Browsing by Subject "draamakasvatus"
Now showing items 1-20 of 22
-
(2014)Objectives. In this study, the aim is to analyze whether the learning environments of drama lessons support creativity. Based on earlier research, creativity was understood as an ability that can be found in everyone. Creative environment, however, was considered to have several characteristics, two of which are; positive climate and student-centered teaching. The purpose of the study is to find out whether the drama lessons have positive climate and whether the teaching is student-centered or not. In addition, the aim is to analyze how these two phenomena function as a part of the creative environment of drama lessons. Furthermore, the aim is to test and develop The Classroom Assessment Scoring System™ (CLASS) observation tool in the context of drama lessons. Methods. The study is defined as a qualitative case study although some quantitative measures were also made. The subject of the present study was eight drama lessons which were given to pupils ranging from first to third graders. The research material was collected by videotaping two lessons from four class teachers all specialized in drama. The material was analyzed by using two of the CLASS observation tool's parts; one for observing positive climate and another for observing student-centered teaching. In addition to the CLASS tool, the research material was analyzed by measuring the time used for creative and student-centered action. Results and conclusions. The research shows that drama lessons support children's creative learning as pupils generated new ideas and solutions, on average, half of the time during the lessons. The drama lessons received high grades (5–7 on a scale of 1–7) with the CLASS tool, both in positive climate and in student-centeredness. This implies that the drama lessons' learning climate was positive and their teaching was student-centered. On average ⅔ (64%) of the time, the lessons were student-centered. The connection between student-centered teaching and creative action was clear as an average of 80 % of the student-centered action was also creative. The current understanding is that positive climate is one of the key components of creative learning environments. This is why it is justifiable to assume that the drama lessons' high levels of positive climate were one of the reasons why their learning environments supported children's creative learning. In conclusion, positive climate and student-centered teaching are key elements of the creative environment of drama lessons, and the CLASS tool offers one possible framework for developing a new instrument for analyzing the quality of teaching in drama lessons.
-
(2021)Climate change is a fundamental phenomenon and challenge of our time and it should be dealt with in all areas of life. However, climate change education is being implemented very limitedly. During recent years there has been increasing amount of research on climate change education, but climate change education in early childhood education has been studied very sparingly. According to previous research, news about climate change can arouse many kinds of emotions and thoughts in children. Based on research, it has been proposed that through art-driven teaching methods it is possible to deal with emotions and thoughts aroused by climate change and strengthen hopefulness and belief in one’s own influence. Of the forms of art education, drama education as a method of climate change education has hardly been studied. The aim of this study was to add knowledge of what climate change education could be in early childhood education. The study investigates early childhood education specialists’ definitions of climate change education and their views on what possibilities drama education methods can offer for implementation of climate change education. I designed and implemented climate drama workshops for early childhood education specialists and collected the research data in the context of the workshops. Participants of the study produced short writings and in addition two of the workshops were videotaped. I analyzed the writing data and the video data qualitatively using the method of theory-based content analysis. Aa a basis for the analysis I used primarily the holistic bicycle model on climate change education (Tolppanen ym. 2017). The early childhood education specialists who participated in the study defined adding knowledge and understanding, encouraging to action, developing values and conceptions of the world and dealing with emotions as contents of climate change education. Specialists’ uncertainty and worries about arousing difficult emotions in children appeared as barriers for implementing climate change education in early childhood education. From the perspective of the study subjects, drama education methods seemed to have possibilities for implementing several parts of climate change education. Drama educations possibilities related to adding knowledge, developing thinking skills, building conceptions of the world, empowering and dealing with emotions were brought up. Methods of drama education offer practical ways for implementing and developing climate change education in early childhood education.
-
(2019)Objectives. The goal of this thesis is to examine various positive methods in which a teacher can confront a challenging student in the classroom and redirect the student’s behaviour to fit the lessons agenda. This thesis will also aim to examine what kinds of challenging behaviour can be found from analysed drama lessons. Previous research has shown that teachers find interactions with challenging students to be often demanding. In the modern classroom teachers must be prepared to face challenging students and therefore there is a need to research teachers already working in the field to see how they confront challenging students in a positive way. Methods. The research for this thesis was done as a case-study based in video observations, where footage from the 2018 KEHU-project was utilized. The research footage contained five filmed lessons, which were taught by five various drama-specialized teachers across Finland. The teachers participating in this project taught grades one through third grade. The nature of this research was based on qualitative methods. The material was processed through content analysis and classification. Results and conclusions. Challenging behaviour was categorized into four distinct categories based off the filmed drama lessons, which were disruptive behaviour, wandering, disobedience and negative verbal or physical interaction. Challenging behaviour filmed during the lessons were often quite mild forms of challenging behaviour. Based on the results the teachers mostly conducted positive confrontations against challenging students and were able to redirect behaviour with efficient and practical methods. This thesis provided promising information in regards that teachers can redirect behaviour towards the lesson’s goals with positive interactions. Having a respective attitude towards students and striving towards dialogical interactions from the teacher appears to improve confronting the student, which has been proven in earlier research to be meaningful in regards to the students behaviour.
