RESOURCE PACKAGE FOR THE COURSE

RESOURCE PACKAGE FOR THE COURSE

'INSIDE OUT/

OUTSIDE IN -

BUILDING BRIDGES

IN TEACHER

EDUCATION'

Disclaimer:

The European Commission support for the production of this

publication does not constitute an endorsement of the contents

which reflects the views only of the authors, and the Commission

cannot be held responsi ble for any use which may be made of the

information contained therein.

AUTHORS

Elvira Barrios (Universidad de Málaga), Bethan Hulse

(University of Chester), Holger Jahnke (Europa Universität

Flensburg), Silvia Jindra (Pädagogische Hochschule Wien),

Erika Kopp (Eötvös Loránd University Budapest), Orsolya

Kálmán (Eötvös Loránd University Budapest), Aurika

Komsaare (Tartu Ülikool), Josephine Moate (University of

Jyväskylä), Katrin Nielsen (Tartu Ülikool), Allen Owens

(University of Chester), Brigitte Roth (Pädagogische Hochschule

Wien), Carmen Sanchidrián (Universidad de Málaga)

EDITING AND LAYOUT

Rebekka Diestelkamp, Europa Universität Flensburg

DIMENSIONS OF 'IN-SIDE-NESS' AND 'OUT-SIDE-NESS'

HOLGER JAHNKE

Dimensions of 'In-side-ness' and

'Out-side-ness' in EducationThe idea of the InOut-project was born in a hotel lounge in

Linköping several years ago. The university teachers involved

were at the end of another EU-project in teacher education called

TIAC (Teachers’ Intercultural Awareness and Competence) which

had included a series of three Erasmus intensive programmes

involving student teachers from several European universities.

Due to the extremely positive feedback of the student participants,

we decided to continue our work and keep up the formal core

elements of the course: multiculturality, interdisciplinarity, drama

education and the combination of cognitive and experiential

learning. At the same time, we wanted to shift the focus from

intercultural awareness in schools to a new topic.

As teachers involved in these three courses we had grown together

as a group. A strong feeling of belonging had been created -

belonging to a project, to a group, but also to an open-minded

culture of teaching and mutual learning that we had nurtured over

the years. From former student participants of the three intensive

programs we had received a similar feedback. In this setting, the

idea of Inside out / Outside in – Building bridges in teacher

education (InOut) was born. From there, we set off for a kind of

epistemological journey into the semantic spaces of “in-side-ness”

and “out-side-ness” in school and education. Through years of

working, teaching, learning, eating, drinking, drawing, writing,

thinking and discussing together we discovered more and more

dimensions - social, spatial, cultural, and other - of this profound

binary opposition, that we considered relevant to teaching.

The distinction between inside and outside is most obvious in its

spatial dimension – for example in housing and architecture. Being

inside a building is connected to the idea of shelter and protection

whereas the outside is the sphere of the unknown, the danger and

the wilderness. However, the outside world can also be attractive,

raise curiosity, stimulate imagination and creativity – one of the

stimulus for travelling - whereas for some people the inside of a

home or a building might be related to experiences of conflict,

oppression or violence. When transferring the spatial dimension of

inside and outside to education it has been interesting to look at

school architectures and how in different European countries the

border between the school campus and the outside has been

constructed and controlled: in some schools, there is not even a

landmark separating the school from its surroundings, whereas in

others walls and security controls regulate who is going in and out.

This is similar to the territorial dimension of the modern nation

state – a politically constructed spatial entity that is surrounded by

national borders. Based on legislations the practices of border

control regulate who is allowed to come inside the national

territory, and who is not. In these logics, national citizens belong to

the defined territory, whereas foreigners are usually considered

outsiders. The analysis of schoolbooks and other material artefacts

used in the classroom– such as maps, pictures and songbooks –

reveals how this closed nationalistic thinking has been – and

probably still is - implemented in teaching and education.

The social dimension points at the distinction between insiders and

outsiders. Individuals might feel part of a group or excluded from a

group depending on what aspect of their identity becomes relevant

in a specific situation. But who decides which little piece of the

identity mosaic becomes relevant, in a specific social situation?

Why is it skin colour in one situation, and lifestyle preferences in

another? Who decides, who is considered an insider, and who is an

outsider? Team building activities, the pie chart exercise and drama

education help students to become aware of and reflect on the

social dimension of becoming an outsider and how to overcome

these distinctions in a group.

