THE ROUTLEDGE COMPANION

TO DRAMA IN EDUCATION

The Routledge Companion to Drama in Education is a comprehensive reference guide to this

unique performance discipline, focusing on its process-oriented theatrical techniques, en-
gagement of a broad spectrum of learners, its historical roots as a feld of inquiry and its
transdisciplinary pedagogical practices.
The book approaches drama in education (DE) from a wide range of perspectives, from
leading scholars to teaching artists and school educators who specialise in DE teaching. It
presents the central disciplinary conversations around key issues, including best practice in
DE, aesthetics and artistry in teaching, the histories of DE, ideologies in drama and educa-
tion, and concerns around access, inclusivity and justice.
Including refections, lesson plans, programme designs, case studies and provocations
from scholars, educators and community arts workers, this is the most robust and compre-
hensive resource for those interested in DE’s past, present and future.

Mary McAvoy is an Associate Professor of Theatre Education and Theatre for Youth at
Arizona State University, USA.

Peter O’Connor is Professor of Education and Director of the Centre for Arts and Social
Transformation at the University of Auckland, New Zealand.
 THE ROUTLEDGE
COMPANION TO DRAMA
IN EDUCATION

Edited by Mary McAvoy and Peter O’Connor

 Cover Image: Photo by James Kulapohaku Spray
First published 2022
by Routledge
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and by Routledge
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© 2022 selection and editorial matter, Mary McAvoy and
Peter O’Connor; individual chapters, the contributors
The right of Mary McAvoy and Peter O’Connor to be identified as the
authors of the editorial material, and of the authors for their individual
chapters, has been asserted in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.
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Trademark notice: Product or corporate names may be trademarks
or registered trademarks, and are used only for identification and
explanation without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
A catalog record has been requested for this book

ISBN: 978-0-367-43045-0 (hbk)

ISBN: 978-1-032-19736-4 (pbk)
ISBN: 978-1-003-00091-4 (ebk)
DOI: 10.4324/9781003000914
Typeset in Bembo
by codeMantra
We have both been sustained through the editing of this book during the
COVID-19 pandemic through the joy of the children in our lives: Marley
Graciela Perez, Zephyr Pedro-Luis Perez,Analise Marie Hunt,Amelia June
Hunt,Andrew James Hunt and Maisie Jane McAvoy.

We dedicate this book to them in the hope that their schooling and lives are
full of the wonder of drama.
 CONTENTS

List of fgures xiii

List of contributors xv
Acknowledgements xix
Forewords xx

We contain multitudes: an introduction 1

Mary McAvoy and Peter O’Connor

PART I
Boundaries and contours 7

1 A personal genealogy of the idea of drama education as a force for change 9

Kelly Freebody

2 Distancing as topos in process drama 18

Stig A. Eriksson

3 Pedagogical assemblages exploring social justice issues through drama

education 32
Mindy R. Carter

4 Drama in education and the value of process 45

Eva Hallgren

5 “Creating conditions for the emergence of the as-yet-unimagined”:

drama in education as artistic pedagogy 53
Juliana Saxton and Carole Miller

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 Contents

6 Whose enlightened pedagogy? A historical mini-tour of the

educating process of drama 65
John O’Toole

7 Reimagining drama in education: towards a postdramatic pedagogy 80

Moema Gregorzewski

8 The infuence of the “conventions approach” on the practice of

drama in diferent cultures 94
Adam Cziboly, Mette Bøe Lyngstad and Sisi Zheng

9 In the spaces for play: learning in Mantle of the Expert 110

Priya Gain and Viv Aitken

10 Critical process drama framework 117

Claire Coleman

11 Humanizing education with dramatic inquiry: in dialogue with

Dorothy Heathcote’s radical and transformative pedagogy 122
Brian Edmiston and Iona Towler-Evans

12 Assessment in drama education 137

Rachael Jacobs

PART II
Methods, programmes, and partnerships 151

13 Drama as a pedagogy of connection: using Heathcote’s rolling role

system to activate the ethical imagination 153
Christine Hatton

14 Ecological education of preschool children using process drama 166

Branka Bajić Jovanov

15 Drama for climate change education 172

Anna Lehtonen

16 Storytelling theatre and education 175

Joe Winston

17 An imagined cultural identity: refections on a classroom drama

How Wang-fo Was Saved 185
Cleo Xiaodi Wang

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 Contents

18 Action (re)call in the theatre classroom, Sweden 189

Pernilla Ahlstrand

19 ‘Do Something Diferent…’: a teaching inquiry into the use of

Mantle of the Expert to support struggling writers 194
Sue Bleaken and Viv Aitken

20 A dramatic approach to teaching tough topics: using children’s

literature and drama to explore the refugee and migrant experience 201
Larry Swartz

21 “Freeze!” – building refective and analytical skills in children

through drama 214
Jennifer Wong

22 Theater for children’s dialogical specifcities 224

Viviane Juguero

23 Bodies at play: body image and the young actor 239

Elizabeth Brendel Horn

24 Little Red and the Wolf: devising with young people at

Eastlake Park 246
Dontá McGilvery and Claire K. Redfeld

25 Facilitating post-performance process drama in an Irish

primary school 250
Heidi Schoenenberger

26 Accessible for all: drama-based pedagogy in an inclusive primary school 255

Kathryn Dawson and Stephanie W. Cawthon

27 Harnessing the power of Flight: devising responsive theatre for the

very young 269
Robyn Ayles, Heather Fitzsimmons Frey and Margaret Mykietyshyn

28 A comparative case study of a DiE-inspired music and

theatre project for linguistically and culturally diverse pupils in
Hong Kong and London 281
Samuel Chun Sum Tsang, Chi Ying Lam and Bonnie Yuen Yan Chan

29 Mixed methods in drama education research: a project autopsy 297

Peter Dufy

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 Contents

30 Dramatic approaches in the English classroom: embodied, agentic

and aesthetic learning 310
Julie Dunn and Adrianne Jones

31 Drama workshops as single events in higher education – what can we

learn? 324
Eva Österlind

32 Boal in the Philippine classroom: using Theatre of the Oppressed in

teaching literature 338
Anne Richie G. Balgos

33 Implementing Universal Design for Learning in Out-of-School Time

drama education 345
Molly Mattaini

34 Trauma-informed considerations for drama in education with adults 350

Cortney McEniry Knipp

35 Humanizing the curriculum: exploring the use of drama pedagogy

in faculty development 357
Joshua Rashon Streeter

36 Dream Stage – let our dreams come true through the arts 364
Rannveig Björk Thorkelsdóttir and Hanna Ólafsdóttir

37 We Serve Too! A reflection on drama and storytelling with military

children 376
Sarah Dolens-Moon

38 A dramatic approach to appreciating mythological history 380

Daniel A. Kelin, II

39 Real for Me: co-creation drama negotiating safer sexual boundaries 385
Ava Hunt

40 The elements of drama in second language education: an

intercultural perspective 391
Erika Piazzoli

41 Formulating a learning context using teacher in role for reading

fluency in ESL students 408
Chipo Marunda-Piki

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 Contents

42 Drama for cultural and linguistic diversity (CALD): applying drama

with students from culturally and linguistically diverse backgrounds
in Australian educational settings 413
Richard Sallis and Carol Carter