-
(2015)Objectives. In this study, the aim is to examine pupils' behaviour and behaviour management in drama lessons. Drama education is based on student-centred teaching and experimental learning, which is seen as a challenge for behaviour management and a huge risk for misbehaviour. On the other hand, in drama education pupils learn through creating and producing different solutions in groups, which is not possible in a strictly controlled environment. The aim of the study is also to clarify whether the behaviour management prevents group creativity in drama. At the same time, in this study, the observation tool of The Class Assessment Scoring System (CLASS) and its suitability for analysing the behaviour management of drama will be evaluated. Methods. This study is defined as a qualitative case study. The subject of the study was eight drama lessons for pupils ranging from first to third graders. The research material consisted of secondary video data that had been shot in drama lessons of four class teachers all specialised in drama. The material was analysed by using the behaviour management section of the CLASS tool and by categorising the situations of misbehaviour and the means of behaviour management. The results were then compared to previous study results of creative action in the drama lessons. Results and conclusions. The research shows that the pupils behaved as per the expectations and there were only minor occasions of misbehaviour in the lessons. Pupil behaviour received mainly high grades (6–7 on a scale of 1–7) while the grades of behaviour management were constantly lower (3,5–6 on a scale of 1–7). Behaviour management was based on reactivity instead of proactivity. The results endorse previous information that pupil compliance is supported by persistent prevention including created and sustained drama contract as well as active working for good group relations and positive atmosphere. Pupil behaviour was at its best when the teachers did not constantly control the pupils. Previous research shows that high-quality behaviour management supports group creativity in drama. CLASS tool is seen suitable for analysing behaviour management in drama lessons especially when considering drama elements such as the drama contract and pupil devotion.
-
(2023)The purpose of the study was to find out how drama as teaching method suits in home economics education and how the home economics teachers and students who participated in the teaching experiment experience teaching and learning through drama. In addition, we will think about the possibilities and good sides of using drama as teaching method, as well as the minuses of it. The study thus examines the combination of drama education and home economics from the perspectives of the teacher and the student. There is not much previous research on combining drama education and home economics, but it has been suggested that it would be possible to use drama in teaching home economics. Previous studies of drama education show that drama education can be used versatilely in goal-oriented teaching. As a research method, a case study was used, which was implemented as a teaching experiment in a middle school in Capital region. It included three teaching sessions with three different ninth graders. The length of one teaching session was 2x45 minutes and the groups consisted of approximately 15–20 students. Qualitative methods were used as data collection methods. In addition to the observation of teaching sessions, the material was collected by means of a feedback questionnaire given to all students and interviews with three home economics teachers. Data-oriented analysis was used in the analysis of the data. The students had a very negative and unfavourable attitude towards the lesson of the teaching experiment, especially at the beginning. The biggest reason for this was that the students would have liked to cook in the usual style. However, based on the feedback questionnaire, most of the students believed they learned things well during the lessons and remembered things better. For their part, all home economics teachers believed drama work methods could continue to be used in home economics teaching. They just justified their views on how and when they would use drama work methods in their own teaching in different ways. The importance of variety, better memory and improving group dynamics were listed as possibilities for utilizing drama work methods in the household, while the teacher's own knowledge, skills and skill set, and classroom facilities were perceived as obstacles.