Sharing a common language is an important condition for the

access to any social context. Not knowing the language of a given

social or institutional context will create feelings of outsideness –

since the access to a group as well as the expression of the own

identity are limited. Most migrant children have gone through this

experience, especially when they come from a linguistic

background that is very different. In the context of a multilingual

classroom, the concept of cultural literacy helps to address the role

of language in education. Whereas differences in language are

often considered obstacles in teaching, cultural literacy and

language portraits will help teachers and students appreciate and

positively address language diversity in the classroom.

Beyond language, there is a cultural dimension which might put

individuals in the situation of feeling inside or outside a specific

context like a school. The idea of culture is much deeper than

language alone- it includes artefacts, values and beliefs, as well as

underlying assumptions which unconsciously guide actions and

values. These general considerations – often disputably applied to

national cultures - can be transferred to school cultures, when

schools are analysed as cultural entities. It was therefore important

to us to present positive examples of open and participatory school

cultures to the students during the course.

For school visits, the observation of material artefacts and

behaviour, as well as discussions with pupils, teachers, and parents

have been valuable methodological tools.

In humanistic geography, the concept of insideness and outsideness

has been extended to the emotional attachment or detachment of

human individuals to a specific place. The term place in that

academic thinking is more than just a location, it refers to the

complex of a specific material setting, social interaction and

symbolic value of a specific geographical entity for a group of

people in a specific moment of time. The geographer Edward Relph

has developed a taxonomy of insideness and outsideness as specific

degrees of emotional experiences of places. Emotional experiences

can range from existential insideness – a feeling of home - to

existential outsideness – a feeling of complete estrangement.

During the intensive programmes, we raised the question whether

the concept of place in all three dimensions - material, social, and

symbolic - can be transferred to schools or universities. Along these

categories students were able to reflect on their own school

experiences and identify elements that made them develop feelings

of insideness or outsideness.

When transferring these considerations into an educational

community, the pedagogical dimension of insideness and

outsideness becomes relevant. What does it mean to be an insider

or an outsider in a school or classroom and what can be the

advantages and disadvantages of these different positions?

Individuals can be experiencing education in significantly different

ways which will have an impact on positive or negative

development, good educational outcomes or experiences of failure

and eventually dropout.

One of the political driving forces of the project is the concern for

so called “school drop outs” or early school leavers (ESL). According

to Eurostat data, roughly one out of nine young adults in the

European Union leaves school without completing upper secondary

school or training. It is very likely that many of them will face

unemployment, poverty and social exclusion in their future lives.

So how can we make school a place, where all children and

teachers, but also parents and other members of the local

community develop a sense of belonging?

One of the biggest challenges of the project has been the

assessment of the learning outcomes of such an unusual academic

course - probably best described as an experiential dérive, an

exercise carried out with students.

To map this specific cognitive and emotional learning experience

we used reflective sketchbooks as the most adequate tool:

individual in shape and materiality, loose in the order of pages,

open in forms of expression - the sketchbook resists any attempt of

definite linearity, logic and coherence – criteria that are in way

inherent to the textual language. From the very beginning –after a

short introduction to the methodology - we asked students to

document their thinking in their personal sketchbooks.

At the end of the course we asked students to prepare a group

performance representing their understanding(s) of insideness and

outsideness in school and education. For that purpose, the language

of drama turns out to the richest: being dialogical and relational in

setting, offering the possibility of using multiple languages

including the universal human language of the body and being

rooted in an “as-if epistemology,” encouraging creativity of thought

and expression.

Only after the course, when the participants were back home in

their university environment, we would ask them to write a short

academic essay developing first of all their own “personal theory of

insideness and outsideness” in relation to the texts they have read

and the inputs they have experienced, and second to apply this

theory to the analysis of a real personal experience of outsideness

in their life.

We – that is a group of colleagues from eight European universities

with very different disciplinary backgrounds such as drama

education, education science, pedagogy, geography, history of

education, language teaching, and different professional

experiences - all share the idea of creating something different in

teacher training and firmly believe that the form of teaching must

transcend conventional academic courses.

At the end, it is probably needless to say that the use of “we” in this

text implicates not an exclusive, but an inclusive “we” - inviting

every reader who feels part of this we, while reading the text - to

join us on this dérive, navigate through the impressions and the

pedagogical guides of this resource package. It has been designed

for everybody interested in Insideness and Outsideness in

education and we hope that it in enables you to reproduce the parts

which have aroused your curiosity, or inspired you to carry some

of the ideas into the world.

We also invite you to share your experiences in visual, textual or

audible form.

