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Curriculum Design and Practice

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Jacqueline Parr

on 26 January 2013

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Transcript of Curriculum Design and Practice

Curriculum as Journey... The Journey Begins... The journey never ends... The Queensland Studies Authority places Drama under the umbrella of 'the arts'. The QSA describes Drama as "an art form and an aesthetic way of knowing that integrates oral, kinaesthetic, visual and aural dimensions, and sign systems" (QSA, 2007, p. 1). The people you meet along the way... How do we, as teachers, know that the students have learnt? One step further... Where do we go from here? If drama is creative, playful and gives endless opportunities, then so should be the curriculum that teaches it. What is Drama? Elements of Drama... Role Relationship Situation Tension Language Focus Time Place Space Symbol Mood Movement Skills of Performance... Acting Designing Directing Dramaturgy Ensemble work Performance Technologies Movement Playbuilding Scriptwriting Reviewing Voice Styles and their conventions... Heritage Styles Contemporary Styles Elizabethan Theatre Epic Theatre Indigenous Australian Butoh Expressionism Commedia dell'Arte Musical Theatre Realism Australian Gothic Physical Theatre Collage Drama Street Theatre Process Drama Contemporary Circus Documentary Drama Conventions... Gestus Chorus Fourth Wall Intertextuality Viewpoints Through-line Ritualised Movement Multiple Roles Song and Music Multi-media Technology Varieties of text... Script Polished Improvisations Process Dramas Student-devised dramas Spontaneous
Improvisations Drama is... Creative Multi-modal Innovative Ever-changing Playful Fun Educational Exciting Opportunistic Teaching requires a knowledge base that includes knowledge of learners, knowledge of educational contexts, and knowledge of educational goals.
(Shulman, L. 2004, p. 220) How do students learn?? Bloom's Taxonomy of Learning Domains In 1963, Benjamin Bloom identified three different domains of educational activities.
-Cognitive (Knowledge)
-Affective (Attitude)
-Psychomotor (Skills)
The taxonomies of learning behaviours can be thought of as "the goals of the learning process".

As educators, Bloom's Taxonomy is a visual way of understanding how students learn - which is an important factor of Epistemology. Bloom's Taxonomy of Learning Domains - Cognitive Both Benjamin Bloom and Howard Gardner have learner based approaches to education, and it can be seen through their studies that by considering the way in which the students learn, the experience of learning is more valuable and the learners take a deeper understanding from that experience. The cognitive - or knowledge - domain of Bloom's Taxonomy directly addresses the way in which students learn, and the levels of cognitive
understanding that the students can achieve. Within the learning area of Drama, different levels of the domain can be achieved through different activities within the classroom. Due to the artistic way in which Drama is taught and learnt, it is very easy to achieve 'creation' within the Drama classroom, which is at the top of Bloom's Cognitive Domain. Epistemology - a branch of philosophy that investigates the origin, nature, methods and limits of human knowledge. The Queensland Studies Authority uses three general objectives within the subject area of Drama, to 'constitute a process framework for teaching and learning in Drama' (QSA, 2007, p. 4) Howard Gardner's theory of Multiple Intelligences argues that although students are all unique, they can often be grouped into a particular learning style, and that this style works most effectively for them in helping them understand within the classroom.
The styles include:
- Visual - Musical
- Linguistic - Interpersonal
- Logical - Intrapersonal
- Bodily - Naturalistic Gardner's Learning Styles The nature of art is creation and sharing and analysing. Within drama, there are multiple answers, and this is encouraged. Creativity is key.

Drama teaches the curriculum of life, which continues long after the lesson ends.
Forming - Presenting - Responding 'Forming, Presenting and Responding are seen as equally important and interrelated, with each influencing and building on the others. Any of the three objectives can be a starting point for dramatic activity' (QSA, 2007, p. 4). 'Forming, Presenting and Responding require that students communicate ideas and information that involve planning and organising activities, as well as collecting, analysing and organising information' (QSA, 2007, p. 4). Forming Presenting Responding involves the management and structuring of a range of dramatic experiences. Students understanding of forming can be expressed in dramatic action, including visual, digital, physical and written forms. requires the development and demonstration of acting and performance techniques associated with the preparation of an actor for a performance. Also requires the use of a range of dramatic languages to express and communicate ideas and meanings effectively to an audience. involves students demonstrating and and communicating knowledge and understanding about drama, and reflecting on dramatic action and meaning through critical analysis, interpretation, synthesis and evaluation of productions, performances and texts. (QSA, 2007, p. 5) What are the implications of these
factors on the Drama curriculum? The Queensland Studies Authority states that , through implementation of this curriculum, students should be able to: The Australian Curriculum, Assessment and Reporting Authority (ACARA) in the draft Australian Curriculum for Drama also states that the subject of Drama aims to develop students':
As an educator, knowing the Epistemology of your subject area is essential in providing a relevant and meaningful education for your students. What is achieved? - acknowledge and engage with drama as aesthetic learning
- appreciate the benefits of group work for collaborative learning and task management
- appreciate the benefits of working independently for autonomous learning and self-management
- have a commitment to and respect for diversity
- respect their own and others' personal aesthetics
- view, enjoy and appreciate live performance as an enriching experience
- acknowledge and be confident in their own creative and critical abilities
- value the diversity of drama in different cultures, times and contexts - confidence and self esteem to explore, depict and celebrate human experience through drama
- knowledge and understanding in controlling, applying and analysing the elements, skills, processes, forms, styles and techniques of drama to engage and create meaning
- sense of curiosity, aesthetic knowledge, joy, and achievement through exploring and playing roles, and imagining situations, actions and ideas as drama makers and audiences.
- knowledge and understanding of traditional contemporary drama as critical and active participants and audiences The implications of this on your curriculum are summed up in the achievements that both the QSA and ACARA describe.
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