Family Lost Cold
Drugs Refugee Poor
Sick Drink Job Hungry
Add the
prepositions and
connecting words
Disease
The poor sick refugee
Was hungry and begging on the streets
He was cold and lost, smelly and dirty
No job, no family
Students could draw or find an image that they associate with their created
poem and add these collectively to the large sheet.
Lesson TopicLesson Topic -- HomelessnessHomelessness
Options
HHH
10. 10
This exercise can be carried out as a group activity or by
individuals. Usually students are discussing and writing about a character or individual they
have already encountered in an earlier lesson. E.g if the topic is about disability the
student may be developing the characteristics of an individual from a previous lesson.
You can include known facts such as physical appearance, age, gender, location and
occupation, as well as subjective ideas such as likes/dislikes, friends/enemies, attitudes,
motivations, secrets and dreams.
Using the blank template (page 30 ) the student(s) write or draw inside/outside or around
the body frame to give the chosen character some characteristics, physical traits or even
thoughts. The student(s) can be specific about where they write their ideas e.g. in the
head might represent thoughts that the character has. Outside the body might represent
outside influences or other people, near the ear might be things others are saying. The
written pieces may just consist of words but may be sentences or statements.
The outline of a body is drawn or photocopied
onto a large sheet of paper. Words or phrases describing a character within the
chosen topic are then written directly onto the drawing.
Develop students descriptive skills by naming and using adjectives. Using
simple features students can develop each noun by adding several
adjectives e.g red hair, long red hair, dirty long red hair, dirty long
uncombed red hair.
How to…..
Why Use It
L
An exercise used to explore a specific character, from a given
situation or scenario in a more detailed manner. This method encourages students to
think more deeply about the characters involved and by writing about their traits, issues
and influences, develop a deeper understanding of the people involved.
Take 2 ~Take 2 ~ Role on the WallRole on the Wall
11. 11
Students could write a diary entry based on the character they have
discussed, using ideas from the role sheet.
If space is available students can create a life size template by
drawing around one of the students and completing the exercise as a class group.
A template could be created for all main characters and students can add or
change information as the module progresses.
About the character…..
- “How old are they?”
- “What are their hobbies?”
- “What is their favourite
possession?”
- “Where do they live?”
- “Who are their friends?”
About their situation…..
- “How do they feel about it?”
- “What do they want done about it?”
- “Who can they share their problems with?”
- “Where would they rather be?”
About how others see them…..
- “Who knows that there’s something
wrong?”
HHH
Options
Lesson TopicLesson Topic -- Human DignityHuman Dignity www.bbc.co.uk/schools/gcsebitesize/drama/responding/roleonwallrev5.shtml
12. 12
Just like a photograph, a freeze frame can be examined closely,
and the audience can note body language and facial expressions to
give clues as to the situation or the people within the situation at that moment. It
develops observational skills and initiates discussion. Freeze frame work requires and
helps to develop team-working skills. It is a very controlled form of expression which
creates pictures that can be interpreted by the class.
Divide the class into groups of 4/5. As an introduction,
nursery rhymes are useful to demonstrate the concept of Freeze Frame to the class.
Ask each group of students to portray a nursery rhyme of their choice. Each group can
hold their pose completely still while the remainder of the class tries to guess the
rhyme.
This introduction need only be carried out once, but is valuable not only in
demonstrating the technique but also in putting the students at ease.
Students can represent characters or objects in the scene e.g. someone could be the
spider in Little Miss Muffet.
After this initial introduction the technique can be used as part of the development
of an ongoing topic. Each group can be given some detailed information in relation to the
chosen topic but a theme or headline could be used also.
Discussion and preparation time should take no more than five minutes, after which
each group will present their Freeze Frame for the rest of the class group. Initially
students might only comment on what they “see” and as the class develops a more
detailed discussion may follow.
L This exercise can be used to expand and develop students analytical and
descriptive skills - being creative, thinking, decision-making.
This methodology can provide practice for Section 2 of the CSPE exam paper,
where students are asked to analyse a given stimulus.