So, please, come inside…

PEDAGOGICAL GUIDE

THE DÉRIVE

BETHAN HULSE

DescriptionStudent teachers are given a brief PowerPoint presentation on the

theory and practices of the Dérive-a critical form of walking. They

are then invited to form small groups of 3-4 and to explore their

immediate outside environment. The groups come together at the

end of the dérive, after about an hour or so, to discuss what they

have experienced and to test out the theoretical ideas. They are

provided with a framework for reflection in the following

questions which they share with one other group: Where did you

go? What did you see? What did you think about? What

discussions did you have? How did you feel? The small groups feed

back into a whole group discussion on the usefulness of the dérive

as a pedagogical tool.

ObjectivesEnabling students an encounter with a different way of looking

at and interpreting their immediate environment

Students critically reflect on their own ways of observing and

interpreting the world around them in dialogue with others.

Expected Learning Outcomes At the end of this unit the learners will have...

... been prompted to reflect on their relationship with the

external environment and the ways in which they interact

with it

... been freed from any directives to look for something in

particular and thus they allow their attention to be guided by

their instinct and by the psycho-geographical features of the

landscape

... stimulated their curiosity about dériving and will have been

prompted to find out more

Participants are made aware of the theoretical roots of the dérive:

from Baudelaire’s concept of the ‘flaneur’, a detached observer of

urban life and its effect on the individual to Debord’s Marxist

critique of consumer society and the absence of authentic

experience in modern life. Links are also made with the idea of

‘mindfulness’. It is a lesson in the art of noticing, of being open to

seeing that which might easily be overlooked.

Working MaterialElectronic presentation

Applied Methodologies

ReferencesDebord, G. (1958) Théorie de la dérive Internationale.

Situationniste #2: Paris.

Richardson .T (2015) (Ed.) Walking Inside Out:

Contemporary British Psychogeography.

PEDAGOGICAL GUIDE

PIE GRAPH: IDENTITY ANDBELONGING

SILVIA JINDRA

DescriptionThe unit provides an opportunity for students to recognise that

they can maintain a unique identity while belonging to many

groups. It raises awareness that in a group there are differences

between individuals as well as things which are shared and held in

common.

ObjectivesExplore the rich diversity of experiences that different people

bring to a group

Identify groups to which one belongs and chart them on a pie

graph

Reflect upon one’s own reality and use it as the basis upon

which to build new experiences

Understand individual differences

Search for and highlight similarities

Share things that are important to one’s identity

Encourage participants to contribute to discussions, exchange

ideas and learn from each other as much as possible

Build a community of belonging

Create a good group atmosphere and reinforce communication

skills and group dynamics

Expected Learning Outcomes

… become aware of and reflected upon their own reality,

lifestyles, experiences and cultural background;

… gained knowledge and a deeper understanding of the

connections and relations of similarities and differences

between individuals as a prerequisite for building a

community of respect;

… developed a sense of belonging where cooperation,

communication, recognition and acceptance are promoted;

… experienced uniqueness and the belonging to groups alike

by feeling empathy towards the people involved and by

respecting diversity and difference and the dignity of the

individual;

… gained insight into a positive evaluation of difference and

diversity

At the end of this unit the learners will have...

Working Material

Applied MethodologiesPersonal reflections based on participants’ own reality

Pyramid discussion: in pairs, then in groups of 4 and in groups

of 8, followed by an exchange of ideas in the whole group

Feedback as a valuable source of students’ perspectives and

opinions with regard to the learning outcomes

Cooperative learning as interaction will put special emphasis

on the sharing of differences and similarities and the

discussion of ideas, experiences and insights and will enable

participants to learn from each other and gain important

interpersonal skills

Electronic Presentation

Pie graph template

Read4Respect, Anti-Defamation League retrieved

from http://atlanta.adl.org/files/2013/08/2015Read4Resp

ectProgramAndDiscussionGuideComplete.pdf

References

Further Reading Brownlie Fay and Judith King (2011). Learning in Safe

Schools. 2nd Edition. Ontario: Pembroke Publishers.

Batiste, Deborah (2000). Anti-bias Study Guide:

Elementary/Intermediate level. New York: Anti-

Defamation League.