43 Outcomes of using drama-based pedagogy in language teaching and

learning 427
Jenna Nilson

44 ‘It Lifts Up Your Imagination’: drama-rich pedagogy, literature and

literacy: the School Drama programme 433
John Nicholas Saunders and Robyn Ann Ewing

45 Daring to be different: drama as a tool for empowering the teachers

of tomorrow 450
Eva Göksel

46 Enlivening teachers’ co-creating attitude 455

Fiona McDonagh

47 Challenging your students, challenging yourself: the golden

opportunity of being an in-school drama educator today 465
Ailbhe Curran

48 Drama teacher education – a long-view perspective 471

Robin Pascoe

49 Looking back and forward: reflecting on my facilitation as a drama in

education teacher and facilitator at Lupane State University in Zimbabwe 484
Cletus Moyo

50 Mei Ling, Mary, and Michaela: mapping drama teaching journeys 488
Michaela Jack and Mary Jackson

PART III
Futures and possibilities 497

51 Opening up the field of drama education to performance studies:

tensions and opportunities 499
Robyn Shenfield and Monica Prendergast

52 Evolution, diffusion and disturbance: drama, education and technology 513

David Cameron and Michael Anderson

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 Contents

53 Designing a transmedia theatre experience for drama education 524

Adisti Anindita Regar

54 Digital bodies/live space: how digital technologies might

inform gesture, space, place, and the performance of identity in
contemporary drama education experiences 531
Amy Petersen Jensen and Kris W. Peterson

55 Playing with theatre: there can be a place for childhood in the favela 545
Marina Henriques Coutinho (trans. David Herman)

56 Numbers count: quantitative research in drama education 553

Matt Omasta

57 When crises should go to waste, or how I learned to stop supporting

disaster capitalism and love the classroom 564
Kristin Hunt

Index 573

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 FIGURES

2.1 Pieter Brueghel the Elder: Landscape with the Fall of Icarus, ca. 1558 24
2.2 Dorothy Heathcote teaches in role: Teaching Political Awareness through Drama
(1982). © University of Newcastle upon Tyne 25
2.3 From Heathcote’s key address in NATD Journal 1990, 53: Frame Distance Chart 26
3.1 Overview of data and participant details 35
3.2 Color-coded categories and sub-themes 40
4.1 The sequence with the seal skin, only students in role – a broad, billowing
macramé. A fish indicates the seal skin in the macramé 48
4.2 The gossiping woman (TiR) comes running into the village – a much
narrower macramé. 49
7.1 A reimagination of metaxis informed by a postdramatic theatre paradigm 89
9.1 The ‘structured spaces’ and the ‘spaces for play’ in Mantle of the Expert,
adapted from a conference presentation handout by Tim Taylor (2009) 111
10.1 Critical process drama framework 118
13.1 Aspects of culture to explore in a rolling role inquiry 156
13.2 The growth of learning in a rolling role project 157
13.3 Heathcote’s creativity chart (1993, Tape 7) 158
13.4 The non-human subjects of the drama – the bar-tailed godwits, photo
taken by Ann Lindsey at Stockton Sandspit, NSW, Australia (March 2019) 158
19.1 Assessment results 197
26.1 Evolution of CBL at Christie Downs Primary School 2016–2018 259
27.1 A diagram of the cycle of the Flight model of Co-Inquiry for
co-constructing curriculum 270
27.2 Snuggling down. Urban Wildlife workshop, Collective Creation, dir. –
H. Fitzsimmons Frey, photo – R. Ayles, MacEwan University, June 13,
2019, Actors: Ayla Gandall, Aidan Spila, Emma Abbott273
27.3 Chickadee puppet. Urban Wildlife workshop, Collective Creation,
dir. – H. Fitzsimmons Frey, photo – R. Ayles, MacEwan University, June
13, 2019, Actor: Emma Abbott275

xiii
 Figures

27.4 Hare in the Hand. Urban Wildlife workshop, Collective Creation,

dir. – H. Fitzsimmons Frey, photo – R. Ayles, MacEwan University,
February 18, 2020, Actor: Chelo Ledsma 278
28.1 Cummins’s (2000) intervention of collaborative empowerment 283
28.2 An overview of the modifed music and theatre project 286
28.3 ‘Boh Boh’ is an alien who travels from planet to planet (taken in London) 288
28.4 Children continued interacting with ‘Boh Boh’ after the show (taken in
Hong Kong) 288
31.1 Overview of data material in chronological order 329
31.2 Teacher-students referring to sustainability in their written responses 331
31.3 Proportion (%) of students referring to sustainability in each group 334
33.1 Placards with six pedagogical design elements: Acceptable Evidence,
Products, Process, Content, Facts about your Students, and Enduring
Questions and Central Understanding 346
33.2 The hierarchy of a UDL process, modifed from a hierarchy created by
Dr. Alice Udvari-Solner for the course Strategies for Inclusive Schooling at the
University of Wisconsin – Madison 347
36.1 Sample lesson plan – “Dream” 368
36.2 Sample lesson plan – “Creation” 370
36.3 Sample lesson plan – “Accomplishment” 372
39.1 Actors sneering with ‘AIDS is only a disease’ text in background.
(Photographer: Gerry Murray, Nottingham Playhouse, Indoor Fireworks by
Bill Taylor, 1990) 386
39.2 Actor/teachers using drama with young people in school. (Photographer:
Chris Web: UOD Applied Theatre students, Real for Me, 2019) 387
39.3 Actor using headphone verbatim theatre. (Photographer: Chris Web: UOD
Applied Theatre students Real for Me, 2019) 388
40.1 Bathing Ritual Tableau – The Friend. Sketch by Aisling McNally
(reproduced with permission from the artist) 395
40.2 Bathing Ritual Tableau – The Community. Sketch by Aisling McNally
(reproduced with permission from the artist 396
40.3 Bathing Ritual Tableau – The Keepsake. Sketch by Aisling McNally
(reproduced with permission from the artist 396
40.4 Poem by Usin Kerin 402
44.1 Pre- and post-benchmarking results 439
44.2 Pre- and post-benchmarking results 440
44.3 Pre- and post-benchmarking results 440
44.4 JP’s pre-programme benchmarking task (4 May 2017) 441
44.5 JP’s post-programme benchmarking task (20 July 2017) 441
44.6 Jasper’s pre-programme benchmarking task (16 October 2017) 441
44.7 Jasper’s post-programme benchmarking task (30 November 2017) 442
48.1 Relationship between learning drama and learning to teach drama 473
48.2 Example of erosion of time in drama teacher education 475
52.1 Eryn Jean Norvill in Sydney Theatre Company’s The Picture of Dorian
Gray, 2020. Photo: © Daniel Boud 514
53.1 Screenshots of the DIGIStage homepage and digital gamebook 526
56.1 Results of meta-analyses considering drama education 561