Students explore a given situation by creating a
picture, with their bodies, to tell their audience about their interpretation of that
situation. The created picture which is like the image when someone has pressed pause
on a DVD has no sound or movement. It is a snap-shot.
Why Use It
How to…..
Take 3 ~Take 3 ~ Freeze FrameFreeze Frame
13. 13
IN THE KITCHEN
Communal cooking women get up at 4am
and light the fire for tortillas
They prepare beans and if they have
enough money they make coffee.
Tragic end….
SECURITY
The entrance to La Confianza
is guarded at all times. Each
year there have been several
attacks on the community by
the landowner.
ACCESS TO WATER
A small amount of drinking
water is piped into the
community and rationed
among the families. They
bathe and wash their clothes
in the nearby polluted river.
Students can
choose to interpret
very literally
general meaning
just the title
Man dies after fall
Options
Lesson TopicLesson Topic -- DevelopmentDevelopment
HHH Students could take a photo from a daily newspaper and write a piece on what they
see. If written skills are weak, students can present the image to their class and
make verbal comments about the body language, story and other observations.
‘Reading’ the image should become more detailed over time as
students become more familiar with the technique.
Students can create a theme of three freeze frames - the moment before, the
moment of and the moment after.
A debrief afterwards could focus on the nature of body language used in the
freeze frame, why pupils decided to depict the scene in the way they did, and
why others might have depicted the event in a different way.
14. 14
Sometimes in daily life we would like to know what someone thinks
at important moments. We really want to know how people have been affected by a
situation. When we know more of what they are feeling, we understand them better.
Thought-tracking encourages pupils to reflect on the action of the drama and consider the
point of view of the character they are playing. By allowing the group to hear the thoughts
of all characters in the scene/freeze frame, thought tracking encourages an awareness of
the views of others and the potential consequences of events/actions.
This method is a follow on from the previous activity – freeze
framing. A group should be frozen mid-scene as part of a freeze
frame exercise. Explain that you are going to enter the picture and
tap members of the group on the shoulder. Make it clear that when you do this, you
want the person to speak aloud the thoughts of his/her character at that moment.
Emphasise that you want them to speak the thoughts as that character, e.g.
“I can’t believe he would do this to me”.
When all the characters have been “thought-tracked”, the scene can continue, or
another freeze frame explored.
As an alternative to tapping the student before they speak, the teacher
can have a pre-prepared speech bubble or thought bubble laminated on an
A4 card. S/he can then hold the card over the chosen characters head
as a cue to speak. (page 31/32)
The teacher can encourage further class discussion based on the comment made or
s/he can move to another member of the group and get them to comment.
L This exercise can be used to expand and develop students analytical and
descriptive skills by being creative, thinking and decision-making
Students explore the differences and similarities between body language, facial
expressions, gestures and what we think.
Helps inform an audience about a character.
You see it in action when a character thinks about his/her inner thoughts at a
particular moment and speaks them out loud during a freeze frame.
Why Use It
How to…..
Take 4 ~Take 4 ~ Thought TrackingThought Tracking
15. 15
Careful use of either the “thought bubble” or the “speech bubble”
can be used to highlight the differences that sometimes occur between what a
character ‘thinks’ and actually ‘says.’
The groups can be divided into pairs, where one person plays a character and the
other plays his/her shadow.
Mrs. O’Reilly was on corridor
duty during break. There was a
lot of noise coming from the
bottom of the hall. When she
went to investigate she
spotted Tim hitting another
student.
“Oops, I think he
might know that I
stole his pens…….”
Jack is outside the
Principal’s office. He has
been involved in a fight and
has been hit by another
student. The teacher doesn’t
know that he hit Tim first.
Tim’s mother has just put
down the phone. The school
has called to say that Tim has
been in a fight. She was on her
way to work and just about to
leave, she really hasn’t time to
visit the school.
“Oi, you, I want a
word…..”
HHH Get students to write their own definitions for Freeze Frame and Thought Tracking
Ask students to write two alternative scenarios for their characters, different
from those already explored.
Options
Tim has been caught hitting
another student. He is now outside
the Principal’s office, with another
teacher. His parents are inside
talking to the Principal. Tim was
only defending himself.
