After looking at different teaching methods and experiencing the twentieth century model, I can see as a prospective teacher how the twenty-first century model of teaching is very important for students to be immersed in. With society and the workforce changing, the curriculum needed to change to meet the needs of our new world. Keeping these shifts in mind when teaching our own students later on will be beneficial for them as well as ourselves.
The shift in the Ontario curriculum since 2010 is very important to the teaching of the students. In the Arts curriculum, the Dramatic Arts section focuses on not only the fundamentals that existed when the course was taught to me, but also more developed aspects such as new experimental theatre, improvisation being taught beside the groundbreaking works of Brecht and other post-modernist artists.
Utilizing twenty-first aspects just as Assessing for and as the curriculum as well as the backward model will allow for teachers to be able to focus their lessons around society's growing demands and changing atmosphere. Utilizing these methods in a theatre setting will allow a teacher to see where each of their students are and how they learn best. Keeping this in mind, the teacher can adjust the lessons and gear certain lessons to the interests of the students, such as focusing in a tactile fashion for the production section of theatre.
Also utilizing the power bases, such as referent power in theatre, allows for students to be able to relate to their teacher and learn from them in a safe environment and allows for different learning styles to flourish under this teacher regulation, unlike the twentieth century legitimate power style which contributed to the Fordian assembly line mentality.
Finally, with the Know, Do, Be criteria, teachers will be able to figure out what their students should be able to accomplish and organize their work and lessons so that each individual student can reach their full potential under this umbrella.
Having this style of teaching to draw from allows teachers to be able to make a more student-centered education model that will allow students to be able to succeed and pursue their own paths instead of streaming them into categories based on the curriculum. Having options like this will also allow for students to be able to pursue any career path without the societal pressure of being bound to a certain institution. Twenty-first century teaching is providing a more optimal solution for the future which can only become even more beneficial to students as time progresses and this method is tried.
Wednesday, November 12, 2014
Wednesday, November 5, 2014
Being Human
During this most wonderful crunch time of the year reminds me as a student how important it is as a prospective teacher to be human. When I say this, I am referring to how over many years in the system, I noticed that many teachers didn't seem to care about their students' well-being and more importantly their stress levels. Over fifteen years in the education system, majority of the teachers I spoke with wanted me to perform and get the work done because "my class is the most important" despite the other 4-6 credits I was taking. Very few teachers actually recognized and acknowledged that as a student's stress level was reaching capacity and asked how they were fairing.
Although marks can be important and making sure every student passes is crucial, it is also important as a teacher to be able to see when a student is struggling academic or mentally in order to offer them the assistance they need. In the case of stress, it might not seem like a big deal to some teachers, but to that particular student, it's their everyday life, and that student's peaking stress level could majorly affect their marks or even the rest of their life.
In other education classes, people talk about power, motivation and behaviour among students but what the classwork does not go into depth about is the experience or how the student feels. Mental health and stability are huge factors in a student's commitment to their work as well as how they are going to behave in class. Often times, teachers see a student misbehaving or not motivating themselves to start an in-class assignment and immediately assume it to be bad behaviour, unless it is a usually well-mannered and motivated student who's outlook has changed. What needs to be considered is that the reason a student might not be motivated or might act out is because their stress level is too high for whatever reason.
As someone who is looking at teaching high school, I realize the implications placed on teenagers in the Ontario academic and applied streams and how through the tests, assignments, exams, term projects and the regular stress of biologically transitioning from prepubescent to adulthood can be too much for some students. It is very important to have measures in place for when students reach these critical moments so they can have the relief and support they need and still be able to succeed. As a teacher, I would make sure to discuss plans with other teachers to make projects due at a time where other classwork will not get in a student's way, or organize more in-depth subject matter to be learned during a less stressful time in the semester. That way when that time of the term arrives where students are up to their necks in work and tests, my class wouldn't be one they would have to worry about. As for the system, there should be methods in place to help students with organization, one-on-one help, extra class or project time or even some in-school counselling so students can speak with a professional they can trust about situations that a teacher may not be qualified to handle. Although a school's budget can always get in the way of these suggestions.
During this time of stress for a lot of students, being human and showing that you care as a teacher can make or break a student's day and help them feel a lot more at-ease with their situation than just pretending it isn't occurring. Students recognize when a teacher genuinely cares for them as well and returns the respect in kind. Thus, it also proves to be a good motivator to get students to work in your classes.