-
(2022)The goal of this master’s thesis is to analyze the opinions of drama teachers in utilising dra-ma education and the possibilities drama education offers for home economics teaching. The study focuses on combining drama education and home economics teaching from the point of view teachers, students and the learning environment. The theoretical framework is formed by describing drama education as a teaching method and home economics as a secondary school subject. There is very little previous research on combining drama educa-tion and home economics education. However, home economics has been presented as subject in which drama education could be utilized. Previous research on drama education demonstrates that drama education can be utilized in multitudes of ways in goal-centric teaching. The research method used in this master’s thesis was semi-structured interviews. Six drama teachers working in different drama education contexts were interviewed. The interviews were held during March 2022. The data was analyzed using theory-based content analysis. The research approach in this study was phenomenographic. Toivanen (2007), Heikkinen (2005), Pöntinen (2019) and Neelands (1998) were used as references for the theoretical framework. Utilizing drama education in home economics education was viewed as positive and enabling from the teachers, students, and educational perspective. Drama education was seen as an enabler for a more active and interactive learning environment. From the students’ point of view drama education offered more versatile learning in home economics education. For teachers it offered teaching tools but required planning, motivating students and good situation management. Drama education was seen as a suitable teaching method in home economics education; however, teachers emphasized the responsibility of a competent drama teacher to consider its necessity situationally. All in all, a drama education qualification could be a beneficial skill for home economics teachers.
-
(2024)The child's natural activity is play and the child's creativity is reflected through it. The starting point for this thesis is Vygotsky's (1978) perception of the importance of play for the child's development. In early childhood education, play is an important activity and play is appreciated. In kindergarten, children's play can be free or guided activities. Children's play can be supported in a variety of ways through stimulating creative activities. One of these methods can be drama education, where children can practice imagination, throwing up and improvisation. Play also needs space, peace and time, and the kindergarten can support or prevent the realization of play. The material for this thesis was collected using an ethnographic method at the Uusimaa daycare. The researcher worked part-time in the kindergarten in a group of 12 children and during this time she collected material through multimedia observation, using video shooting, recording, and interviewing the children. The information produced by the children was the object of interest. The children's participation in the study was supported by listening to them using the storycrafting method. The children made drawing with the same idea. The results of the thesis, play and creativity in this group was reflected in role- and imagination play. Drama education was one way of working in the group, and the drama play also inspired children in free play. The central play -supporting and blocking activity was the space -time structures. Playing peace, sufficient time supported the free play. Disagreements during play, interruptions to play and adults´ perceptions of play prevented free play.
-
(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.
-
(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.
-
(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.
-
(2017)Objectives. As a special education teacher, I consider the welfare of the students in school to be important. Forming the class into a group of students that can work well together and have positive atmosphere to support learning. Research has shown that emphasizing courage has improved the social relationships between students and it is assumed to also support the group processes in the class. The research question of the study is to see how can courage as a character strength support the group processes in the class. The objective of the study is to figure out how the students experience courage and how courage appears during group work in drama lesson. Methods. The study was qualitative case study. The target group of the case study was a third grade special education class of ten students. The empirical evidence of the study was gathered from three different source materials: sociometric measurements done at three different points during the research period, student interviews, and drama lessons in small groups. The analysis was based on group theories of social psychology, positive psychological definitions of courage and the fields of learning in drama education. Results and Conclusions. The students of the special education class that were observed in the study proved to be brave and compassionate. They showed a growth mindset towards the idea of increasing and developing their courage. These qualities supported the interaction among the students in the class. Drama as a cooperative learning method supported the development of student interaction, a positive atmosphere, and proved to be effective for teaching and improving character strengths.
-
(2018)Aims. Drama education in schools has been previously seen as an important learning tool, because the focus of drama is on communication skills, pupils enjoy it and it improves the cohesion in goup. Even though drama is mentioned 75 times in the new curriculum of 2014, it is not an independent school subject. The conception of drama education is unclear to many teachers and planning drama classes is complicated.The aim of this study is to describe novice teacher’s conceptions about the importance, specificities and challenges of teaching drama. Methodology. This study was a qualitative case study. The subject of this study was semi-structured theme interviews of five novice teachers, who all had been specialized on drama education and had been working as a teacher less than three years. The data was analyzed by using content analysis. Results and conclusions. The interviewed teachers thought drama is challenging but important way of teaching. The good qualities of drama included the positive attitude of the pupils, the diverse between drama and other school subjects, and improving communication and social skills. Drama was considered challenging and exhausting subject to teach as well. All of the interviewees considered drama valuable despite of the challenges.