Lesson TopicLesson Topic -- BullyingBullying
16. 16
Make 3 large signs AGREE DISAGREE NOT SURE (Photocopy page 33- 35)
Place the Agree and Disagree signs at opposite ends of the room, with the NOT SURE
sign in the middle, as if along an imaginary line.
Read out one of the statements for discussion and ask the students to stand nearest
the sign that reflects their opinion on the topic.
Emphasise that it is okay to stay in the middle, listen to the debate and then move
according as their opinion is formed.
When students have taken a position ask them to say why they have taken that
position.
Encourage dialogue /debate among students to persuade those who don’t share their
opinion to change sides.
Don’t underestimate the importance of a good statement – one that is open ended and
will give an opportunity for a variety of opinions. Statements should evoke a range of
responses (e.g. “footballers earn too much money” is a better statement to use than
“all footballers earn too much money” since the first statement leaves room for some
interpretation).
L This exercise works with all levels of ability.
The methodology facilitates differing opinions and develops a variety of skills -
critical thinking skills, debating/discussion skills.
Why Use It Traditional debating can be difficult to organise in single class
periods. It is often only suited to a minority of students and can be dominated by a few
voices. A walking debate involves the entire class group, does not hinge solely on large
amounts of information and encourages students to note that their opinions can change
based on different information.
How to…..
A debate/discussion with a difference.
It encourages students to discuss the chosen topic but allows them to change their opinion
throughout the course of the conversation.
Take 5 ~Take 5 ~ Walking DebateWalking Debate
17. 17
If your space is limited a class set of cards can be used. Each
student receives a set of AGREE/DISAGREE/NOT SURE cards and holds up the
card relevant to their opinion on a given statement.
Each student writes their name on a post-it. A line can be drawn on the blackboard
and their AGREE/DISAGREE/NOT SURE statements are placed as appropriate on
the line.
1. Set up the classroom as
recommended in the “how
to...” Call out the following
statement `It's okay to break the law' and encourage
the students to move to the side of the room that
reflects their opinion on the statement.
2. When students have taken a position ask them
some of the recommended
questions (below).
The teacher can show the
complexity of the issue by
allowing different views to be aired. The teacher can also push the students to explain
and illustrate their position, e.g. •When might it be okay to break the law? •Can you give
an example of a law that it would be okay to break and in what circumstance? •Does it
depend on who makes the laws (a democratic government or a dictatorship)? •What
would happen if everyone decided to break the law? •Why do
more people from poorer backgrounds end up in prison? •Is a
rich person more likely to get away with breaking the law?
`It's okay to break the law'
AGREE
NOT SURE
DISAGREE
Some teachers work through
many statements in a single class
while others concentrate on one
or two and spend time fleshing
out the discussion and
encouraging debate. The process
in this methodology is just as
important as the outcome.
Students could source different articles on a current topic, on the internet, in
newspapers or by conversation, noting at least two different viewpoints and
discovering the evidence, if any to support them.
Options
Lesson TopicLesson Topic -- LawLaw
HHH
18. 18
This exercise requires a little advance preparation. Trinket and random items are
used - about twenty items are needed per class group.
*Euro stores, charity shops and even that “junk” drawer at home are great sources for finding
objects for the bags.
Select a bag and choose a number of items to put into it. The items are clues to the
identity of the bag's owner, so you may choose both bag and objects to be male,
female or appropriate for either. You can 'design' your mystery character, or
choose fairly random items.
Students work in groups of 3/4. Each group is given a bag of objects and asked to
figure out as much information as possible about the objects and their possible
owner. Information may be as literal as whether the objects belong to a male or
female, age, and hobbies. This information can then be expanded and students will
discuss why the particular objects were in the bag and what significance they held
for the individual in question. Each group presents their findings to the rest of the
group
Simple items such as a handkerchief, piece of ribbon, or a safety pin can all easily
be used, as the imagination of the students will dictate why the object came to be in
the bag.