PEDAGOGICAL GUIDE

TEAM BUILDING AND ICE- BREAKING ACTIVITIES

SILVIA JINDRA

DescriptionThis unit uses ice-breakers to welcome participants and warm-up

the conversation among them in a team building session. It aims at

helping students to get to know each other and understand what

everyone brings to the team and how to best interact with their

peers. Ice breakers can be an effective way to introduce students to

the purpose and objectives of a project or event. Through team

building activities students can become more engaged in the

proceedings and so contribute more effectively towards a

successful outcome. Most of the activities have been taken from

August Boal’s Games for Actors and Non-Actors.

ObjectivesGet to know each other by encouraging students to talk to one

another and share some information about themselves

Help participants who don’t know each other to start

communicating and sharing thoughts in a comfortable and

relaxing way

Experience respect for each other

Get students to be more engaged

Interact with others

Establish a safe environment

Make pair and group work easier

Make the group become more cohesive and invite students to

create a warm and friendly learning environment

Generate energy


… got a sense of who is in the room

… engaged with each other and the topic of the event

… experienced trust, acceptance and a sense of belonging

… created a positive and interactive team atmosphere by

working with others in a cooperative manner

… gained insight into the importance of a non-threatening

learning environment

… experienced respect and appreciation for each other

… used creativity and out-of-the-box thinking

… become more engaged in contributing more effectively

towards a successful outcome of the event

Four Corners:

This technique stimulates movement and discussion. In each

of the four corners of the room, one statement is posted on

chart paper (“ I want to become a primary school teacher” / “I

want to become a secondary school teacher” / “I have not

decided yet” / “I have already been teaching for more than 2

years”). The teacher asks students to gather in the corner of

the room that corresponds to their choice. In each corner,

students form groups of two or three to discuss the reasons for

selecting this choice. Allow two or three minutes of discussion.

At the end students should present a group summary of their

choice.

Birthday Line Up :

The participants are asked to form themselves into a

continuous line based upon their birthdays (considering only

the month and date). The challenge is that the group members

cannot talk at all. They can resort to using sign language,

nudges, and other ways of communication.

Greeting your peers:

Students mill around in the room. At the sound of a clap

students have to greet each other in the way the teacher tells

them:

- by shaking hands with as many people as possible

- by greeting in your mother tongue

- by saying your name

- by greeting the other person like someone you hate

- by greeting the other person like someone you are secretly

in love with

- by touching the left shoulder with the other person's left

shoulder

- by touching softly your right knee with the other person's

right knee

- by standing on your right leg only and reaching your hand to

another person

This activity produces nice group images. Students meet many

different people and gain confidence. They feel connected by

giving each other support. (Cf. Fritz 2014, p. 47)


1 – 2 – 3: Counting to three with a partner:

In pairs, students count to three, each partner saying one

number at a time. Once this has been mastered, the counting

can be made a bit more difficult: replace count number 1 with

a sound. Then replace count number 2 with a physical action.

Then replace count number 3 with a sound and a physical

action. Afterwards participants can show each other their

“choreographies”: half of the room shows the other half, and

then the other way around. (Cf. Boal, 2002, p. 106)

Jump In, Jump Out:

Participants stand in a circle and hold hands. The directions

“jump in, jump out, jump right and jump left” should be used.

Round One: Participants repeat and do as teacher says. For

example, when teacher says, “jump in”, participants will say

“jump in” as they do so.

Round Two: Participants say and do the opposite of what

teacher says. For example, when teacher says, “jump in”,

participants will say “jump out” as they do so.

Round Three: Participants say what the teacher says and do

the opposite. For example, teacher says, “jump in”, participants

will say “jump in” but actually jump out.

This icebreaker is great for getting a group warmed up, both

physically and mentally!

One person we fear, one person is our protector:

The group is spread out around the room. Each person chooses

one other person without making their choice known. That

person is the one who frightens him (for the purposes of the

game only). Everyone moves around the room, trying to keep

as far away from the person they fear not letting this person

know that they have chosen them as the one they fear. Then

the participants choose another person – that one is their

protector, who should not be aware of the fact that he has

been chosen as such. Everyone moves around again trying to

keep their protector between them and the person they fear.