-
(2019)The purpose of this study is to examine, what kind of feedback the teacher gives to his/her students during drama lesson. The study also examines, what kind of effects the feedback given by the teacher has for the atmosphere in classroom. The latest researches point out that teachers don’t provide enough specific feedback for their students. Instead, the feedback is often inaccurate. The hypothesis of this study is also, that teachers don’t provide enough specific feedback for their students, as the previous studies show. The earlier literature presented in this study addresses formative assessment and the feedback that formative assessment requires. The literature of this study is also based on the significance of teacher’s interaction skills on his/her ways to give feedback, the significance of feedback for the school achievement of the students, and the feedback in drama education. The data of this study consists of eight video recorded drama lessons. There were four observed teachers, who have graduated with drama education as their secondary subject. Two drama lessons per teacher were observed. The feedbacks occurred from the data were marked on chart, where the feedbacks were divided in themes. The research method of the study is qualitative content analysis, because the feedback was examined as everyday phenomena. 63% of the feedback that was given by the teacher was directed to the behaviour of the student. 28% of the feedback was inaccurate glorification, and the amount of specific feedback was only 8%. Whereas the amount of inaccurate negative feedback was 1%, when rounded up. There was only one marked inaccurate negative feedback. When the results were compared to the quality of classroom’s atmosphere, the study found out that the teachers, who give positive feedback the most, have also higher quality in their classroom’s interaction atmosphere. In addition, the teacher who gave specific feedback the most, had the highest quality of interaction atmosphere in his/her classroom.
-
Opettaja(n) roolissa : teatterilähtöiset menetelmät varhaiskasvatuksen opettajuuden rakentumisessa (2020)Objectives. The purpose of the qualitative case study was to find out how practicing theatre-based methods could potentially support early childhood teacher students during teacher education and in working life. The study examines how interviewed early childhood education teachers feel that their minor subject, namely Drama Education (25 ECTS), has supported their growth as a teacher. It also explores how interviewees feel theater-based methods have influenced them professionally, having worked as teachers for one and a half years. The thesis was motivated by the KEHU – Teacher’s Comprehensive Interaction Skills Project. The structure of being a teacher was investigated using Korthagen's (2004) model of levels of change. This onion model illustrates the layered nature of teaching and provides a framework through which to explore different levels of teaching from a more holistic perspective. Previous studies have suggested that practicing theatre-based methods, such as improvisation, is helpful in balancing the improvisational and systematic natures of teaching. The premise of the study was that practicing theatre-based methods could increase the sensitivity, responsiveness, and bodily awareness of early childhood education teachers. In addition, the premise was that theatre-based methods could support the construction and identification of teacher identities and core characteristics. Methods. Semi-structured individual interviews were conducted in two parts, in spring 2018 and in autumn 2019. Five early childhood education teacher students were interviewed in the first round and four in the second round, with one of the first-round interviewees reclining from the interview. The results were analyzed through qualitative, theory-driven content analysis and interpreted using the Korthagen model. Results. The impact of theatre-based methods on early childhood teacher education was reflected in the interviewees' reflections on, for example, by increasing body awareness and sensitivity. In addition, interviewees reported facilitating the handling of emotions and understanding the importance of being present in supporting children's play. However, the second round of interviews revealed that only one of the four interviewees were utilisating drama education in their daily teaching. Reflection on this interviewee's teaching progressed along the lines of the Korthagen model: the influence of theatre-based methods was clearly evident in the construction of the teacher identity. Thus, it can be stated that as the everyday life of early childhood education might turn out to be hectic, the use of theatre-based methods in teaching may become more difficult. Theater-based methods can play an important role in actualizing the core characteristics of teaching, but this requires the active use of drama education in the daily life of an early childhood teacher.
-
(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.
-
(2017)Objectives. Based on the theory behind drama education, the learning potential of drama resides in working in fictional environments. The natural tendency of children to play and imagine is at the center of drama education, so the defining of play and fiction in relation to working in fictional environments were crucial. The aim of the study is to develop and test the Fictional Work Meter, which can be used to examine the different aspects of working in fiction on drama lessons; fictitious realities and fictional roles, planning fiction, ways of creating fictional environments, the clarity between fiction and reality, and the pupils' commitment to working in fiction. The study also examines the level of fictional work on eight 1-3 grade drama lessons using the Fictional Work Meter. Methods. This study is a qualitative case study using the numerical analysis of the Fictional Work Meter that is based on the Classroom Assessment Scoring System (CLASS) classroom observation tool. The eight filmed drama lessons used in the research were analyzed both verbally and in numerical values in the different categories of fictional work. The reliability of the research results was enhanced by making the analysis in co-operation with another analysist. Results and conclusions. The Fictional Work Meter developed for this study was well suited for analyzing the various aspects of working in fiction on drama lessons in the research material. All the analyzed drama lessons contained either moderate (4-5) or high (6-7) levels of working in fiction. Based on the high values, it could be assumed that teachers specialized in drama teaching were able to use fictional work on their drama lessons. The positive attitude and high intensity of the students towards working in fictitious reality supported the assumption. A result of this study was also the creation of a design template to raise the level of working in fiction on drama lessons.