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 CONTRIBUTORS

Ahlstrand, Pernilla – University of Gothenburg.

Aitken, Viv – University of Waikato and Massey University.

Anderson, Elizabeth – University of Auckland.

Anderson, Michael – University of Sydney.

Ayles, Robyn – MacEwan University.

Bajić Jovanov, Branka – Academy of Arts, Novi Sad.

Balgos, Anne Richie G. – De La Salle University, Manila.

Bleaken, Sue – Melville Intermediate School.

Brendel Horn, Elizabeth – University of Central Florida.

Cameron, David Charles – Sturt University.

Carter, Carol – Curtin University.

Carter, Mindy R. – McGill University.

Cawthon, W. Stephanie – University of Texas at Austin.

Chan, Bonnie Yuen Yan – Independent Researcher.

Coleman, Claire – Waikato University.

Coutinho, Marina Henriques – Federal University of the State of Rio de Janeiro.

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 Contributors

Curran, Ailbhe – Mary Immaculate College University of Limerick.

Cziboly, Adam – Western Norway University of Applied Sciences.

Dawson, Kathryn – University of Texas at Austin.

Dolens-Moon, Sarah – Independent Artist.

Duffy, Peter – University of South Carolina.

Dunn, Julie – Griffith University.

Edmiston, Brian – Ohio State University.

Eriksson, Stig A. – Western Norway University of Applied Sciences.

Ewing, Robyn Ann – The University of Sydney.

Fitzsimmons Frey, Heather – MacEwan University.

Freebody, Kelly – University of Sydney.

Gain, Priya – University of Auckland.

Göksel, Eva – University of Zurich.

Gregorzewski, Moema – Waipapa Taumata Rau (The University of Auckland).

Hallgren, Eva – Stockholm University.

Hatton, Christine – Newcastle University.

Hunt, Ava – Derby Theatre.

Hunt, Kristin – Arizona State University.

Jack, Michaela – Primary School Teacher, Auckland.

Jackson, Mary – Primary School Teacher, Auckland.

Jacobs, Rachael – Western Sydney University.

Jones, Adrianne – Education Queensland and Griffith University.

Juguero, Viviane – of Stavanger.

Kelin, II, Daniel A. – Honolulu Theatre of Youth.

xvi
 Contributors

Knipp, Cortney McEniry – Ohio Wesleyan University.

Lam, Chi Ying – The Royal College of Music

Lehtonen, Anna – University of Jyväskylä

Lyngstad, Mette Bøe – Western Norway University of Applied Sciences.

Marunda-Piki, Chipo – Educator, Zimbabwe.

Mattaini, Molly – University of Wisconsin, Madison.

McDonagh, Fiona – Mary Immaculate College, University of Limerick.

McGilvery, Dontá – Arizona State University.

Miller, Carole – University of Victoria.

Moyo, Cletus – Lupane State University.

Mykietyshyn, Margaret – MacEwan University.

Nilson, Jenna – Independent Scholar.

O’Toole, John – University of Melbourne.

Ólafsdóttir, Hanna – University of Iceland.

Omasta, Matt – Utah State University.

Österlind, Eva – University of Stockholm.

Pascoe, Robin – Murdoch University.

Petersen Jensen, Amy – Brigham Young University.

Peterson, Kris W. – Brigham Young University.

Piazzoli, Erika – Trinity College Dublin.

Prendergast, Monica – University of Victoria.

Redfield, Claire K. – Arizona State University.

Regar, Adisti Anindita – University of South Australia.

Sallis, Richard – University of Melbourne.

xvii
 Contributors

Saunders, John Nicholas – Sydney Theatre Company.

Saxton, Juliana – University of Victoria.

Schoenenberger, Heidi – National University of Ireland, Galway.

Shenfield, Robyn – University of Victoria.

Streeter, Joshua Rashon – Emerson College.

Swartz, Larry – University of Toronto.

Thorkelsdóttir, Rannveig Björk – University of Iceland.

Towler-Evans, Iona – Ohio State University.

Tsang, Samuel Chun Sum – University of Oxford.

Wang, Cleo Xiaodi – Whittle School.

Winston, Joe – Warwick University.

Wong, Jennifer – National Institute of Education Singapore.

Zheng, Sisi – Western Norway University of Applied Sciences.

xviii
 ACKNOWLEDGEMENTS

We are indebted to an incredible system of support that helped make this Companion a reality.
First and foremost, thanks to our administrative assistant Kelcey Roberts who has been
invaluable in helping us corral and manage 75 authors from around the world. She has man-
aged this enormous task with calm, patience and a warm smile.
Thanks also to our Routledge team, including editor Ben Piggot, a long-standing advo-
cate for drama in education publications, and Zoë Forbes, our generous editorial assistant
who helped shepherd this project to publication.
To our authors, who are at the core of this project and who cheerfully responded to our
requests and sent their submissions on time. We are grateful to you all for sharing your rich
scholarship, especially during the trying times of the pandemic.
Thank you to The Centre for Arts and Social Transformation, the University of Auck-
land, that provided funding for administrative support, and the Faculty of Education and
Social Work for funding of proofng and subeditorial support. Our thanks to Mona-Lynn
Courteu and Kristin Lush for their careful work.
Arizona State University’s Institute for Humanities Research provided microgrant fund-
ing to support our in-person transcontinental collaboration pre-pandemic and the its School
of Music, Dance, and Theatre provided time for research.
Lastly, thanks go to our students and families, who always sustain us and make this work
all the more meaningful.

