AbstractPh5 article describes an experiential andinteractive, dra ma—based approach to reads ispthe is story of the Acad a is depo rt.i non. Thepedagogic on it is in tended for intermediatestudents (Grades 7—9), al thotigis most activitiesare so table for ant’ level. Howard Gardner\theory of multiple in tell enees, Claud aComets and Katherine Sm din m’s work onthe arts as meaning makers, and works ondrama—based teaels np by’ Cecil>’ O’Neill.Peter Slade, Doroths’ Heatlseote ,tnd otherscontribute rise theoretical fransesvorlt with insvh cli this pedagogic unit is developed aisdpresented. This experiential and usteracrivepedagogical approach is sot niea it to negatensore traditional modes of instruction, hutrather to encourage alternative metbisdsof engaging and stimulating tlte variety oflearners actually present i is the classroom. Theactivities support aisd en rids tlse curriculumset out by the provincial departments ofeducarios us both Language irts and SocialStudies. Students’ understandi isp of Ii story, inparticular, rIse I 755 Acad iais ecpssl sinis, mayhe cii Isaisced and deepened by this approach.

RésuméCet article dCcrit use apprnehe expCrientielle etinteractive de I’enseignement de l’histoire de Isdeportation des Acadiens, basde cur Ic theStre.L’unité pddagogique décrite ext conçue pour deséldvex de nivesu intermédlaire lr 9’ année),mais Is piupsrt des activitds conviennent an’importe quel niveau. Le cadre thCorique de Iaconception et de Ia presentation de tette unites’appuie curia théonie des intelligences multiplexd’Howard Gardner, cur Ic travail de ClaudiaCornett et de Katherine Smithrim cur es arts entact qu’outils de construction du sens at sur lestravaux de Cecily O’Nnill, Peter Slade, DorothyHeathcote et d’autres encore cur l’enseignementC partir du thCCtte. CelIa approche expCrientielleet interactive n’s pas pour [onction de renier lasméthodes d’enseignement plus traditionnelles.mais piutot d’encourager lax gens C explorerd’autcns facons de motiver et de susciter i’intCrCtdes Clhves dans toute taut diversite’, Les activitésproposees sont compatibles avec le programmed’études ddhni par las ministCres de l’éducationdes provinces en langue et littérature et ensciences humaines et permettent d’enrichir ceprogramme. Une telie approche est susceptibled’approfondir et d’ameliorer Ia comprehensionqu’ont lax Chives de l’histoire et en particulier del’expulsion des Acadiens en 1755.

The arts (visual art, music, drama, and movement) are disciplines of valueand merit in and of themselves. They should be offered at all levels of educationbecause they are developmentally rich and they provide meaningful insightsinto human understanding for students. Another way the arts can be capitalizedupon in education is by integrating them across the curriculum. In this manner,they become a vehicle, a way of knowing another subject, and, because of theirdynamic, often multi-sensory facets, the arts have proven to be a meaningful wayto stimulate and engage a wide variety of learners.

This article describes an experiential and interactive approach to introducingand teaching selected moments in Acadian history, in particular the events leadingto the 1755 Expulsion. The pedagogic unit is aimed for intermediate students(Grades 7—9), although most activities are suitable for any level. In fact, I usedthis unit with srudents in Grade 4 French immersion, Grade 9 English program,

Exploring the Acadian Expulsion UsingDrama-based Teaching

George BelliveauUniversity of British Columbia

PortAcadie 5, printemps/Spring 2004 25

LxplonngthAcadianExnsifyonUsingDrama-based Teaching GeorieIkIIiveiu

and pre-service and in-service teachers during professional development sessions.In the following pages, 1 describe the arts-based activity, as well as the meaningand value for participants. Therefore, my objective in this article is to sharehow and why this experiential pedagogical approach may enhance and deepenstudents’ understanding of history, in particular the 1755 Acadian Expulsion.’