L At the most basic level students will be able to describe the items found
in their bag – colour, shape, and name. This can then develop into very
specific information about the person and why/how these items came into their
possession. Why did they choose to keep them? Why are they relevant?
How to…..
Creative thinking , story telling and descriptive skills are enhanced.
Students have a starting point by using the objects to make
associations. Previous knowledge can be used to expand on the items in their possession
to develop vocabulary and storytelling skills.
Why Use It
Students work in groups to discuss a bag of found
objects relating to specific situation or event.
The bag of objects usually belongs to someone and there is a story behind its existence.
Take 6 ~Take 6 ~ Life in a BagLife in a Bag
19. 19
You could choose to use just one bag of items for the entire
class. Explain how you came to be in possession of the bag and as you remove each
item, the class group can participate in the discussion of the significance and
background of each item.
SETTING THE SCENE……...
“Unfortunately class I come to you today with
some very bad news. As you know in recent weeks
we have been following the lives of the children
working every day in the dumps of Cambodia.
Today we have heard that some of those children
have lost their lives as one of the dumps collapsed.
In a small area near the entrance we have found
some bags belonging to those children and we
would like to return them to their families. We
don’t know who owns each of the bags.
With your help we are going to look at the bags
and the items in them and try and figure out where
they should go”.
The physical bag
itself can play an
important role in giving
clues to students about
the owner. Disposable
plastic shopping bags tell
us something different
to a recyclable bag or a
paper bag.
Each student could write a letter (page 36) from the owner of the bag to be
included with the items. It could include some personal information and include
details of the objects and why they were important.
Draw an identikit picture to help identify the mystery owner.
HHH
Options
Lesson TopicLesson Topic -- Child LabourChild Labour
20. 20
The traditional approach is for the pupil playing the character to sit
on a chair in front of the group (arranged in a semi-circle), although characters may be
hot-seated in pairs or groups. It is important that the person being ‘Hot Seated’ stays in
character for the duration of the Hot Seating session.
The person being questioned should answer in accordance with what s/he already knows
about the character but if a questioner requires more information, the person can simply
use her/his imagination to deepen the character. It is helpful if the teacher takes on the
role of facilitator to guide the questioning in constructive directions.
A group can answer collectively for a character. Take a chair and place on it something
that suggests the character in question, e.g. a hat or a jacket. The group who will speak
for this character should stand behind the chair facing the rest of the class. The class
should address questions to the chair and any member of the group can answer. This
approach can be particularly useful if the topic in question might cause some controversy
within the group e.g. bullying
A debrief afterwards could involve asking pupils what they learned, what they found
interesting and if they would challenge anything which the person in the hot seat said.
L
A character is questioned by a group about his or her
background, behaviour and motivation.
Even done without preparation, this is a good way of fleshing out a character.
Why Use It
Hot seating allows the class to question or interview people in role.
This can help the group learn more about a character’s point of view. The technique is
useful for developing questioning skills with the rest of the group. It allows the student
to engage in a more real view of an individual and maybe gain information about why
actions or events have taken place. This works for both the student being hot seated and
the questioning students.
How to…..
Students will develop questioning and interviewing skills in order to
obtain the information needed.
Interviewees learn to respond in role using language appropriate to the context.
If the note taking exercise is used, students learn this skill and can then use those
notes to write a full report.
Take 7 ~Take 7 ~ Hot SeatingHot Seating
21. 21
As an additional competitive game, pupils might be given a topic or character to
research and then hot seated for one minute to share as much information as
possible with the class without hesitating or repeating themselves.
An idea or issue could also be placed on the hot seat, such as the
war in Iraq, human cloning, the use of wind farms. Using this technique, answers can
come from anyone in the class.
A mystery game could also be played out using this technique, with class members
having to guess the identity of the person in the hot seat.
A new TD has just been elected in your area.
The class is told that they are newspaper
reporters at a press conference about to interview the TD and ask him/
her questions about his plans, ideas and current work.
The 'character' (a student who has volunteered to take on the role) sits in the front,
facing the rest of the class and answers questions posed by the reporters. He is
interviewed for no more than 10 minutes. The reporters ask not just questions, but, also
take notes in order to write a news story or a more descriptive feature article for the
next edition of their paper.