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 FOREWORDS

Drama education: the road ahead

Coming in at 290,000 words with 57 chapters and 75 authors, this Routledge Companion
is the most significant curation of the lived and living experience of drama education to
date. Within, there is the collective and diverse articulation of the field from theoretical,
research and practical perspectives. There is a global reach, spanning generations, cultures
and contexts. As we emerge from the global pandemic, the Companion marks the historical
trajectory of drama education from Peter Slade’s assertion in 1954 of child drama as a distinct
art form in its own right and as core to human development to a world wide web of diverse
practices developed to give children and young people voice, power and understanding in an
ever-changing and uncertain world.
As we emerge from the storm, we realise we have all changed. The world has changed
and drama education will also be transformed. This Companion will be our companion as
we navigate the road ahead, developing new forms, practices and ways of theorising that are
rooted in the essential humanity and core values that flow through these pages.
Although some of the contributors argue that drama education is distinctive from other
forms of theatre, I am reminded by these chapters of the essential powers of theatre – the
mother form. Theatre was the first invention of a limited democracy in fifth-century BCE
Athens. This Western model sits within the many other cultural models of democracy de-
veloped in societies across time and place. It was invented in Athens as a political space for
seeing ourselves as we are and imagining how we might live differently. Of the world as it is
and how it might be reimagined. Theatre asked how best do we live together.
Democracy may only exist as a distant beacon of hope for a fairer, more equal, more repre-
sentative, more sustainable world. But in these pages we discover drama practitioners, theorists
and researchers as the torch bearers of radical hope – all committed in their own ways to pro-
viding children and young people with the beautiful armoury they need to develop as social
actors, making a difference to their own lives, the lives of others and the earth they inherit.
This is a book about teaching and learning through drama/theatre. It teases out through
practice, critique, evidence, research, new perspectives and healthy robust argument how the
essentials of a pedagogic theatre can make the difference we need. At the heart of the matter,
educating through drama is about fostering, nurturing and realising the following.

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 Forewords

Togetherness: Theatre is the most social of art form. The pandemic has taught us how
essential togetherness, community and social action are to humanity. Despite the extraor-
dinary innovations in digital theatre and drama teaching, we all know there is an empty
space aching to be flled. There can be no substitute for the electric presence of actors and
audiences in a shared space; of a space for drama that is full of touch, live interaction and
movement.
In recent years the ideas of ‘ensemble’ borrowed from theatre to describe the building
of community amongst participants and practitioners have taken hold. Through ensemble
practices, children and young people learn how to respect and maximise their individualities
and diferences in working towards an agreed common good, to use the power of the col-
lective to co-create work that has social meaning and social responsibility. In an ensemble
approach to drama education, children and young people discover the power and joy of
putting the common interest of the group before their own self-interest. This ability, devel-
oped through drama, to distance oneself and act towards a common good for all is key to an
equitable democratic life.
Contributors to this Companion show how the temporary culture of the drama space and
time is carefully crafted to be a safe environment for children and young people to trust
and be themselves in a public space. A place of well-being and opportunity. Whatever the
context, the authors are uncompromising in suggesting that the culture of drama is based on
trust, choice, mutual respect and the pleasure of shared experience.
Empathy: Theatre breeds empathy through its living and felt experiences of what it means
to be diferent in diferent times, places and bodies. We take on living and lived roles that
are diferent, we hear and see the world from diferent perspectives, we learn to feel and un-
derstand even those that we disagree with. We take a shared responsibility for our histories
and their consequences and rediscover marginalised histories and heritages. In practice and
in theory the levels of empathy achieved through Drama education stand as an antithesis to
the negative forces of hate, greed, stigma and self-interest in the wider society.
In the face of increasing globalised nativism, nationalism and neoliberalism, Drama Ed-
ucation resists the social erosion of empathy that seeks to immunise us from the sins of
rampant and monstrous inequalities and cause us to care less about the victims. We care for
and ally with the seldom heard, with the victims of racial, economic, health and other social
injustices. We rehearse what change might look like and how change might be achieved.
Agency: In this Companion to Drama in Education, activists tell us how they give agency
to the powerless, to the oppressed and to the seldom heard. Some drama educators may take
issue with the idea that acting is core to all forms of theatre, including drama education, even
in its most processual sense. But drama is where we learn to act, to make things both real and
imagined happen. Without action there is no drama.
Process drama begins with young people taking action to shape and develop their work.
It is by choice, without coercion, a collective willingness to co-create personally and socially
meaningful actions with vulnerability and intent. The experience of acting in the dramatic
sphere provides young people with the confdence and consciousness to be social actors be-
yond the classroom. To realise that in even in the most challenging circumstances there is
still agency. To be change-makers in the world.
Commitment: Drama education and other forms of theatre-making require a shared
commitment to the work, to other participants, to ‘truthful’ and critical explorations of the
world. Many of the chapters detail or report on how drama educators build commitment
over time and in response to the needs of a group and their context. In drama classrooms,
teachers negotiate contracts with their students that provide a shared understanding of what

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 Forewords

commitment means in drama and what it can lead to. The material for drama – stories and
other pretexts – is designed to excite commitment to learning.
Commitment in drama education is born out of willing choices that require authentic
and meaningful goals – we commit most strongly to what we believe in, what we want to
achieve. To this I would add a commitment to social change. In their own distinctive ways,
all of the chapters are directed towards giving the young radical hope for a better and fairer
world and the centrality of drama education insights, methods and rehearsals for change.
Humanity: Drama and theatre are the most human of art forms. People make drama to-
gether using their bodies and all of their senses, in order to better understand and represent
the human condition as it is and as it might be. In drama there are no good or bad people –
there are people like us, who are rarely all bad or all good. Drama introduces young people
to how complex human beings are and the importance of recognising the humanity of others
who are diferent. They learn not to make quick judgements about people. They learn not to
become prejudiced against those who look, feel, think and do diferently. Crucially, as con-
tributors to this Companion remind us they can deliberate what it means to act responsibly –
to act in the interests of all based on new understandings from their drama work of how
actions in drama impact diferent people diferently.
Peter Slade’s foundational work to create a new art form that gave children and young
people confdence, curiosity, well-being and hope in their futures was born out of the rav-
ages of a world war. It was born out of the need to heal, reconcile, look forward and build a
better and more peaceful world.
How timely it is that this Routledge Companion draws together the progress and complexity
of Slade’s legacy and the many diferent directions it has taken and adopted. Once more our
children and young people face a traumatised, uncertain world, and these chapters will guide
the road ahead as practitioners, researchers and theorists respond to the age in which we live,
through the lived experiences of drama education.