Theoretical BackgroundSince 1983, Howard Gardner’s research (in particular his theory ofmultiple

intelligences) points up the importance of integrating various pedagogicalapproaches to meet the needs of diverse learners within classrooms. Accordingto Gardner, the vast majority of teachers, at all levels, privilege linguistic andmathematical intelligences, and most often ignore kinesthetic, visual, and musicalintelligences (Gardner, 1983). In their book TheArts asMeaningMakers, Cornettand Smithrim (2001) suggest that Gardner’s work implies the integration of thearts in teaching, and that the arts facilitate and ease learning for the majority ofstudents.

Over the years, practitioners and researchers in the field of drama educationhave used a number of terms to describe their cross-curricular approach: processdrama, applied drama, role drama, among others.2In most cases, the terms reflecta similar definition. Cecily O’Neill, in her book Drama Worlds. A FrameworkforProcess Drama (1995), succinctly and comprehensively defines the role of dramain education:

Process drama is a complex dramatic encounter. Like other theatreevents, it evokes an immediate dramatic world bounded in spaceand time, a world that depends on the consensus of all those presentfor its existence. Process drama proceeds without script, its outcomeis unpredictable, it lacks a separate audience, and the experience isimpossible to replicate exactly. (p. xiii)

1. I want to thank the numerous students and teachers who participated in the Acadian unit overthe last few years. Their commitment and energy brought it to life, and in turn this enabled meto modify, clarify, and sharpen the activities and the objectives.

2. The terms drimrn and thetitre are quite distinct, and in the field of education there arc groupsof researchers/practitioners who refer to their work as drama, while others identify it as theatre.Drama tends to be related more closely to doing — the process; whereas, theatre is more akinto performing, with lights, costume, sets — the product. Of course, there is drama withintheatre, and arguably, within process drama there is some theatre. I use the term drama in thisarticle for consistency and because my activities tend to draw upon the doing more so than theperforming.

26 PortAcadie 5, printemps/Spring 2004

Eeorte Bellivcau Exploring the Acadian Expulsion Using Drama-based Teaching

Research in drama education evolved primarily in England, with the workof Peter Slade (1954), Brian Way (1967), Gavin Bolton (1986), and DorothyHeathcote (1995). The work of these researcher/practioners has been, andcontinues to be, instrumental and influential around the world in how dramacan be used as a cross-curricular approach. In Canada, drama educators suchas Juliana Saxton and Noreen Morgan (1987), Carol Tarlington and PatrickVerriour (1991), and David Booth (1994), among others, have built on, anddeveloped, the work of their English counterparts. Like the British authors, theCanadian drama educators/researchers/practitioners emphasize the importanceof the process of drama versus focusing on the product. They examine how dramais multi-dynamic and meets the needs of a variety of learners. Their writtenwork, more often than not, reflects classroom examples, and their theories aregrounded in practice, with ample evidence of how and why a particular methodmay work in a given environment or circumstance.

This unit on the Acadians is influenced by the work ofBritish and Canadiandrama educators; however, where they tend to focus primarily on drama as a wayof knowing, I lead with drama but I also incorporate other arts (visual art, music,and movement) to support the unit. This experiential and interactive approach topedagogy is not meant to negate more traditional modes of instruction; instead,it is meant to encourage an alternative method of engaging and stimulating thevariety of learners we have in our classrooms. The activities are meant to supportand enrich the curriculum set out by the provincial departments of education, inboth Language Arts and Social Studies. By integrating drama and the other arts,this unit builds on the work of drama education research as well as considers thevarious types of intelligences identified by Gardner.