In case of a large number of students in the class, three can team together and pose as
reporters from the same newspapers. The whole activity can be
extended by asking the students to make their nameplates with
newspaper names and display them on their desks.
A student can be given the role of a moderator who
introduces the "character" and ensures a smooth functioning of
the conference.
After the interview is over, the teams of "reporters" work
together for the write-up. The student who has been questioned
in the role of the character can join one of the teams of the
reporters or write a report from their own perspective.
The note taking aspect
is only one approach - which
is useful in this scenario.
However this exercise can be
undertaken as a simple
question and answer session
with no note taking.
Lesson TopicLesson Topic -- DemocracyDemocracy
HHH
Options
22. 22
L MoE encourages creativity, improves teamwork, communication skills,
critical thought and decision-making. Students learn to discuss topics at their
own vocabulary level while experiencing the language of other ‘experts’
The creation of a fictional world where a
student assumes the role of ‘expert’ in a designated field. As these experts, they are
given a problem to solve or asked to offer advice whilst in character.
Why Use It Mantle of the Expert (MoE) is based on the idea that treating
children as responsible experts increases their engagement and confidence. The
technique can be used to actively explore issues across the syllabus, empowering pupils
by giving them an opportunity to assume responsible roles and make decisions in guiding
the outcomes. Their presumed expertise develops into a genuine expertise in certain
areas of learning (some of them pre-planned by the teacher) and their understanding of
certain concepts is greatly enhanced.
How to…..
A problem or task is established and the students are engaged
or “framed” as a team of experts using imaginative role-play to explore the issue. The
students may be involved in mimed activities, improvisation, research or discussion.
Depending on the ability level of the students, the ‘expert’ positions may be pre-
planned or occur ad hoc, during the course of the discussion. The situations are
usually created out of some previous knowledge and MoE lessons would usually occur
during the middle to end of a module of work.
If pre-planned the teacher may begin the class by introducing the various
‘experts’ and giving a bit of background information. If the experience evolves with
less planning, the teacher may still give a brief introduction and also give each student
a cue to the possible direction the expertise may take e.g “Dr. Forde has taken time
out from his laboratory to join us today. He will reveal some interesting information
about his studies on climate change”. This gives the student some thinking time and is
also open ended enough to allow the “interesting information” to be of the experts
own choosing.
Take 8 ~Take 8 ~ Mantle of the ExpertMantle of the Expert
23. 23
Keep a ‘power’ role as teacher and if students are slow to engage
use this to give them more information. E.g “I notice from my research notes that
reports are coming in from America that……”
Current affairs and newspaper reports provide ready material for this approach.
MoE is particularly suitable for dealing with emerging news stories and dilemmas.
Students can enhance their experience by researching more about their ‘Expert’
and presenting their findings in written or verbal form.
Write a report - in character about a typical day in their lives.
SETTING THE SCENE……….
“As you know in recent weeks we have been discussing
the issue of Homelessness. I see we are fortunate
today in having a room full of experts who have very
different experiences of this topic. I see our local
Politicians, from the various parties, have joined us.
Luckily we also have some experts from the support
groups, like Simon and Focus Ireland. Also with us
today are Peter and Jane, who will share their
experiences with us…….etc.
Mantle of the Expert, planned
or unplanned, should be within
the experience level of the
student concerned.
Each experience can be as
varied as the teacher/students
choose to make them. They can
be short encounters or
scenarios that develop over the
course of the class period.
Situations can develop from a
conversation, Freeze Frame,
brainstorming exercise or even
an object.
The most important
understanding will come from
the reflection of the
experience after the event.
The teacher must share status to
create students (individually and
collectively) who are knowledgeable and
competent colleagues.
While the focus is on the enquiry
process, it can often lead to real
outcomes such as writing letters,
printing leaflets or selling products.
HHH
Options
Lesson TopicLesson Topic -- HomelessnessHomelessness
24. 24
L Language and movement skills are increased and ‘writing in role’ exercise
can increase understanding, particularly if it happens during /after the role work.