On the command “freeze”, the teacher goes around the group

asking if people managed to keep their protector between

themselves and the person they fear. (Cf. Boal, 2002, p. 141)

Applied Methodologies (Continued)

ReferencesBoal, Augusto (2002). Games for Actors and Non-Actors. New

York: Routledge

Fritz, Birgit (2012). InExActArt - Das autopoietische Theater

Augusto Boals: Ein Handbuch Zur Praxis des Theaters Der

Unterdrückten. Stuttgart: Ibidem Verlag

https://www4.ntu.ac.uk/adq/document_uploads/running_a_co

urse/187450.pdf

http://www.theteachertoolkit.com/index.php/

https://books.google.at/books?

id=aOE3BAAAQBAJ&pg=PA48&lpg=PA48&dq=augusto+boal+o

unting+1+2+3&source=bl&ots=evtcM63gUp&sig=nOcHMlHu-

2xcYtn5rGKzmt6eOsQ&hl=de&sa=X&ved=2ahUKEwiC2t3ZnNv

cAhXlYZoKHY_ACPwQ6AEwA3oECAcQAQ#v=onepage&q=au

gusto%20boal%20ounting%201%202%203&f=false

The Tallest Tower:

The teacher organises the group into teams of 4. The

objective of the challenge is for participants to work to build

the tallest free-standing tower they can with the resources

provided by the facilitator (cardboard / newspapers / glue).

Each group gets the same supplies. The team is not allowed to

talk to each other and should rely on their strategic

competence. Once each team has built their tower (time

limit: 10 minutes), the facilitator begins measuring the tower.

The tower has to stand on its own for five seconds without

any external support

Learning objectives include: Non-verbal communication,

collaboration, time management, problem solving and team

strategy. This activity requires real creativity and teamwork

to put up a tower that is solid and is standing on its own for

five seconds without any external support.


Boal, Augusto (1979). Theatre of the Oppressed. New York:

Urizen Books

Boal, Augusto (1989). Theater der Unterdrückten. Übungen und

Spiele für Schauspieler und Nicht-Schauspieler. Herausgegeben

und aus dem Brasilianischen übersetzt von Martina Spinu und

Henry Thorau. Frankfurt/Main: Suhrkamp.

Farmer, David (2012) .101 more Drama Games and Activities.

Create Space.

Freire, Paulo (1973). Pädagogik der Unterdrückten. Bildung als

Praxis der Freiheit. Reinbek bei Hamburg: Rowohlt.

Maley, Aland and Alan Duff (1978). Drama Techniques in

English Learning. Cambridge University Press.

Sauer, Joachim and Alfons Scholten and Bernhard W.

Zaunseder (2004). Global Games. 70 Spiele und Übungen für

Interkulturelle Begegnungen.Freiburg im Breisgau: Herder.

Swale, Jessica (2009). Drama Games for Classrooms and

Workshops. London: Nick Hern Books.

Thorau, Henry (1982). Augusto Boals Theater der Unterdrückten

in Theorie und Praxis. Rheinfelden: Schäuble Verlag.

Further Reading

PEDAGOGICAL GUIDE

INSIDENESS AND OUTSIDENESS IN HUMANISTIC GEOGRAPHY

HOLGER JAHNKE

DescriptionThe unit introduces students to the concept of "insideness"

and "outsideness" developed by the humanistic geographer Edward

Relph in his PhD thesis "Place and placelessness" published in

1976. Based on the distinction between the two epistemological

categories of "space" and "place" used in geography, Relph

introduces different types of "insideness" and "outsideness" to

distinguish different degrees of emotional attachment of human

beings to specific places.

In this unit students will get to know the three dimensions of place

- material, social and symbolic - and learn to reflect their own

emotional attachment to specific places they have been to.

In a second phase, school and university are conceptualised as

"places" and students are invited to reflect upon the schools they

have attended themselves in terms of - material, social and

symbolic - "places" as well as to analyze a specific learning

environment.

Objectivesintroduce students to humanistic geography and its

development from the specific academic and social context in

the 1970s and 1980s

familiarise them with the main representatives of humanistic

geography (Yi-Fu Tuan, Anne Buttimer, Edward Relph, and

Gunnar Olsson)

Students learn...

... to distinguish between the two dominant epistemologies in

academic human geography in the 1970s and 1980s: geography

as a spatial science and humanistic geography, represented in

the two concepts of "space" and "place"

... about the conceptualisation of emotional attachment to place

as different degrees of "insideness" and "outsideness" developed

by the geographer Edward Relph in "place and placelessness"

... to apply these concepts to their own personal experiences

and different places they have been to, such as their

hometown, cities or countries they have lived in, places they

travelled to and the city where the course takes place

... to conceive the schools they have attended themselves as

three-dimensional places and apply personal experiences of

insideness and outsideness to their own school experiences

Working Material


... more awareness towards schools, universities and other

learning environments as learning environments with

specific material, social and symbolic settings

... become more sensitive to the complex interrelations

between the three

... become able to analytically reflect on the emotional

attachment of pupils and students to the schools or

universities they are currently attending

... transferred this experiential knowledge to the materiality of

the built learning environment they are currently studying or

working in (school, university, other learning spaces)


Reading – Students are asked to read the introductory chapter

on the idea of indsideness and outsideness from Edward Relph

(1976) "Place and placelessness".