The study of the Acadians is an integral part of the intermediate SocialStudies curriculum in both the French and English school system in the Atlanticprovinces. The history of the Acadians is introduced in the Grade 6 curriculumand is generally developed up until Grade 9. In high school, electives on Acadianhistory or culture are available at different schools. Although teachers generallypool the majority of their information about the Acadians from textbooks,another worthy source is adolescent fiction. While there are limited young adultnovels about the Acadians available in English, Elaine Breault Hammond’s TheSecret Under the Whirlpool (1996) is most useful to explore Acadian history withstudents. The novel traces the adventure of two adolescents (Maggie and Marc)in contemporary Prince Edward Island, who travel back in time to 18th centuryAcadia. Their journey allows the reader to become part ofhistoryas theyvicariouslytravel with the young adventurers, and what may have happened in the pastbecomes as important as what did happen. Hammond’s novel helps adolescentssituate and imagine the events that took place in 18th century Acadia, and it

PortAcadie 5, printemps/Sprin 2004 27

Fp1oring the Acadian Expulsion Using Drama-based Teaching George Belhvcau

brings to life some of the facts presented in more traditional school textbooks.3To successfully complete the unit students do not have to read Hammond’s novel(or another Acadian novel), but such prior knowledge expands and enriches theexperience. Alternatively, the experience of participating in this unit would likelyenhance the post-reading of the novel (if read afterwards), due to the experientialand interactive activities explored by students in the unit.

Exploring the Acadian ExpulsionThis unit on the 1755 Acadian Expulsion would be part of a larger unit

on Acadian history; therefore, the following activities do not propose to coveran exhaustive overview of Acadian history and culture. In my experience, thefollowing activities take approximately two and a half hours to complete. Itcould be completed during an entire morning or afternoon session, or it couldbe executed over the span of two to three days, depending on the time tableand interests of students and teacher. The time suggested for each activitycorresponds to the time it took for a Grade 9 Social Studies class of thirtystudents in Charlottetown, PET.4 I suggest an open space in the middle of theclass with a series of tables and/or cluster of desks on the periphery to properlyconduct the activities.

Scene 1 — Dividing the groups (5 to 7 minutes)Th create the proper ambiance, music by the Acadian group 1755 is playing

while the students enter the classroom.As each student enters, they randomly receive a name tag on which the

name of an Acadian family is written in capital letters (e.g. CORMIER). Eachfamily group should count about four to six people. The number of familieswill depend on the number of students participating in the activity. Once everystudent has received a name tag, the teacher asks all participants to stand up inthe middle of the classroom. The teacher announces that all the CORMIERSwere unfortunately expelled on boats by the British in 1755. The CORMIERSmake their way to the table or cluster of desks that holds their name. Then,the SAVOIES learn that they too were expelled in 1755. So, they take theirplaces at the table which bares their name. The LEBLANCS discover that theywere equally victims of the Expulsion. They gather and sit at their table. In theend, there is but one family left standing. At this point, the teacher informs the

3. For a French Immersion class, there are a number of young adult novels available about theAcadians in French. I have found Diane Léger’s novel La Butte a Pétard (1989) to be a valuableresource for intermediate students, because, like The Secret Under the Whirlpool, the readervicariously lives and travels with two adolescents in 181 century Acadia.

4. The school, the students and their teacher are not named for ethical reasons.

28 PortAcadie 5, printemps/Spring 2004

Bellivcau Exploring the Acadian Expulsion Using Drama-based Teaching

entire group that the majority of Acadians were expelled by the British between1755 and 1758. Approximately ten thousand Acadians lived in the Maritimeprovinces (as we know them today) in 1755, and close to eight thousand of themwere exiled.5

The family groups are now divided and sitting at their respective tables.

Scene 2 — The Acadian story — For groups unjczmiliar with the history(10 minutes.)