If it is a complicated role play, consider giving students prompt sheets with key
vocabulary/questions for their characters.
How to…..
Each student takes the role of a person affected
by an issue and studies the impacts of the issues on human life and/or the effects of
human activities on the world around us from the perspective of that person.
Why Use It
Role-playing is simultaneously interesting and useful to students
because it emphasizes the "real-world". It challenges students to deal with complex
problems with no single "right" answer and to use a variety of skills. In particular, role-
playing presents the student a valuable opportunity to learn not just the course content,
but other perspectives on it.
Role plays can be a very good way for students to develop
confidence by forgetting themselves and concentrating on the task in hand. They provide
the opportunity for extended interaction. However, they do need careful setting up and
staging. If your students haven’t done any role plays before or aren’t used to doing them,
start gently and don’t launch into a really challenging activity immediately.
The teacher needs to decide the context for the exercise and the role(s) that the
students will play. The context is generally a specific problem dealing with a pre
organised scenario. Lessons need to be carefully explained and supervised in order to
involve the students and to enable them to learn as much as possible from the
experience.
Role play is not about the quality of acting and you do not need to relinquish your position
as the person in charge. Create cues and opportunities to step out of role if necessary
and discuss any issues which arise.
Many of the current CSPE resources include various role play scenarios, so the planned
work is already available. These are often not prescriptive and allow for adaptation to
the circumstances of the individual classroom.
Take 9 ~Take 9 ~ Student in RoleStudent in Role
25. 25
To explore concepts of development and how different views of
development can sometimes lead to conflict.
A new water well has being constructed by a foreign engineer in a small rural
village in South Africa. Many people in the village and others in the area,
including visitors have very different opinions about the new well. We are going
to use a role play to explore the thoughts and ideas of those involved.
1. Divide the class into five groups and assign them the following title : women from
village, men from village, labourers, foreign visitors, engineers.
2. Distribute one role card to each group and ask them in character to discuss
their answers to the following questions - they can take note of some answers if
needed.
How do I feel about the new `development' in the village?
What difference has it made to my life/the life of the village? Is it
positive or negative?
3. After 5 minutes of discussion, ask one member of each group to form a new
group. These new groups should consist of one person from each of the five roles
4. This new group should discuss their opinions and feelings about the building of
the new well - still in character - but now taking on board the different
viewpoints and opinions of those in the group. They can use the viewpoints
discussed in their initial group or can if they wish change
their mind based on the discussion of the other interested
parties.
5. Feedback can be facilitated by the teacher and
students remain in character. Depending on time, you can
choose to concentrate on one group, discussing their opinions
or take feedback from characters in different groups.
Lesson TopicLesson Topic -- DevelopmentDevelopment
(Courtesy of Trócaire)
26. 26
6. Out of role invite the whole class
to reflect on their experience of the
role-play. Some useful questions might be:
What happened in your group? How did you
feel? Did your opinion change as you
listened to the views of others? If the
discussion got heated, why was this so? Can
you identify the cause of conflict - different interests, values, opinions?
7. Together you could discuss the following questions
What were the benefits and disadvantages of the new well?
How essential is ‘local participation’ to development?
What is the link between ‘development' and ‘community'?
What happens when you have one without the other?
8. Finally, ask the groups
to re-design the project
together. Everyone must
have a say and the project
decided upon must be
agreeable to all. Share this
new project with the rest of
the class.
A well-done scenario never
runs the same way twice, but can
teach people things they might not
ordinarily have learned, and tends
to be fun for all involved.
Each student could write a letter, in character, to the relevant authority
outlining their discussion and highlighting any issues raised.
Students could design a poster announcing the unveiling of the new well.
Role play can involve -
small groups of students playing out different sections of a scene
groups of students playing out different scenarios of the same scene
the entire class, with each student playing a different role within a given situation
You can easily turn ordinary conversation
practice into a mini role play. Ask students
who are supposed to be on the phone to sit
back to back so that they can’t see each
other’s faces.