Jonothan Neelands
University of Warwick 2021

***

This present volume is a long-awaited gift, and I am honoured to be asked to write the
foreword. For those of you who have been scrambling to put readers together with relevant
articles for our students, or who were looking for drama practices, practitioners and methods
outside of the better-known anglophone sources, searching for global perspectives – this is
your book.
In a whopping 50+ chapters of various lengths, divided in three distinctive parts, this
comprehensive volume takes you through the history, theory, methods and practices of
Drama Education in schools, theatres and other communities of learning. It includes the
use of drama for language learning, and a foundational chapter on assessment, the dread
of many drama teachers. It explores well-known drama methods in theory and practice
by iconic fgures like Dorothy Heathcote and Augusto Boal. But it also takes you to other
avenues, such as drama with refugees, drama with participants of difering abilities, drama
for ecological research and drama for climate change. In qualitative, quantitative and ethno-
graphic accounts we traverse through a myriad of philosophical and disciplinary perspectives
giving us insight and inspiration on how we can apply drama in our own work, regardless
of whether we are students or seasoned drama professionals, whether we work in contexts

xxii
 Forewords

that are restrictive or just starting to explore the opportunities drama ofers or whether we
are working in contexts where drama is an accepted and regular teaching method and a
performance art device.
The three parts – Boundaries, Contours, and Methods (Part I); Case Studies, Programs,
and Partnerships (Part II); and Futures and Possibilities (Part III) – are carefully subdivided
by the editors and contain foundational articles as well as short perspectives. Where Part I
starts with History and Theory of Drama in Education and Global, Inter-, and Transcultural
Drama, Part III ends with the very current global issues we are all struggling with, especially
under the impact of the Covid pandemic: the rise of neoliberalism, disaster capitalism and
the threat of “the pedagogy of the fre-marshal.”
It is impossible to praise all the contributors to this volume individually. Together, as a
hallmark of drama, they have built a mosaic, not with a smooth surface but one with some
sharp edges, rough spots and open spaces. Because in drama, no matter our objectives, we
are looking for potentials, for possible outcomes, for collective and individual cognitive,
emotional, and aesthetic experiences and enrichments. I applaud the editors Mary McAvoy
and Peter O’Connor for this achievement.

Manon van de Water

Vilas-Phipps Distinguished Achievement Professor Emerita
University of Wisconsin-Madison

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 WE CONTAIN MULTITUDES
An introduction
Mary McAvoy and Peter O’Connor

A glimpse into contemporary Drama in Education

Being responsible for transporting dreams across a city during a pandemic is a difcult
but rewarding job. Especially when you are working with 11 years olds and you’ve just
returned to school after one of the strictest lockdowns in the world. The job is made
even trickier because the dreams are fragile, some of them are recovered from people
who have lost them. As a dream repairer too I learn with the others in our class how to
carry other people’s dreams with care and love. In our role as dream repairers we get
the chance to build containers to hold people’s dreams, we design passports so dream
repairers can move more easily across the city and quarantined areas. We get to design
the logo on the side of the dream repair van that expedites our travel. We work with
a really tricky customer whose dreams are fading and we help her by painting them
for her. We meet her on Zoom. It is a kind of zoom-in role for another teacher friend
of mine. Finally when the drama is fnished, I dare to wonder if we have built a way
of holding on to dreams. My teaching doesn’t change anything in the real world, for
drama is never that powerful. But for a few moments we feel like we are actors on, with
and for the world, not just spectators and that the work we do might be the diference,
however small.
Refections on Te Rito Toi www.teritotoi.org

Overview
Drama in Education is a unique performance and pedagogical discipline focused on
process-oriented theatrical techniques designed to engage a broad spectrum of learners. It is
an engaging, theoretically signifcant, and historically rooted feld of inquiry and genre of
transdisciplinary practice. The practice of DE occurs not only in schools and classrooms but
also increasingly in community spaces and in professional theaters, and with populations of
all ages. This diversifcation of DE practice refects the discipline’s relative youth, although
John O’Toole points out DE has been part and parcel of learning for centuries as audiences
and students of all sorts have learned via drama throughout time. The past 100 years have
been pivotal to the development of professional and artistic practices, research endeavors,

DOI: 10.4324/9781003000914-1 1
 Mary McAvoy and Peter O’Connor

theoretical conversations, and policy initiatives. These support the notion that learning
can occur when approaching a concept through the lens of performance. As such, DE
is delightfully elusive in its defnition despite the robust communities of practitioners,
researchers, and artists invested in it. DE is ever-evolving, hotly debated, and highly mu-
table, realities of which are documented throughout this Companion. For example, some
readers might fnd it helpful to think of drama as more process-oriented than its artistic
product- and performance-focused counterpart, theater. For others, the process/prod-
uct delineation might be stifing. The term “education” might refer to a primary school
classroom where six-year olds take on the role of advisors to a sad king. It could mean a
group of adolescents acquainting themselves with one another by playing physical games,
laughing and moving with no clear articulation of a learning goal even though learning
no doubt occurs. When it comes to DE impact and practice, some educators, researchers,
or artists might be highly motivated to track learning outcomes that result from a DE
intervention. Others might suggest that DE resists some of the more institutionalized
learning paradigms like objective tests and coded rubrics. All of these realities exist both
in concert and in tension with one another, often simultaneously. These exciting ideas and
conversations lie at the heart of this Companion, and we have intentionally attended to the
disciplinary slipperiness of this feld.
While we make an efort to defne these practices in this brief contextualizing chapter,
we also acknowledge how diferent understandings of DE help make this discipline ripe for
pedagogical, artistic, and scholarly experimentation and invention, many examples of which
are documented throughout the various subsequent essays and case studies. This Companion
is clear evidence of hard work, excellent research, important and impassioned debate, a great
deal of experimentation, a requisite amount of failure, and ample pleasure and joy, all the
while pushing against the more alarming changing tides of both arts education policy and
arts and culture more broadly. This Companion also serves as a testament to the disciplinary
maturation of DE, which, thanks to tireless eforts of educators, artists, and scholars, has
come to stand alongside various other contemporary performance-based practices that have
advanced discussions of pedagogy and theater/performance.