Perhaps the group of students have recently read Hammond’s The SecretUnder the Whirlpool or another fiction or non-fiction text that provides themwith background information on the Acadians. i so, they are likely ready tomove on to the next scene. if the students are unfamiliar with Acadian history ortheir minds need refreshing, a brief synopsis is necessary in order to successfullycomplete the upcoming activities leading to the 1755 Expulsion. How to deliver abrief history of the Acadians is up to the teacher. I have often used storytelling asan approach. Because I am French Acadian, I begin by saying that I am “Georgea Edgar a Max a Simeon a Max ii. Pierre àJude a Pierre a Antoine. My great-great-great-great-great-great grandfather Antoine Belliveau arrived in Nova Scotia in1642 at the age of 21 from the Loire Valley in France, along with a number ofother Acadians who came to join their cousins already established in the NewWorld.” Through my story I try to address the following questions and so-calledfacts:

Q: From where did the Acadians come from? A: France.Q: When? A: Beginning in the early in

the 17h century.Q: In which regions did they mostly establish A: Initially, present-daythemselves? Nova Scotia, and in time

New Brunswick and PrinceEdward Island.

Q: v/hat kind of relationship did they have with the British?Q: When did the Expulsion begin? Why did it happen?Q: What happened to the men in the church at Grand-Prt9Q: Where were the Acadians expelled? Were they all expelled?6

5. For more detailed information about this period in Acadian history, one can refer to chapter 1“L’Acadic, 1604-1763. Synthèse historique” in Jean Daigle’s Les Acadiens des Maritirnc’s(1980).

6. Daigle’s LesAcadiens des j’viaritinws (1980) is a good resource for the synopsis, as is ‘Scattered tothe \Vind” Dispersal and Wanderings oftheAcadrans, 1755—1809 by Carl A. Brasseaux (1991).

PortAcadie 5, printemps/Spring 2004 29

ExpIorintheAcadunIxpuIsionUineDrama-bascdTeaching George Bclflve.u

The objective of this scene is to ensure that all the students have some backgroundofAcadian history, so that they can imagine and recreate what does not necessarilyappear in history texts, as well as explore what may have occurred in 17Lh and18” century Acadia. It is important to discuss probable reasons why the Frenchcolonials came to Acadia. For instance, land in certain regions of France wasbecoming scarce; consequently, the possibility of possessing ample, fertile landsin the New World may have convinced a number of young Frenchmen to leavetheir county.

Scene 3 — creative writing activity — Role writing (10 to 12 minutes,.)The students are asked to imagine themselves as French colonials of the 17hI

century and respond in writing to the following questions:

Why did you leave France? Were you forced to leave? Or, did youchoose to leave?

What do you hope to achieve in the New World?

I suggest a half page written single-spaced. Here’s a portion of an example of astudent in Grade 9:

I left because most of the other people in iny town were leaving.Also, my friend Jacques wanted me to go. My parents didn’t wantme to leave, but I told them that I was 12 years old and old enoughto make my own decisions. I’m a little scared but at the same time Ilook forward to the adventure.

The objective of the written activity is to encourage the students to individuallyreflect on the social context in which the French colonials lived, and to imaginehow these individuals may have felt.

Scene 4 — collectivefamily story (20 minutes,)Once the students have completed their individual writing responses, they

share their motives for leaving France with the other members of their family.For instance, all the LEBLANCS share their stories one after the other. Oncethe four to six family members have recited their story, they collectively create acommon family story ofwhy, as a group, they left France. They may weave piecesfrom the respective stories, but in the end their story should indicate how theyleft as a unit. One group member is responsible for writing the collective story,and the same, or another, individual will share the collective story to the otherfamilies. The family story should be approximately one written page, singlespaced, and the oral aspect should last no more than two minutes per family.

