Browsing by Subject "draama"
Now showing items 1-9 of 9
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(2015)In a recent pedagogical debate the animation is seen as a result of a child-oriented education. It includes terms communality, agency and participant, which were studied at VKK-metro's participation- and Billding bridges -projects. In a social pedagogy and a free education is known sosio-cultural animation, that has come to Finland by Leena Kurki (2000). In this study a connection to Kurki's sociocultural animation is searched from todays's child-oriented thoughts and from Vygotsky's sociocultural theory. This study applies and experiments sociocultural animation by the means of drama, and examines in which ways animation appears as communality, agency and participation in a kindergarten preschool group. Methods: This study was made in spring 2012 in a day-carecenter near Helsinki and it took six days. The target group of the educational experiment was 24 children. This study applies qualitative research methods and there are forms of action research, where the researcher is a facilitator and participating observer.The data collection method was observation, notebook and video- and research diary. In the analysis of the data is utilized content analysis. Results and conclusions: Communality was seen at the Zone of proximal development as peer learning for example in drawnings. At the emotional Zone of proximal development animation created animation. This was shown as cheering of others, appreciation of drama performances and as enthusiasm in ones own activity. Negotiations where often non-verbal and handled through operation. Agency was shown as expression and realization or non-realization of ideas. If necessary, help was sought from a more capable individual and an adult was sought for attention and acknowledgement. Participation was shown as mutual ideation, doing, evaluation, decision making and diverse creation of culture between adults and children. Hence animation increased the culture of communality where children can learn, open up and encourage themselves to act proactively and creatively to achieve a mutual goal, a drama performance.
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(2020)Objectives. The goal of this thesis was to find out what kind of perceptions early childhood education employees have of drama education and it´s use as a pedagogical content and how to strengthen it`s status. This thesis used Bronfenbrenner´s ecological systems theory as a way to look how perceptions will absorb and how they´ll influence. The study examines dramaplay -entity. Finnish education evaluation centre made a report of implementation of the National core curriculum and there were shortcomings in the contents of art education. Methods. Theme interviews conducted in spring 2015. Three early childhood education employee were interviewed. The results analyzed through phenomenographic method. Results. Drama perceived as positive and communal art form but only one of the interviewees used drama regularly. There was less drama and art education if the employee found the group of children challenging. Interviewed employees experienced that kindergartens cultural activities reflect the quantity and quality of art education. All interviewees argued that training was a way to increase art education and drama. Employees had positive attitude towards drama. They participated in the drama with the group and were given concrete tools how to make drama with children. Kindergartens operational culture and leadership influence pedagogical content. Perceptions of arts and drama pedagogy in early childhood education should be examined more depth and their impact on action explored.
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(2014)The purpose of this research study was to examine what comprehension school students find important in their lives, what their relationship is with their own material possessions and what contribution the educational applied drama program Mikä känny sulla on? had to offer to the character education mission of the Finnish comprehension school institution. The study aimed to understand the value systems that students build and maintain in their own environments and document through the use of personal accounts of students how they themselves experienced the program and how it fit into their school work, with a special emphasis on the critical nature of the program towards identity-building centered around materialism. Prior research has established the essential differences between values displayed by youth and adults. In this study, our hypothesis was that the students participating in the study would display the same sorts of value systems as have been established in other studies, which found that young people's values center around social values, such as family relations, and the more materialistic, hedonistic values. The research study was executed in two different comprehension schools located in Helsinki, Finland. The participants of the study were two classes of students, one of the fifth grade and another of the eighth. The total number of participants was 36. As part of the study the students were all given a questionnaire form, in addition to which 17 of the students were interviewed in a semi-structured thematic interview. Both the questionnaires and the thematic interviews were conducted in the classrooms after the applied drama program Mikä känny sulla on? had been performed. The study results confirmed our hypothesis that the value systems centered around social relations and hedonistic values would be accentuated in the answers of the students. The study also established that the single most important material object in the students' possession according to their own views is the mobile phone. Based on the experiences of the students as relayed by them in the interviews, it can be said that the drama program's pedagogic solutions have been ontologically committing and interesting to the students. The students also described their impressions of the purposefulness and necessity of the program, and based on these experiences the Mikä känny sulla on? -program can be said to have provided a new angle from which the character education mission of the comprehension school system can approach such themes as human dignity, social skills, healthy self-images and friendship.