-
(2016)Objectives. The academic relevance of this study is to increase knowledge of the factors that improve the quality of drama education. The study uses Instructional Learning Formats (hereinafter referred to as ILF) as the starting point. The first research question examines what kinds of ILF's were employed in the analysed drama lessons. The Second research question aims to find out if those ILF's are linked to group creativity during drama. The third and final research question scrutinizes the suitability of The Classroom Assessment Scoring System™ (CLASS) observation instrument to analyse drama lessons. Methods. This study is a qualitative case study. The main focus of the research were the different ILF's employed in first to third grade drama lessons. The research material consisted of eight taped drama lessons held by specialized drama teachers. The material was analysed by using the CLASS observation instrument focusing on the use of ILF's during drama classes and does their use generate group creativity. The main factors that were examined were the influence of teacher's behaviour and the methods used by the teacher on student's staying interested and committed to teaching activities. Conclusions. The examined lessons received mid and high range scores (4-6, scale being 1-7). Central factors to engaging students and increasing group creativity were the teacher's personal involvement, presence, facilitating student's engagement, clarity of learning objectives and creating an understanding and open-minded atmosphere in class. The best drama methods to support group creativity are those that utilize work in small groups. Especially consensual planning in small groups improves the possibility for students to participate, present their own ideas and to strive to find creative solutions together to hypothetical problems presented during drama.
-
(2016)Objectives. The purpose of this study is to investigate the quality of feedback in drama lessons. The aim in this study is to analyse and compare the quality of feedback of class teachers and teacher trainees. In addition, the aim is to test and develop The Classroom Assessment Scoring System (CLASS) observation tool in the context of drama lessons. Methods. The study is defined as a qualitative case study although some quantitative measures were also used. The research material consisted of secondary video data that had been filmed in drama lessons of four class teachers and four teacher trainees. The videos were analysed by using the quality of feedback section of the CLASS. Results and conclusions. The research shows that the quality of feedback on analysed lessons is perfunctory and the amount of feedback is low. On a scale of 1–7 none of the lessons got high grades 6–7. The quality of feedback was low or middle-range on every lesson. The qualified teachers got higher grades than teacher trainees on analysed lessons. CLASS tool is seen suitable for analysing the quality of feedback on drama lessons when also considering the non-verbal feedback. Non-verbal feedback includes teacher's actions, facial expressions and the use of space in the classroom.
-
(2008)In this research pedagogical live action role playing is examined as a method of teaching history. The objective of this research is to present and define the concept of pedagogical live action role playing as a method of teaching history and examine its capability in teaching historical empathy. Pedagogical live action role playing is a teaching method under development which has elements from drama pedagogics and different learning theories. The theoretical part of this research consists of play theories and drama pedagogical theories which are relevant to live action role playing, and also the concepts of historical empathy and historical thinking. In drama pedagogics the main sources are the researches of Laakso (2004) and Heikkinen (2002, 2004). The historical part uses the researches of VanSledright (2002), Cooper (2000) and Ashby and Lee (1987) as its main sources. The research was carried out at the Viikki Teacher Training School in the class 6b during autumn 2007. The research material consists of three-phased interviews. During all phases three pupils were interviewed, and during two of the phases, also the teacher of the class was interviewed. The methods used in the interviews were thematic interview and stimulated recall -interview. The data gathered from the interviews was analyzed using content analysis. Pedagogical live action role playing has three phases when teaching history: pre-game (preparations), game (live action role play) and post-game (discussion after the game and in the classroom). The teacher's attention and carefulness is important during all phases. The mistakes made in the pre-game face e.g. in writing the characters seem to cause major problems in the pupils' game experiences. Pedagogical live action role playing is capable of teaching historical empathy, but according to my research this has some conditions, from which the most important is the pupil's historical knowledge before the game. Teaching historical empathy was based on aesthetic dualition: the pupil made decisions about the actions of his character as him/herself. The more background information the pupil had about the era they played, the more the pupil seemed to make decisions based on his historical empathy, aka his understanding of the era of the larp and of the people of the same era.
-
(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.
Now showing items 1-20 of 22