Although marks can be important and making sure every student passes is crucial, it is also important as a teacher to be able to see when a student is struggling academic or mentally in order to offer them the assistance they need. In the case of stress, it might not seem like a big deal to some teachers, but to that particular student, it's their everyday life, and that student's peaking stress level could majorly affect their marks or even the rest of their life.
In other education classes, people talk about power, motivation and behaviour among students but what the classwork does not go into depth about is the experience or how the student feels. Mental health and stability are huge factors in a student's commitment to their work as well as how they are going to behave in class. Often times, teachers see a student misbehaving or not motivating themselves to start an in-class assignment and immediately assume it to be bad behaviour, unless it is a usually well-mannered and motivated student who's outlook has changed. What needs to be considered is that the reason a student might not be motivated or might act out is because their stress level is too high for whatever reason.
As someone who is looking at teaching high school, I realize the implications placed on teenagers in the Ontario academic and applied streams and how through the tests, assignments, exams, term projects and the regular stress of biologically transitioning from prepubescent to adulthood can be too much for some students. It is very important to have measures in place for when students reach these critical moments so they can have the relief and support they need and still be able to succeed. As a teacher, I would make sure to discuss plans with other teachers to make projects due at a time where other classwork will not get in a student's way, or organize more in-depth subject matter to be learned during a less stressful time in the semester. That way when that time of the term arrives where students are up to their necks in work and tests, my class wouldn't be one they would have to worry about. As for the system, there should be methods in place to help students with organization, one-on-one help, extra class or project time or even some in-school counselling so students can speak with a professional they can trust about situations that a teacher may not be qualified to handle. Although a school's budget can always get in the way of these suggestions.
During this time of stress for a lot of students, being human and showing that you care as a teacher can make or break a student's day and help them feel a lot more at-ease with their situation than just pretending it isn't occurring. Students recognize when a teacher genuinely cares for them as well and returns the respect in kind. Thus, it also proves to be a good motivator to get students to work in your classes.
Tuesday, October 7, 2014
Backward as Forward-Thinking
Lately, the idea of backward curriculum design has seemed like a new concept for many of the students working towards their educational degrees. For us as aspiring theatre teachers though, we are well-aware of the backward model and have seen it in action in many classroom settings already. Most Drama in Education and Applied Theatre educators we have spoken to over the years have mentioned how each class is different despite the curriculum they would like us to learn and how our differences adjust the learning. They mention how we explore things differently as individuals and in groups and how certain lesson plans change depending on group discussion. But one thing is for certain, and that is that we always end up with a formidable end result, even if it strayed slightly from the initial attempt. A contingency most educators accept as long as good thought and work was made.
As someone who has been in countless theatre classes and hopes to teach some someday, I can see how the backward model is utilized for majority of theatre work. An example of a theatre educator who worked this way is the one and only Bertolt Brecht. Regarded as one of the most brilliant playwrights in the twentieth century, he did not write for audience enjoyment but for educational purposes. His goal was to provide a new kind of theatre that made audiences think about what they were watching rather than just accept what it had to offer. (And coming from a man doing this during the rise of the Third Reich and one of the top men on Hitler's kill list, that's incredibly formidable). Through the use of alienation methods, or commonly known to theatre students as the verfrumdungskeffect, he was able to create his form of Epic theatre that made audiences consider what they were watching rather than invest in it. For example, his piece Der Jasager was presented to school children to make them think about traditions and when there needs to be changes. The students erupted with disappointment at the scene's end result and delved into full discussions and debates on when traditions should be valued and when they should be changed. Bertolt Brecht was using the backward model back in the thirties for audiences: knowing their capabilities and giving them tools to discuss the issues presented and allowing them to change their societies based on this kind of learning. An early 21st century teacher.
In the case of the modern drama classroom, the backward model is essential to creative teaching. Because the curriculum for the arts is based on students learning certain forms, the backward model is useful in seeing the class dynamics and being able to teach these methods in a way that is stimulating and encouraging to the students as individuals and as a group. Because we all know, nothing is more boring than teaching straight-up tableau.
But what can also be seen with this backward model is how teaching theatre can be brought past the basics of the curriculum. That we can use it to analyze our classrooms and plan out all sorts of lessons, activities, and discussions we as teachers can keep in our lexicon for when we use the basic theatre building blocks in the curriculum to stimulate students to use theatre to explore issues and ideologies in our world and society.