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(2018)The purpose of this research was to investigate children`s involvement in drama-activity. This research consists of three research questions. The researh questions were: how do children aged 4 to 6 years old get involved with dramaclublessons, how do their involvement values change during three months, and which kind of drama-activity involves children. The theory of the research is based on dramaeducation`s theory, theory of play, and Ferre Laever`s theory of involvement. Previous researchs have shown that dramaeducation is meaningful for chidren`s learning. Previous researchs have also shown dramaeducations meaning for children`s holistic development. The study is a qualitative case study. The data is collected during spring 2016 from a drama club activity. The data is collected using videography method. Eight consecutive drama lessons were filmed for this study. In the dramaclub, there were six children, and this study is about five of them. Children in the club were from 4 to 6 years old. The data is collected using two video cameras. Each lesson lasted approximately 40 minutes. The data has been analysed using Ferre Laevers LIS-YC, the Leuven Involvement Scale for Young Children. The data was analysed using time-intervall method. The analyses was done using both qualitative and quantitative methods. The study results indicate that the children who participated in the drama lessons were involved at a high level in average. All the children’s average value was over the value of four or three. Value four means high involvement. The analysis for the answers on the second research question indicates that there was no significant increase or decrease in the level of involvement within the time period of three months. The analysis of the last research question indicates that children's engagement levels are higher during drama lessons that involve process-drama and also lessons that enable children to act as active participants during the lesson. Activities where children were for example spectators were not as involving, as activities where they were acting themselves in a role. Conclusion for this study is that drama is an involving method for children from age 4 to 6, when they get to be active participants.
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(2017)Objectives. The aim of this study is to find out how language modeling appears in primary school drama lessons taught by teachers who are specialized in drama. Language modeling includes dialogical teaching which is highlighted in the new Finnish curriculum via student orientation and co-operation. According to recent studies, dialogical teaching improves the pupils' involvement and motivation to study by increasing conversations and interactions in the classroom. Language modeling also includes physical modeling of the teacher's instructions and the reflection of the students' activities. In this study I use The Classroom Assessment Scoring System™ (CLASS) as a meter which I have adapted to drama lessons. I used the CLASS-scoring system to find out what kind of values the drama teachers received with their two filmed drama lessons. I also estimate how suitable the CLASS-scoring system is in valuing language modelling in drama lessons. Methods. This study can be defined as a qualitative case study and the method was video analysis. I analysed eight drama lessons with my research partner. The drama lessons were filmed in 2013 and 2014. There were four teachers who each had two drama lessons. I analysed each lessons' language modelling with the CLASS-scoring system. Results and conclusions. All the drama teachers in this research received averages that were in the mid-range of the CLASS-scoring system. The teacher-led work phases of the drama lessons lowered the points of the whole lesson and student orientated work phases brought them up. Also the work phases where the teacher instructed the pupils by showing the example his-/herself, increased the points and the instructions were clearer. The CLASS-scoring system was well suited to simulating language modeling in the context of dialogue teaching and teacher's instructions.
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(2015)Objectives. In this study, the aim is to examine whether teacher's sensitivity has an influence on children's creative behaviour on drama lessons. Critical thinking, questioning and flexible thinking are important creative skills of the 20th century. Nurturing children's creativity is a significant objective in the upcoming core curriculum 2016 for basic education. Drama's experimental, social and child activating character offers an opportunity to develop children's creativity. There exists a need for further research about drama's possibilities to foster creativity. In my second research question, I consider, how does the Classroom Assessment Scoring System (CLASS), which is the observational instrument used in this study, suit in analyzing drama lessons. Methods. This study can be defined as a qualitative case study. The focus of observation was interaction between teacher and pupils on drama lessons for 1-3 graders. Four drama teachers took part in this study. The research material consists of eight videos from drama lessons of these teachers. The center of attention in teacher-pupil interaction was teacher sensitivity which was examined by CLASS. I was also interested in children's creative behaviour, which was engaged in creative action. Ratings of teacher sensitivity were examined in relation to the amount of pupil's creative working. Research material was also analyzed through elements of creative pedagogical environment. Studying former theories indicated a connection between the elements of a creative pedagogical environment and a sensitive drama teacher. Results and conclusions. Drama teachers in this study got high ratings in teacher sensitivity. I counted an average amount of children's creative working time for every teacher based on each teacher's two drama lessons. These results showed that an average drama lesson included always 50% or more children's creative working time. Based on research results in this study and former studies, we can assume that teacher's sensitivity has an influence on children's possibilities to be creative. A teacher, who reacts sensitively to pupil's emotions and needs, creates a classroom climate that enhances children's creativity.