Defnitions and historical roots

Perhaps thanks to its relative nascence, DE is profoundly transdisciplinary with wide-ranging
infuences, from early twentieth-century progressive education philosophies and arts as so-
cial work in the United States and Europe with fgures like Winifred Ward, Harriet Finlay
Johnson, and Esther Bowman to interactive political theater-making practices of artists like
Bertolt Brecht, Augusto Boal, and beyond. DE encompasses aesthetic methods and theories,
theatrical practices, ethical engagements, and pedagogical pursuits, often all at once. When
contextualized within the larger applied drama feld, DE takes up the explicit goal of learn-
ing and teaching through drama, although its pedagogical dimension may take a variety
of forms. Moreover, DE now appears not only in various explicitly pedagogical settings
like schools, but also in community and arts institutions. Further, as creativity and creative
learning modalities increasingly infuence discourses and policy initiatives associated with
the best practices in twenty-frst-century learning and creative economies on global scale
for good and ill, DE’s relevance as a worthwhile mode of learner engagement grows in-
creasingly salient. Accordingly, new methodologies and programs continue to take shape,
from explicitly social justice-focused initiatives to programs in intergenerational learning
and creative aging.

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 We contain multitudes: an introduction

As the DE discipline diversifes and matures, additional framing and nomenclature have
also developed to describe this work with increasing specifcity. For instance, throughout
this volume, authors reference drama for learning, body-based learning, drama-rich learn-
ing, and performative teaching in addition to “drama in education.” All are useful terms that
add nuance to the feld’s purview and boundaries. We anticipate even more useful defnitions
and sub-disciplines will appear in the future as signs of a lively and healthy discipline. Read-
ers will also notice crossover with theater for youth/young audiences, applied theater, drama
for social change, educational drama and theater, and other established, emerging, and van-
guard performance-based practices that take infuence from and innovate theatrical forms.
All these diferent threads of inquiry and practice demonstrate the feld’s growth and help
those interested in DE to negotiate what we really mean when we say “drama in education.”

Companion organization
Even as DE practices diversify and expand, the feld’s disciplinary boundaries, purpose, value,
efectiveness, and meaning beg ongoing critical conversations. Enter this book. We, scholar/
artist/educators working in the Drama in Education, Educational Drama, and Applied
Drama felds from opposite sides of the globe, ofer this Companion to Drama in Education to
address the key themes, scholarly lines of inquiry, methodological approaches, and exemplar
program and initiatives. This volume serves as a comprehensive resource for scholars, artists,
and educators alike. As DE becomes an increasingly global phenomenon, opportunities arise
to sustain and build rigorous and comprehensive international scholarly and methodological
conversations around this discipline, bringing together not only constituencies working in
Anglophone nations where many DE programs and practices originate, but also artists and
scholars working beyond these paradigms in global, inter- and transcultural spaces, and in
underrepresented communities and countries.
Given our commitment to highlighting the interrelatedness of theory and practice in DE,
we have crafted this Companion with a wide range of perspectives in mind. Although authors
included in this volume may present fundamentally diferent perspectives on key issues that
shape the DE feld, all operate in good faith with their perspectives. This Companion captures
hallmarks of artistic and scholarly exchange in DE. Given the comprehensive nature of this
Companion, we have identifed several key themes that we describe later in this introductory
chapter. However, given the volume’s scale, highlighting each contribution falls outside the
scope of our discussion here, and we invite readers to notice the wide-ranging perspectives,
geographies, orientations, and methodologies presented by the roster of authors. Essays from
established scholars conducting quantitative and mixed-methods research on notions of ef-
fcacy and efectiveness in DE programs appear alongside refections of practice from new
teaching artists and school educators who specialize in DE teaching. We also include more
radical projects that conceptualize new poetics and new avant-gardes for learning and teach-
ing through drama (see Gregorzewski, Shenfeld and Prendergast, Cameron and Anderson,
for instance). These essays and their intentional curation across the volume capture the on-
going disciplinary conversations around key issues, including better-and-best practices in
DE, aesthetics in teaching and teaching artistry, DE arts integration, DE histories, ideologies
and theories in drama and education, and concerns around access, inclusivity, and justice as
they relate to DE and arts-based learning more broadly. In addition, by intentionally seeking
out refections, lesson plans, program designs, case studies, and provocations alongside more
traditionally scholarly essays, we capture a comprehensive picture for those interested in DE’s
past, present, and future in regard to both theory and practice.

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 Mary McAvoy and Peter O’Connor

Temes
We close this introduction with a brief discussion of themes that resonated with us, as edi-
tors, as we curated this volume. As we collaborated through the pandemic, the key question,
“How do we account for COVID-19?” echoed through our deliberations. At the time of
writing this introduction, the globe has been navigating the pandemic for more than 18
months. By the time readers encounter these words, it will have been more than two years.
While lockdowns, distancing, and moves to online engagement have deeply infuenced the
DE eforts around the globe, we nonetheless lack the proper distance and time to fully
understand its depth and breadth of its impact. Given how the pandemic is reshaping cul-
tural values, economics, health policy, international exchange, and our communities more
broadly, this moment feels like an odd time to identify key themes and ideas in DE and
consider how best to position them relative to current events. Thus, we have worked to
stay humble in the face of this unprecedented moment and give space to both acknowledge
the pandemic and think beyond it. Although these themes may help guide readers through
the Companion, they are by no means exhaustive, and, in the spirit of drama as practice of
meaning-making, questioning, and creative analysis, we encourage readers to uncover new
resonances as they engage with the following essays.

Absence and loss

We frst address the most challenging themes: absence and loss. The reality of the COVID-19
pandemic asks us to make and hold space for absence and loss in this Companion. Even as
joy and pleasure ripple through the included chapters, we acknowledge pieces shaped by
and even lost to the pandemic. Most concretely, we hold space for the now-unwritten
essays about projects halted due to work stoppages and lost funding. We feel the absence
of theories and creative analysis abandoned to time that could no longer be spent think-
ing and writing in the face of working, parenting, and caretaking from home. More ab-
stractly, this COVID-related absence and loss further exposes the larger absences and loss
in our DE feld. This Companion also has missing voices and perspectives due to deep and
entrenched legacies of Whiteness and colonialism in the feld’s lineage. For instance, we
acknowledge the glaring absence of essays documenting the robust and substantive drama
in education work created in the Spanish-speaking Global South, for instance. We feel the
emptiness that should be indigenous and First Nations peoples and immigrants speaking
back to the Progressive-era impulses that narrowly defned the form and function of early
DE practice, especially in Anglophone nations where many of our represented authors,
and us as editors, study, practice, and work. To be clear, these absences are not due to the
lack of legible DE practices in these communities. Instead, these omissions are products
of culturally systemic and discipline-specifc traditions that have decentered and mar-
ginalized practices that failed to conform to DE methods now heralded as foundational.
Furthermore, while we are pleased with the range of regional, cultural, and disciplinary
diversity included in this volume, we also acknowledge that our failure, as editors, to ef-
fectively curate space and time for more underrepresented voices, practices, and initiatives
diminishes the volume and reminds us how much room we have to grow. This space of
absence and loss, felt both acutely and chronically, frames our fnal commentary at the end
of this chapter regarding possibilities for the future. Like the children in our short piece
introducing this chapter, who and how we curate people’s lost dreams and hopes is the joy

4
 We contain multitudes: an introduction

and responsibility of those of us who work in this feld. We hope readers will also approach
the volume with a critical eye toward the silenced, excluded, and missing as a frame for
thinking about DE’s complexity and possibility.