30 PortAcadie 5, printemps/Spring 2004

George Belliveau Exploring the Acadian Expukion Using Drama-based Teaching

Scene 5 — The crossingfrom France to Acadia (10 minutes)The song “Sailing” by Rod Stewart is playing in the background. Or, C’éline

Dion:c “Une colombe” can be used.7This activity integrates movement, so that students, by moving, can enter

more readily into their roles and better understand the historical conditions inwhich the Acadians lived. The participants imagine themselves on a dock inFrance, and, with their eyes closed, they listen to the music. Then, each familyforms a small circle whereby the members gently move to the rhythm of the song.In the centre of the classroom, with the help of some masking tape, the teachercreates a space of approximately one meter by four meters, representing a smallsection of a boat. To the rhythm of the song, the families come forward, one byone, and with simple motions, they mime being on board a ship and crossing theAtlantic Ocean. Once the families have made the journey, they find themselvesin Acadia where the teacher greets them: “Bienvenue en Acadie!” The theatricalsimulation aims to have the students kinesthetically experience the crossing, sothey can begin to emotionally and imaginatively connect with the historical rolesthey’ are interpreting.

Scene 6— Prosperity in Acadia (30 minutes,)The song “Le soleil se lève”by Edith Butler is playing in the background.8The teacher describes to the families how the Acadians have now worked

the lands and established their village. The field crops are healthy, fishing isin abundance, and the domestic animals are multiplying yearly. The Acadiancommunity is prospering. A Catholic church has been built and their relationshipwith the Mi’kmaq has never been better. Images of 17th and i8th century Acadiaare displayed for the students so they can get a sense ofwhat the houses, clothing,and general surroundings resembled during the time period. (Reproductions ofAzor Vienneau’s paintings ofAcadia are appropriate and useful as models.)9

The students are then asked to individually draw images of what theyimagine their house, boat, yard, etc. may look like. They are given a regularsheet of 8.5x11 paper to sketch out an image or images of their surroundings.The teacher stresses that this is only a quick sketch of what they imagine theirsurroundings may resemble as Acadians. They only have a few minutes to createtheir image before they collectively share their sketches with their family. After

7. The music is used to set the mood for a crossing. However, if the teacher wishes to reinforceAcadian culture, music from Acadian artists such as Natacha St-Pier, Jean-Francois Breau, orLennie Gallant could be inserted instead.

8. Alternatively, if the teacher wishes to hook the students with more popular music, “Here Comesthe Sun’ by The Beatles suits the mood for this step in the unit.

9. Another useful option to depict Acadian visual images is the art work of Romeo Savoie, inparticular his project A l’osnbre dEvangeIine.

PortAcadie 5, printemps/Spring 2004 31

fpngtheAcadian Expulsion Using Drama-based Teaching____________________ George Belliveau

a few minutes, each family gathers to begin producing their collective image oftheir village on a larger sheet of paper. Some groups may decide to use an imagefrom each family member, whereas others may develop the image of a particularmember and add to it. Once each family has been given the chance to completethe visual image of their village or surroundings, they are asked to secure it withtape on the wall. The process of collectively creating their image usually takes atleast 15 to 20 minutes.

The teacher now invites the families to visit one another. In role as Acadians,the families describe their respective creations and talk about their village. Forinstance, the LEBLANCS invite the SAVOIES over and explain the variousaspects of their collective visual to their cousins.

While the visits are takingplace, “La Maudit de Guerre” by 1755 is playing intiJe background. This music is in anticlation ofthe Expulsion.

Scene 7— Gathering ofthe women — A role play (12—15 ?ninutesIn this part, the teacher plays an Acadian mother who invites the

neighbouring women to her home. All the students play the role of Acadianwomen or girls.1° In the role of Madeleine Belliveau, the teacher shares herconcerns with the others:

I don’t know what to do. Mv husband and four sons have beenlocked up in the church for over three days with the other men ofthe village. (The story of the men being imprisoned in the GrandPrd church would either be known by the students or it would havebeen mentioned in Scene 2.) 1 am really concerned about them.And, I can’t go on taking care of all the chores—the animals, thegardens, my daughters, the house... It’s the end of the summer andharvest time is soon upon us!

In the role of Madeleine, the teacher asks her neighbors what they can do asa group in this trying time. The following questions serve to stimulate thediscussion:

Who knows what is taking place inside the church?