Because no student thinks exactly alike, it is impossible to have one set curriculum lesson for teaching students in any subject. Using the backward model of knowing and assessing one's students, planning out some of the know, do, and be for certain subject areas and then using some essential questions to get them started, the day-to-day work will take off in its own direction but one that can be easily followed and monitored by the teacher. Plus, it makes teaching a lot more interesting.
As someone who has been in countless theatre classes and hopes to teach some someday, I can see how the backward model is utilized for majority of theatre work. An example of a theatre educator who worked this way is the one and only Bertolt Brecht. Regarded as one of the most brilliant playwrights in the twentieth century, he did not write for audience enjoyment but for educational purposes. His goal was to provide a new kind of theatre that made audiences think about what they were watching rather than just accept what it had to offer. (And coming from a man doing this during the rise of the Third Reich and one of the top men on Hitler's kill list, that's incredibly formidable). Through the use of alienation methods, or commonly known to theatre students as the verfrumdungskeffect, he was able to create his form of Epic theatre that made audiences consider what they were watching rather than invest in it. For example, his piece Der Jasager was presented to school children to make them think about traditions and when there needs to be changes. The students erupted with disappointment at the scene's end result and delved into full discussions and debates on when traditions should be valued and when they should be changed. Bertolt Brecht was using the backward model back in the thirties for audiences: knowing their capabilities and giving them tools to discuss the issues presented and allowing them to change their societies based on this kind of learning. An early 21st century teacher.
In the case of the modern drama classroom, the backward model is essential to creative teaching. Because the curriculum for the arts is based on students learning certain forms, the backward model is useful in seeing the class dynamics and being able to teach these methods in a way that is stimulating and encouraging to the students as individuals and as a group. Because we all know, nothing is more boring than teaching straight-up tableau.
But what can also be seen with this backward model is how teaching theatre can be brought past the basics of the curriculum. That we can use it to analyze our classrooms and plan out all sorts of lessons, activities, and discussions we as teachers can keep in our lexicon for when we use the basic theatre building blocks in the curriculum to stimulate students to use theatre to explore issues and ideologies in our world and society.
Because no student thinks exactly alike, it is impossible to have one set curriculum lesson for teaching students in any subject. Using the backward model of knowing and assessing one's students, planning out some of the know, do, and be for certain subject areas and then using some essential questions to get them started, the day-to-day work will take off in its own direction but one that can be easily followed and monitored by the teacher. Plus, it makes teaching a lot more interesting.
Thursday, September 25, 2014
Knowing, Doing, and Being
Looking at how the methodologies of teaching have changed within the past twenty years, I find it very interesting to see the shift of education to be less about hard facts and figures and slowly begin to incorporate more of the student's knowledge and life skills in their work.
Growing up as a student from the late nineties to 2010, I did not experience the shift of endorsing Knowing, Doing, and Being until reaching university and discussing it in my Drama in Education classes. Looking back, the style of education was very rudimentary and focused on academic performance and proficiency rather than trying to develop and support the student as a whole. Despite excelling in this system academically, I tried to challenge the system in other ways which usually ended up being about the way the system marginalized certain groups or failed to take into account the learning styles of others.
The reason I like the Knowing, Doing, and Being system is because it helps provide positive alternative to the utilitarian style of school I attended. We as educators know that these three methodologies are best utilized in conjunction with each other and doing so will help students to learn more so than just in surface academics.
Being is very important as an educator and as a student. If a student feels threatened or stressed, that affects the Knowing and the Doing. Providing safe spaces and celebrating what makes us individuals rather than endorsing that everyone be the same will allow students during the tumultuous teenage years to feel more at ease in their school environment. Also by offering various options for schoolwork, assessments, and post-secondary pursuits will also help students feel more in control of their education and more relaxed in the school setting.
With the Being receiving support, it is now easier for students to focus on the Knowing and the Doing. Allowing lesson plans, various projects, and reflective assignments to be flexible for the needs of the student will facilitate this and help each student growin in their own way.
As a theatre teacher, Knowing, Doing, and Being are very important to keep in mind for a class that has plenty of cooperative work and a flexible curriculum. For my future classroom, the Being will be heavily supported through making the classroom a safe space for everyone, being available in case a student is in need, and creating various formats and forms of assessment for class work, projects or final in-class exams. By facilitating all aspects of the student, the student will be able to grasp and build upon their work more effectively and help them to succeed.