Process
Another key theme that recurs throughout the volume is the value of process. Marina
Henriques Coutinho reminds us of this in her essay, with a quote of Paolo Freire, “The world
is not fnished. It is always in the process of becoming.” Similarly, this feld is not fnished, even as
we joyfully celebrate its legibility as a discipline worthy of this scale and scope of publica-
tion. As such, readers will note process documented from a variety of perspectives. Research
processes, the processes of preparing educators to confdently facilitate DE, the process-
oriented nature of DE practices, and even the process by which DE evolves as an academic
and aesthetic discipline all resonate through each selection. In particular, we noted themes
of process around methodological generationality. Readers will note pieces that celebrate
and question the way our feld constructs our founding mothers like Dorothy Heathcote and
Winifred Ward, in efect capturing the process by which our young feld might canonize key
texts and methods. Kelly Freebody’s keynote chapter sets the tone for a deep questioning of
the shibboleths that have plagued our feld for far too long. These discussions of disciplinary
process also lay bare possibilities for opening our feld and discovering new approaches to
practicing and thinking about DE even as we honor the feld’s deep roots and variegated
shoots.
Another vital thread of analysis regarding the theme of process relates to the rigorous
documentation of method. All essays included in this Companion document or analyze fnal
dramatic or theatrical products alongside their processes. Authors note how projects oper-
ated over time, how facilitators learned from risk and experimentation, and how the daily
goings-on of DE engagements impacted participants both in the short term and over time.
This focus on practices often over outcomes is noteworthy in the discourses of theater and
performance and education since it brings attention to the murky, chaotic, imperfect, and
ever-changing spaces found in rehearsal rooms, classrooms, and community centers where
so much DE practice occurs. Moreover, a focus on process emphasizes the distinctly human
nature of DE work that, in its best form, makes space for ambiguity, hard questions, multiple
truths, consensus, and revision.

Evolving purpose
Drama’s evolving purpose in education also reverberates through this Companion. Authors
have ofered beautiful examples of drama ethically and soundly utilized as a modality,
method, or technique for other learning aims, be it climate change (Lehtonen) or reading
literacy (Ewing and Saunders). Other authors skillfully remind us that DE is a valuable and
worthy pursuit simply because the arts help us fnd beauty and enjoy more livable lives. The
case studies and analysis demonstrate that DE can be rigorously evaluated and assessed as
learning and that DE is still inherently pedagogical even when learning outcomes, pedagogy
standardization, and the general neoliberal turn in education are destabilized in their prom-
inence. All of these perspectives work in concert and highlight how both theatrical practice
and education shift through time in regard to goals, method, and policy.

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 Mary McAvoy and Peter O’Connor

Futures
Last, this Companion stands as testament to the future of DE. Readers will note essays that ac-
knowledge and engage with populations that have been underserved by DE historically, carving
out space for new conversation about ethics and inclusive practice (see Mattaini; Brendel Horn;
and Tsang, Lam and Chan, for example). The book’s curation also points to new and emerging
subgenres and micro-disciplines in DE as well. For instance, Erika Piazzoli and others’ essays on
performative language teaching draw attention to the rich scholarly and pedagogical communi-
ties that look at DE practices and language learning. Additionally, several other pieces highlight
the future role of technology in DE. While we avoid toxically positive tropes about potential
takeaways from the pandemic, we also acknowledge the innovation brought on by the abrupt
immersion into technology as a primary modality for learning and art-making in many parts
of the world in the last two years. This new technological turn also points to new possibilities
for access and connectedness and helps us fnd new strategies to engage with the theoretical and
practical tensions between the role of liveness in DE and the increasingly technological ways in
which we connect and communicate with one another. Like the radio and television before it,
the Wi-Fi-enabled mobile phone, which is used less for actual phone calls these days and more
for media creation and engagement (social and otherwise), once again troubles our societies.
This concern is further perpetuated by the development of proto-cyborg identities where one’s
technology functions as an extension of one’s self, not to mention the nefariousness of algorithms
that provide incessant dopamine hits for minds across the age spectrum. Technology use and
the era of being very online are both domains ripe for healthy hand-wringing about the speed of
change, the right to autonomy and privacy, and the shifting value of live engagement so inherent
in the practices of DE. However, as several authors here remind us, alliance with young people
and their preferred modes of engagement via an embrace of technological innovation is not only
possible but also desirable (for instance, see Petersen Jensen and Peterson and Regar). Despite
these exciting possibilities, this volume also surfaces profound concerns about DE futures as well.
As austerity measures and neoliberal economic policy take hold of public institutions around the
globe (see Pascoe, among others), what do DE programs stand to lose? How can we protect our
resources, time, expertise, preparation programs, and research agendas in light of current policy
discussions about economic utility and provide counternarratives to highlight DE’s value beyond
its potential to prepare a new creative class of workers? Above all, this Companion points to a DE
future ripe with potential, but not without challenges.

Ending with love

We conclude this introduction in the same manner as our fnal essay: with love. As Kristin Hunt
reminds us in the volume’s fnal essay, love is a radical act. Love requires vulnerability, honesty,
care, commitment. We ofer this volume to our feld in that spirit, and we believe the authors
represented here likewise approached their contributions with the same intent. Love as a radical
act means unapologetically celebrating joy, pleasure, and accomplishment in our feld while also
holding ourselves to account. Love requires us to ask challenging questions, look at established
practices and ideas with new lenses of analysis, and hold our feld accountable for changes toward
a more just and inclusive discipline. By doing so, this radical love afords us the opportunity to
remember the particularly powerful moments where DE practice distills seemingly timeless and
universal human ideas from relevant experiences in our current lives. To embody new potentials,
to envision new futures, and to honor our many and varied pasts. We go right to the edge, we go
right to the end, we go right to where all things lost are made good again!