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(2017)In a city in Länsi-Uusimaa social skills are trained by playing a role-game that is called Synkeän louhoksen seikkailu. Game was invented for teaching social skills to children. Game has five stages that all teaches children to identify and name their feelings, give and receive positive feedback, evaluate own acts and how to resolve social conflicts. I have played role-game for many years and I was very interested about using role-game to teach social skills. Turn out that it is very challenging to measure changes in social skills, because the data was too small and I did not had right tools. So, I had to change my focus. I decided to study role-gaming as a teaching method. I wanted to study role-gaming and how to use it in theory as a teaching method. In this research curriculum and role-gamin theory are compered to find common goals. In this research I study role-gaming, its theory, concept and history. Using it as a teaching method is main focus. There is lot of similarity in many curriculum goals and role-gaming benefits. Research shows that role-gaming is in theory effective for teaching social skills. Benefit for using role-gaming as teaching method is supporting experimental and phenomenon based learning. Down side for using role-gaming is that it requires a lot of work. And there is a lack of scientific research of role-gaming as a teaching method and education for teachers how to use it.
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(2024)The purpose of this master’s thesis was to explore the possibilities of drama in the teaching and studying of the second national language Swedish. The study aims to examine teacher’s and students’ perceptions of the use of drama in Swedish language education, as well as the connection between these drama approaches and the learning of Swedish. The study was conducted as a qualitative case study in an elementary school in a southern Finnish city. The research data was collected by interviewing one Swedish language teacher and 14 fifth grade students who had been studying optional A2-level Swedish for three years. The research data consists of one interview with the teacher and five group interviews with the students. Alongside semi-structured thematic interviews, the research data includes one observation of a Swedish language lesson and notes written based on it. The analysis of the research data was conducted applying the phenomenographic approach. According to the study, teacher’s and students’ perceptions of drama in Swedish language were categorized into experiential and performance-oriented approaches. Experiential approaches included perceptions of functionality, authenticity, playfulness, interactivity, and self-expression in drama. Performance-oriented approaches included perceptions of text dramatization, preparation for performance, role-playing, and performance. The connection between these approaches and the learning of Swedish was examined through elements that influence learning. These elements were divided into positive factors that influence learning, and perspectives on drama approaches and the factors influencing them. Drama approaches were perceived to impact motivation, concentration, and experiences of the usefulness of learning, among other factors. The approaches were understood to have a positive impact, especially on oral language skills and vocabulary learning in Swedish. The teacher perceived that the approaches were influenced by group size, grade level, age, language proficiency, and group atmosphere. Students were more concentrated on group-related factors that affect drama approaches and experiences in drama. Students’ perspectives were particularly related to experiences of performance, which were perceived to be influenced by group size, language proficiency, and group atmosphere. Additionally, the possibility of choice regarding performance was perceived to impact the experiences of drama in Swedish language learning.
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(2018)Objectives. In this study the aim is to examine teacher’s actions from selected perspective. The perspective for observation and examination is teacher as a creative role model –observational instrument. This instrument is created using previous research and studies and it is based on CLASS-observational instrument (Classroom Assessment Scoring System). The idea behind this study and teacher as a creative role model –observational instrument is that teacher’s actions have significant influence in student’s creativity and especially creative pedagogical environment. Teachers actions as a creative role model were divided into three different categories; 1. teacher’s presence and nonverbal communication, 2. teacher’s participation and demonstration during drama lessons and 3. teacher’s flexibility as in use of time and willingness to change the direction of the drama lesson due to student’s offers and ideas. Methods. The study is a qualitative case-study. The research material consists eight process-drama lessons. Lessons were filmed by Larissa Säntti and Riikka-Liisa Salomaa back in 2014. The material was observed and analyzed using teacher as a creative role model –observational instrument. The research material was analyzed together with my research partner Jere Ruohoranta to strengthen and support the validity of this research. Each phase of each lesson got a value for all three categories. These values were then added together and means for each lesson were calculated. Results and conclutions. All of the four teachers we observed got mediocre or high values from every lesson using this observational instrument. Although there were some variance between the values teachers got, the quality of the drama lessons and teacher’s actions were high. Especially teacher D’s actions and lesson structure included significant amount of students’ own perspective to be heard and also active presence and participation on the behalf of Teacher D. The overall quality of the drama lessons we observed is very high from the teacher as a creative role model -point of view. The Teacher as a creative role model –tool is fit for the purpose of observing and analyzing drama lessons.
Now showing items 1-9 of 9