Growing up as a student from the late nineties to 2010, I did not experience the shift of endorsing Knowing, Doing, and Being until reaching university and discussing it in my Drama in Education classes. Looking back, the style of education was very rudimentary and focused on academic performance and proficiency rather than trying to develop and support the student as a whole. Despite excelling in this system academically, I tried to challenge the system in other ways which usually ended up being about the way the system marginalized certain groups or failed to take into account the learning styles of others.
The reason I like the Knowing, Doing, and Being system is because it helps provide positive alternative to the utilitarian style of school I attended. We as educators know that these three methodologies are best utilized in conjunction with each other and doing so will help students to learn more so than just in surface academics.
Being is very important as an educator and as a student. If a student feels threatened or stressed, that affects the Knowing and the Doing. Providing safe spaces and celebrating what makes us individuals rather than endorsing that everyone be the same will allow students during the tumultuous teenage years to feel more at ease in their school environment. Also by offering various options for schoolwork, assessments, and post-secondary pursuits will also help students feel more in control of their education and more relaxed in the school setting.
With the Being receiving support, it is now easier for students to focus on the Knowing and the Doing. Allowing lesson plans, various projects, and reflective assignments to be flexible for the needs of the student will facilitate this and help each student growin in their own way.
As a theatre teacher, Knowing, Doing, and Being are very important to keep in mind for a class that has plenty of cooperative work and a flexible curriculum. For my future classroom, the Being will be heavily supported through making the classroom a safe space for everyone, being available in case a student is in need, and creating various formats and forms of assessment for class work, projects or final in-class exams. By facilitating all aspects of the student, the student will be able to grasp and build upon their work more effectively and help them to succeed.
Tuesday, September 9, 2014
Traditional and Constructivist Teaching in Dramatic Arts
As a student in the Concurrent Education program at Brock University, I have witnessed many forms of education for secondary level students in regards to the education system itself and education in relation to theatre.
As someone who has studied in many of the Drama and Education classes for my first teachable subject, I have learned how theatre can be used for teaching other subjects but also how it can speak about social issues, society, and how it reaches out to all types of students with different styles of learning and self-expression.
As someone who wants to teach Theatre in the high school classroom, I not only want my future students to learn about the performance art world that Theatre is a part of, I also want my future students to be able to discuss what is going on around them critically and informatively using theatrical tactics to educate themselves on the outside world. Through verbal and written reflection, scaffolding activities and group discussion and facilitation, I hope to make this possible for my future students and meet all their needs with different forms of assessment and work so that their individual performance matches the requirements of the curricula. With this, I hope to combine traditional and constructivist theories for the betterment of my future students' education.
Thinking of combining the traditional and constructivist methods reminds me of one method discussed in my first year Drama in Education class where theatre for informing audiences can be done in two ways: it can be constructed as a birdcage (structured and rigid) or a Christmas tree (free-flowing with many clustered ideas). When we sat and discussed this idea, we all decided that the best option would be a Christmas tree inside a birdcage. Teaching is similar in that it needs to be structured but also free flowing and compelling for students to be able to enjoy learning and expand their knowledge and interest in the same environment.
As someone who has studied in many of the Drama and Education classes for my first teachable subject, I have learned how theatre can be used for teaching other subjects but also how it can speak about social issues, society, and how it reaches out to all types of students with different styles of learning and self-expression.
As someone who wants to teach Theatre in the high school classroom, I not only want my future students to learn about the performance art world that Theatre is a part of, I also want my future students to be able to discuss what is going on around them critically and informatively using theatrical tactics to educate themselves on the outside world. Through verbal and written reflection, scaffolding activities and group discussion and facilitation, I hope to make this possible for my future students and meet all their needs with different forms of assessment and work so that their individual performance matches the requirements of the curricula. With this, I hope to combine traditional and constructivist theories for the betterment of my future students' education.
Thinking of combining the traditional and constructivist methods reminds me of one method discussed in my first year Drama in Education class where theatre for informing audiences can be done in two ways: it can be constructed as a birdcage (structured and rigid) or a Christmas tree (free-flowing with many clustered ideas). When we sat and discussed this idea, we all decided that the best option would be a Christmas tree inside a birdcage. Teaching is similar in that it needs to be structured but also free flowing and compelling for students to be able to enjoy learning and expand their knowledge and interest in the same environment.
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