Ask students who are having a conversation
in a shop to stand up and exchange money,
HHH
Options
27. 27
Foreign Visitor
I go into a rural village in Africa. There are no women around but after a few hours they
all appear carrying water. I ask them how far away is the well where they fetch water.
They tell me it's a forty-minute walk. I leave the village that evening but am determined
to find some way to make their lives easier.
Engineer
I am an engineer from Europe. I hear of this place from a friend who was in Africa where
people have to walk forty minutes for water. With some help from friends and business
contacts I raise the necessary funds and go to the village in Africa and design a water well
right beside the village. I employ some of the local men to dig the well and the people
throw a great party to celebrate when we are finished.
Local Labourer
I live in a village near to where the new water well was being constructed by the foreign
engineer. He spent far too much money on it as there was no need to have the cement
brought by truck all the way from the capital city. He could have bought cement in my
village at a fraction of the price. Still, it was good to have the few weeks work as money is
not plentiful here and digging the well was very well paid.
Woman from the Village
I hate this new well. In the past, I used to walk forty minutes with my friends every day
to fetch water. During this walk we discussed many things and decided on our children's
education, problems between some families in the village and things that we women
needed to sort out in the village. Now, we just work in the fields and rarely get time to
talk together any more. Some of these family problems are getting worse since we have
not had the time to talk as we used to.
Man from the Village
This new well is great. Before the well was there my wife and daughter spent much of the
morning fetching water. Now since the water is nearby they spend all of this time working
in the fields. This has saved me a lot of work and I think we might have a better harvest
as a result. Even though some of the women complain a little and some of the families
seem to fight a bit more, it's a small price to pay for such great progress in our village.
28. 28
L
Explain to the group that you are going to play a particular character in the drama you
are exploring as a class. The nature of the role you take on will depend on what you want
to achieve.
Examples:
1. To excite interest (e.g. a market trader selling strange goods)
2. To control the action (e.g. a police officer who has arrived to question people following
an incident)
3. To invite involvement (e.g. a community leader who has called an urgent village meeting)
4. To create choices and ambiguity (e.g. as a young person who has decided to leave the
village for the city and wants friends to join him/her)
Choose a piece of costume or a prop (clipboard) to signify when you are in role.
As soon as you put on the costume or pick up the prop, become your chosen character and
manage the learning opportunities from within the drama.
Remember that the teacher still has a teaching purpose but learning is negotiated in role,
allowing teacher and students to lay aside their actual roles and create relationships
which have a variety of status and power variables.
From within the role the teacher has lots of opportunities to highlight
language, terminology, expression and pronunciation. This can operate
seamlessly without the need suspend the role itself.
Paired writing could be used to review the role and the development of the action
How to…..
This is an invaluable technique for shaping the
dramatic process. Teacher assumes a role in relation to the pupils. This may be as a leader,
a peer, or a subservient role - whatever is useful in the development of the lesson.
Why Use It
This technique encourages the pupils to enter and engage with the
fiction of the drama. If the teacher is actively engaged with her/his role, it makes it
easier for the pupils to enter and engage with their own roles. The teacher-in-role can
control the drama from within, develop the fiction of the narrative and question the
choices made by the pupils. Teacher-in-role can also lend a huge amount of credibility to
the drama and very much encourage young people to get involved in the fiction.
Take 10 ~Take 10 ~ Teacher in roleTeacher in role
29. 29
HHH
“Young people should have a vote when the country is dealing with
Environmental Issues”
SETTIN THE SCENE……...
The set up involves a chat show forum. The topic is an environmental one and
both students and teacher take on different roles representing the various
interested parties and individuals.
Lesson TopicLesson Topic -- EnvironmentEnvironment
The teacher takes on the role of the chat show host
Students split into a number of groups and volunteer for or are given a role ( Local
Politicians, Environmental Groups, Member of Green Schools Committee, general
student/youth population, parents, teachers)
One person from each group is chosen to be on the ‘panel’ at the top of the room,
while the rest of the group become the ‘carefully selected audience’
The teacher/host interviews the ‘panel’, takes questions from the audience and
facilitates discussion. The host has the power to swap a member of the audience onto
the panel at any point.