6
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Drama for climate change education

Brown, K. , Eernstman, N. , Huke, A. R. , & Reding, N. (2017). The drama of resilience: learning, doing, and
sharing for sustainability. Ecology and Society, 22(2). https://doi.org/10.5751/ES-09145-220208
Heras, M. , & Tàbara, J. D. (2014). Let’s play transformations! Performative methods for sustainability.
Sustainability Science, 9(3), 379–398.
Kollmuss, A. , & Agyeman, J. 2002. Mind the gap: Why do people act environmentally and what are the
barriers to pro-environmental behavior? Environmental Education Research, 8(3), 239–260.
Lehtonen, A. (2012). Future thinking and learning in improvisation and a collaborative devised theatre project
within primary school students. Procedia – Social and Behavioral Sciences, 45, 104–113.
Lehtonen, A. (2021). Drama as an interconnecting approach for climate change education [dissertation,
University of Helsinki]. Unigrafia.
Lehtonen, A. , Österlind, E. , & Viirret, T. L. (2020). Drama in education for sustainability – becoming
connected through embodiment. International Journal of Education & the Arts, 21(9).
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Lehtonen, A. , & Pihkala, P. (2021). From eco-anxiety to hope through drama. In J. Adams & A. Owens
(Eds.), Beyond text. Arts-based practice and research. Intellect Publishing.
Lertzman, R. A. (2015). Environmental melancholia: Psychoanalytic dimensions of engagement. Routledge.
Nurmi, S. (2020). Ecologically relational moral agency: conceptual shifts in environmental ethics and their
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Wals, A. E. (2015). Beyond unreasonable doubt: Education and learning for socio-ecological sustainability in
the Anthropocene. Wageningen University.

Action (re)call in the theatre classroom, Sweden

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The Journal of Applied Theatre and Performance. https://doi.org/10.1080/13569783.2020.1779584
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‘Do Something Different…’

Aitken, V. (2013). Dorothy Heathcote’s Mantle of the Expert approach to teaching and learning: A brief
introduction. In D. Fraser , V. Aitken , & B. Whyte (Eds.), Connecting curriculum, linking learning (pp. 34–56).
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Education Review Office (2013). Accelerating the progress of priority learners in primary schools.
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Education Review Office (2014). Raising achievement in primary schools.
https://www.ero.govt.nz/assets/Uploads/RaisingAchievement-in-Primary-School-FINAL.pdf
Education Review Office (2015). Raising student achievement through targeted actions.
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literature review report to the Ministry of Education. New Zealand Ministry of Education.
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Students-PfS
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A dramatic approach to teaching tough topics

Baldwin, P. 2007. “Longing and Belonging.” Drama Magazine, Summer 2007: 6–10.
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Canada: Classroom and Community Contexts, edited by M.R. Carter , M. Prendergast , and G. Belliveau ,
22–29. Ottawa, ON: Canadian Association for Teacher Education.
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Writings of Jonothan Neelands, edited by P.J. O’Connor , XX–XX. Stoke on Trent: Trentham Books.
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International Contexts, edited by K. Freebody and M. Finneran , 30–39. New York: Routledge.
Swartz, L. 2020. Teaching Tough Topics: How Do I Use Children’s Literature to Build a Deeper
Understanding of Social Justice, Equity, and Diversity? Markham, ON: Pembroke.
The topic of immigrants and refugees appears in the following three Literacy and Drama resources by Larry
Swartz.
Swartz, L. 2014. “Moving On.” Chapter 7. In Dramathemes. 4th edition, 99–110. Markham, ON: Pembroke.
Swartz, L. , and D. Nyman . 2010. “Home.” Chapter 6. In Drama Schemes, Themes and Dreams, 112–131.
Markham, ON: Pembroke.
Swartz, L. 2020. “The Immigrant and Refugee Experience.” Chapter 2. Teaching Tough Topics, 40–50.
Markham, ON: Pembroke.
Choi, Yangsook . The Name Jar.
Davies, Nicola ; illus. Rebecca Cobb . The Day War Came.
Gay, Marie-Louise . Mustafa.
George, Angela May ; illus. Owen Swan . Out.
Hoffman, Mary ; illus. Karin Littlewood . The Color of Home.
Lam, Thao . The Paper Boat: A Refugee’s Story.
Ruurs, Margriet ; trans. Falah Raheem ; illus. Nizar Ali Badr . Stepping Stones: A Refugee Family’s Journey.
Robinson , Anthony , Annemarie Young , and June Allan . Mohammad’s Journey: A Refugee’s Diary.
Sanna, Francesca . The Journey.
Skyrpuch , Marsha Foruchuk , with Tuan Ho ; illus. Brian Deines . Adrift at Sea: A Vietnamese Boy’s Story of
Survival.
Tan, Shaun . The Arrival.
Temple , Kate , and Jol Temple ; illus. Terri Rose Baynton . Room on Our Rock.
Young, Rebecca . Teacup.
Wild, Margaret ; illus. Freya Blackwood . The Treasure Box.
Williams , Karen Lynn , and Khadra Mohammad ; illus. Catherine Stock . Four Feet, Two Sandals.
Applegate, Katherine . Home of the Brave.
Colfer , Eoin , and Andrew Donkin ; illus. Giovanni Riganno . Illegal (graphic text).
Gratz, Alan . Refugee.
Kullab, Samiya ; illus. Jackie Roche , and Mike Freiheti . Escape from Syria (graphic text).
Lai, Thanhha . Inside Out & Back Again.
Jamieson , Victoria , and Omar Mohamed . When Stars Are Scattered (graphic text).
Rauf, Onjali . The Boy at the Back of the Class.
Warga, Jasmine . Other Words for Home.
Ellis, Deborah . Children of War: Voices of Iraqi Refugees.
Hearn , Emily , and Marywinn Milne , eds. Our New Home: Immigrant Children Speak Where Will I Live?
Second Story Press.
Naidoo , Beverley , ed. Making it Home: Real-Life Stories from Children Forced to Flee.
Roberts, Ceri ; illus. Hanane Kai . Children in Our World: Refugees and Migrants.
Rosen , Michael , and Annemarie Young . Who Are Refugees and Migrants? What Makes People Leave
Their Homes? And Other Big Questions.
Yousafzai, Malala . We Are Displaced: My Journey and Stories from Refugee Girls Around the World.
Zephaniah, Benjamin . Refugee Boy (YA).

“Freeze!” – building reflective and analytical skills in children through drama

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Theater for children's dialogical specificities

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Bodies at play
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Little Red and the Wolf

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Facilitating post-performance process drama in an Irish primary school

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Accessible for all

Ajodhia-Andrews, A. (2016). Reflexively conducting research with ethnically diverse children with disabilities.
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