How can we help and/or support one another?

Has anyone heard what happened in the surrounding villages?

0. This section was inspired by the work of Paul Surette, in his book Mésaçouèe1ie Lvasio,i duopeople (1991), where the Acadian women band together in an attempt to rescue the trappedAcadian men.

32 PortAcadie 5, printem ps/Spring 2004

George Belliveau Expjn the Acadian Expulsion Using Drama-based Teaching

The teacher (in role) guides the discussion with the objective of leading thestudents to imagine themselves as Acadian women in those circumstances.The students need to critically reflect on the choices the women had under thecircumstances and express their ideas and suggestions orally. This role playingactivity, as with the next one, supports reflective and critical thinking, as well asallows the students to better appreciate and understand the life of the Acadians.

Scene 8 — The men in church — Role play (15—20 ininzttes)Music from the group Grand Derangement plays during the course of this

scene.

Once the women leave Madeleine’s house, the teacher asks the studentsto create two rows with their chairs. The students, now in the role of Acadianmen, sit in two rows facing one another. The teacher, who now plays a Britishcommander, walks between the two rows explaining to the men that in a fewmoments they will need to decide as a group whether or not they wish to signthe Oath of Allegiance. (The conditions of the Oath are either known by thestudents or they were introduced in Scene 2.) The teacher in role reminds thegroup that by signing the Oath, among other things, the Acadians are acceptingthe Protestant faith and must reject Catholicism. In addition, they must nowaccept to defend the British against their enemies (French) in time of war. Ifthe group decides not to sign, every man, woman and child will be immediatelydeported by vessels.

The teacher switches roles and becomes an Acadian man. In this role he orshe provides an example of how the scene will proceed. As an Acadian man, theteacher may give one of the following reasons why he would sign or not sign theOath of Allegiance:

I’ll never sign the Oath. The British can do what they want with myhouse and my belongings, but they can never take my religion andidentity.

I don’t want to sign, but I have to think of my family. I’ve workedtoo hard on these lands to give it all up. I will sign even though Idon’t believe in what I am signing.

Each of the students in the role ofAcadian men offer their reasons why they willeither sign or not. The teacher allows them about 30 seconds to a minute each toexpress their point of view.

Once each student has been given the opportunity to share his/herthoughts, the teacher, returning to the role of a British commander, asks thatall those willing to sign the Oath rise. If the majority of Acadian men remainseated, the teacher announces, in role, that all members of the village will be

PortAcadie 5, printemps/Spring 2004 33

Exploring the A adian Expuls ion Using_Drama-based Teaching George Bell ivcau

expelled by boat tomorrow morning. If the majority of the men rise, the teacher!British commander informs the group that he has just received notice from thecommander-in-chief, Lawrence, that due to uprising in neighbouring villagesthat all Acadians will be deported regardless. Still in the role of the Britishcommander, the teacher orders the Acadian men to return to their homes togather their families and personal belongings. They must present themselves atthe dock tomorrow morning at sunrise, when they will be deported.

This scene allows the students to imagine the oppression and distress thatthe Acadians experienced in the church and afterwards. As well, the studentsbecome aware that individuals, likely, had different ideas about what to do andthat the decision to sign or not to sign was probably not unanimous. Moreover,the students come to realize that the Acadians had little control over theirdestiny.

Scene 9 — Family decisions (20 minutes)In this scene, the teacher asks each family to create three tableaux

representing what took place between the time the men left the church andwhen they boarded the vessels the next morning. A tableau is a frozen image,like a statue, suspended in time, recreated by the body, in silence. For example,the first tableau could illustrate the sadness of the father and son as they arrive tothe house, and this could be juxtaposed by the joy of the female family memberswho are delighted to see them home. Hung heads from the men could representtheir distress, while open arms and large smiles can depict the joy expressed bythe women and children. The second tableau could show the tension within thefamily. Half the members want to try and escape, hide in the woods, while theother half are scared of being caught and killed, and therefore they wish to accepttheir fate of being expelled.