To set the scene the teacher/host can begin with a brief introduction - of
themselves and their role e.g “My name is Patricia Kenny and I am your host for
tonight’s debate on…..”. This can be followed with an outline of the facts to date and
the main topic of discussion.
The panel are then introduced and the teacher may comment beforehand that s/he
will return to each panel member for a brief comment on their stance (this gives each
student time to prepare).
*The scenario runs similarly to the structure used for ‘student in role’ and would also
include some time for a debrief and review at the end of the process
Students could create an evaluation questionnaire rating the different aspects
of the programme. Depending on ability the finished piece could simply list some
review questions to be asked or could include a full questionnaire layout.
These could be shared and answered among the class.
37. 37
ResourcesResources
Drama and Learning. Resource Book, English: Form 3-5 - Ministry of Education,
Wellington, 1994. Learning Media Ltd: Wellington, New Zealand.
Drama for Learning: Dorothy Heathcote's Mantle of the Expert Approach to
Education (Dimensions of Drama) - Cecily O'Neill, Dorothy Heathcote and Gavin M.
Bolton, 1995, Heinemann: Portmouth, New Hampshire.
Drama for Learning Pocketbook (Teachers' Pocketbooks) - Brian Radcliffe and Phil
Hailstone, 2007, Teachers’ Pocketsbooks: Alresford
Drama Worlds: A Framework for Process Drama - Cecily O’Neill, 1995, Heinemann:
Portmouth, New Hampshire.
Playing a Part: Drama and Citizenship - Danny Braverman and Carrie Supple, 2001,
Trentham Books: Stroke-on-Trent.
So you want to use role-play? - Gavin Bolton and Dorothy Heathcote, 1999, Trentham
Books: Stroke-on-Trent
With Drama in Mind: Real Learning in Imagined Worlds - Jonothan Neelands and
Patrice Baldwin, 2004, Network Educational Press: Stafford.
Drama - Books
www.adei.ie - Association for Drama in Education in Ireland
www.artsonthemove.co.uk - Drama, theatre and creative needs
www.creativedrama.com - Creative drama ideas for the classroom
www.dramaresource.com - Drama strategies and lessons
www.nationaldrama.co.uk - Drama teachers and educators
www.nayd.ie - National Association for Youth Drama
www.mantleoftheexpert.com - Mantle of the Expert; everything you need
to know
www.tidec.org - Supporting creative work in education
Drama - Websites
38. 38
www.concern.net - Resources on tackling poverty and hunger
www.comhlamh.org - Social justice, human rights and global development issues
www.cspe.slss.ie - CSPE resources and publications
www.globaldimension.org.uk - Supporting school teachers in bringing a global
dimension to their teaching by providing access to teaching resources, case
studies and background information.
www.learn.christianaid.org.uk - Activities and games to help students engage with
world issues and reflect on their own role as global citizens
www.practicalaction.org/education - Resources on sustainable issues including
renewable energy and climate change
www.trocaire.ie - Development issues in the classroom
*These sites have specific ready made resources that will support Drama in Education methodologies. Many
other organisations produce resources that can be adapted to your own needs.
ResourcesResources
Citizenship - Books
Homelessness as a Contemporary Issue: A Module for Leaving Certificate Applied
(2003) www.focusireland.ie
Imaginative leaps - creative arts and sustainable development
Paul Bradbury and Sheila Harding, 2010, Development Education Centre South Yorkshire
www.decsy.org.uk
The following resources are produced by TIDE~Global Learning. Tide supports school teachers in
bringing a global dimension to their teaching by providing access to teaching resources, case
studies and background information. www.tidec.org
What is Development
Who’s Citizenship - A Teacher’s Toolkit
Starter activities for exploring controversial issues in Citizenship
Teachers in Development Education
Citizenship - Websites
40. “But ‘to know’ is one thing, to have the confidence to carry out
the knowledge in practice is another: the bridge from one
to the other is achieved through actual practice, in which
real life circumstances are arranged as part of drama and
the participants are provided with the opportunity of
actually feeling the situation without any of the possible
repercussions of failure to behave ‘correctly’”.
Brian Way