Each family presents the three tableaux they created to the other groups.The spectators close their eyes while the first family prepares its initial tableau.Once they are ready to present, they ask the spectators to open their eyes. Thefamily that created the tableau stays Frozen in their corporal image for at least fiveto 10 seconds in order to let the observers interpret the emotions and intentionsrepresented in this first tableau. The spectators are asked to close their eyes oncemore while the actors prepare their second tableau, and so on. After the firstfamily has shared their three tableaux, the teacher asks the spectators what theysaw in the images. It is important that the teacher keep the discussion Focusedon what the spectators saw versus the intent of the creators. The perception ofthe viewer is equally as important as the intention of the creator, and history isfrequently interpreted from the writer’s/reader’s perception of events, actions andfacts. After the discussion is completed, the next family presents their tableaux,using the same process, until each family has had their turn.

34 PortAcadie 5, printem ps/Spring 2004

GeoncBeIIiveau — Exploring the Acadian Expulson Using Drama-based Teaching

Scene 10 — Evaluation — The letterFrom their experience in this unit on the Acadians, the students are now

asked to write a letter of approximately two pages using the voice of an Acadian.The letter describes the events witnessed by an Acadian during the period ofthe Expulsion. Here are a few examples you may give to students to get themstarted:

The letter is written by an Acadian in Virginia after the Expulsion.

The letter comes from someone who managed to escape and hid inthe forest.

The letter is written from the perspective of an Acad ian who died atsea or while trying to escape.

The letter should describe, in particular, the events that occurred during andafter the Expulsion. Here are a few questions they should consider:

How did the Acadians react with the arrival of the British?

What did the women do to help one another?

What did the men discuss in the church and what did they decide asa group?

\Vere all the families expelled? If not, what did some of them do?

The written assignment requires students to critically reflect on their experiencewithin the drama—based unit.

DebriefingStudents should be encouraged to write a reflection on what they learned

during the process, the value of using drama and the arts to explore history. Inaddition, the teacher should lead a discussion where students are invited to sharetheir impressions, and the learning they experienced in the unit. I suggest thefollowing questions to begin the discussion:

In what way did drama play a role in this unit? What value did itbring?

How does drama allow us to imagine what took place in Acadia?

What moments do you remember most? How did these momentsclarify your understanding and/or appreciation of history?

PortAcadie 5, printem ps/Spring 2004 35

Exploring the Acadian Expulsion Using Drama-based Teaching 9rcBeIlivcau

Often, it is during the debriefing that new knowledge is made; therefore, thepost-discussion is critical to the meaning and value of the unit. In order to betterunderstand their journey and learning, students need to be given the opportunityto reflect and discuss their experience. The discussion can be teacher-led, or itcan be conducted in small groups.

Further assessment can be performed through peer and/or self-evaluationwith a rubric designed by them and/or the teacher. The criteria should be flexible,yet they should reflect the learning outcomes of the unit and what the teacher wasaiming to achieve in the program at this point in time. The activities within thisunit conform to the Atlantic provinces’ curriculum outcomes. In addition, thisdrama-based approach offers students the opportunity to experientially witnesshistory in an interactive and creative manner, which can be a transformativeexperience.

ConclusionWhen students are given an opportunity to enter the imaginary world of

drama, they often return to the so-called “real world” with a deeper understandingof themselves, the nature of conflicts and possible solutions to address them.My experience with this unit on the Acadian Expulsion has been tremendouslypositive. The students tend to hesitate a little in the beginning, especially ifthey have never experienced arts-based teaching, but once they begin to putthemselves in the shoes ofan Acadian, they become fully engaged and participatewholeheartedly. As a result, students witness the arts, and in particular drama,as a way of knowing, and hopefully come away from the experience with adeeper understanding of an important facet in Acadian history. The drama-based approach supports the work of Gardner and drama education theorists;furthermore, this type of interactive teaching stimulates students and spurs themto participate, all the while encouraging them to question (critically) historicalevents.

The Grade 9 students who participated in this Acadian unit were clear inexpressing, through the post-discussion and their written reflections, how thisdrama-based approach to teaching was beneficial and meaningful to them. Thisunit serves as a model, and evidently other subjects or themes could be integratedusing a similar process. For instance, the Nova Scotia mining industry could beexplored using a drama-based approach. No doubt, the structuring of a unit onmining would be influenced by its content (and therefore slightly differ fromthe Acadian unit), in that the focus may be on social or union rights where anenacted public protest or strike would be central.

One of the challenges for teachers is to find sufficient time to conductthese types of units. In my opinion, the learning that takes place in such units isworth the time spent in each activity. Most teachers desire to arouse within their

36 PortAcadie 5, printemps/Spring 2004

George_Belliveau ExploringygAcadian Expulsion Using Drama-based Teaching

students a level of engagement and questioning that continues long after theparticular activity has concluded. Arguably, this experiential and interactive uniton the Acadians creates a lasting learning experience that reaches the emotionalas well as the intellectual, and moves well beyond memorization of dates andplaces. A comment from a Grade 9 student in her reflection points out theimpact the activity had on her:

I had chills when 1 was in the church, and for a moment I feltlike I was really there. I was an Acadian for a moment in time!The tableaux are also still strong images in my memory. I still seethe pain and struggle of the families when having to pack theirbelongings. The activity on the Acadians not only helped us learnabout a significant historical period, but it also helped us to feelwhat people may have felt at the time. I truly feel that I have a betterunderstanding of this period and its people.

Works citedBolton, Gavin. (1986). Selected Writhgs on Drama in Education. New York: Longman.

Booth, David. (1994). Story Drama: Reading, Writing and Role Playing across theCurriculum. Markham, Ontario: Pembroke Publishers.

Brasseaux, Carl A. (1991). “Scattered to the Wind”: Dispersal and Wanderings oftheAcadians, 1755-1809. Lafayette: U. Southwestern Louisiana.

Breault-Hammond, Elaine. (1996). The Secret Under the Whirlpool. Charlottetown:Ragweed Press.

Cornett, Claudia & Smithrim, Katherine. (2001). TheArts as Meaning Makers.Toronto: Prentice Hall.

Daigle, Jean. (1980). LesAcadiens des Maritimes. Moncton: Centre d’EtudedsAcad i en nes.

Gardner, Howard. (1983). !vfultzle Intelligences: The Theory in Practice. New York:Basic.

Heathcote, Dorothy & Bolton, Gavin. (1995). Drama for Lea rninc: Dorothy Heathcote’sMantle ofthe Expert Approach to Education. Portsmouth, N.H.: Heinemann.

Lëger, Diane. (1989). La Butte a Pétard. Moncton, New Brunswick: ditions d’Acadie.

O’Neill, Cecily. (1995). Drama Worlds:A Frameworkfor Process Drama. Portsmouth,N.H.: Heinemann.

Slade, Peter. (1954). Child Drama. London: London University Press.

Surette, Paul. (1991). Mésagoueche : L’éuasion d’unpeuple. Memramcook, N.B.: Socidti.historique de Memramcook.

PortAcadie 5, printem ps/Spring 2004 37

Exporin the Acadian Expsion Using Drama-based Teaching George Belliveiu

Tarlington, Carol & Verriour, Patrick. (1991). Role Drama. Markham, Ontario:Pembroke Publishers.

Wagner, Betty Jane. (2002). “Understanding Drama-Based Education.” In G. Brauer(Ed.), Body and Language. Westport, Connecticut: Ablex Publishing.

Way, Brian. (1967). Development Through Drama. London: Longman.

38 PortAcadie 5, printem ps/Spring 2004