Lecture – The introductory lecture, based on PowerPoint

slides, introduces students to humanistic geography, its social

and academic context, its main representatives, the distinction

between the basic theoretical concepts of "space" and "place,"

as well as Relph's ideas on identity of place, identity with

place, insideness and outsideness.

Mapping exercise – Students are asked to draw one of the

schools they have attended and map places of insideness and

outsideness. They are asked to single out the specific

conditions which made these places special to them.

Exploration and reflexive photography – Students are asked to

explore with their cameras (mobile phone cameras) the

building or the campus in order to find specific places they

consider adapted for their own learning. They present the

picture and explain, what makes these places so specifically

adapted for learning.

Relph, Edward (1976): Place and placelessness. London: Pion.

esp. chapter: "On the identity of places", pp. 44-62.


Further ReadingButtimer, Anne (1976): Grasping the dynamism of

lifeworld. In: Annals of the Association of American

Geographers 66, pp. 277–292.

Buttimer, Anne; Seamon, David (Eds) (1980): The human

experience of space and place. New York: St. Martin's.

Relph, Edward (1976): Place and placelessness. London:

Pion (Research in planning and design, 1).

Tuan, Yi-Fu (1974): Topophilia. A study of environmental

perception, attitudes, and values. Englewood Cliffs, N.J:

Prentice-Hall.

Tuan, Yi-Fu (1979): Space and Place. The Perspective of

Experience. Minneapolis: University of Minnesota Press.

Olsson, Gunnar (1979): Social Science and Human Action

or on Hitting Your Head Against the Ceiling of Language.

In: Gale S., Olsson G. (Eds) Philosophy in Geography.

Springer, Dordrecht pp. 287-307.

Olsson, Gunnar (2007): Abysmal. A critique of

cartographic reason. Chicago: Univ. of Chicago Press.

Further WatchingEdward Relph (2014): “The paradox of place and the evolution

of placelessness”

Keynote lecture at the "Place & Placelessness in the 21st

Century City” symposium hosted by the Built Environment |

People & Place Research Cluster at the University of New

South Wales (UNSW, Sydney).

https://www.youtube.com/watch?v=5gXqkq3zTzk

Edward Relph (2014): “Place and Placelessness in the 21s

century”

Interview at the "Place & Placelessness in the 21st Century

City” symposium hosted by the Built Environment | People &

Place Research Cluster at the University of New South Wales

(UNSW, Sydney).

https://www.youtube.com/watch?v=vjvdgM730jc

Yi-Fu Tuan (2011): “Home as Elsewhere” -

Lecture at the University of California

https://www.youtube.com/watch?v=4jhyJeV1RAA

Lecture on the relation between emotional attachment to

places and the nature of humans to migrate.

PEDAGOGICAL GUIDE

PEDAGOGICAL INSIDENESS AND OUTSIDENESS

JOSEPHINE MOATE

DescriptionThis unit encourages educators to critically consider what it means

to be an insider and an outsider in an educational community and

what the advantages and disadvantages of these different positions

can be. The priority of this session is to recognise that within one

community, individuals can be experiencing education in

significantly different ways and it is an educator’s responsibility to

be sensitive to these experiences and consciously work towards

making education a place of positive development. Individual

educators cannot do this alone, however, and in that sense

dialogue between and with colleagues and peers is of great

importance.

Objectivesto be more sensitive to the experiences of children/students in

relation to education as a cultural, formative institution

to consider notions of insideness and outsideness from

different perspectives

to be more aware of the pedagogical responsibilities of an

educator


… critically reflected on their own experiences of education as

well as the experiences of others.

… become more sensitive to responsibilities they have as

educators

… a broader understanding of the way in which their choices

fundamentally affect the kind of education that is experienced

by students.

Through this critical reflection as individuals and with other

educational professionals, assumed and potentially unhelpful

ways of being, acting and relating in education can be more

easily identified and alternative approaches introduced.

The slides that accompany this session should be used as the basis

for discussions. This session is intended to be more of a dialogue

between the different participants as key stakeholders in

education. Each of us has our own experiences of education from

different times and places, and these experiences contribute to

the way in which we related to education and acknowledge the

stories and experiences of others. The slides move through a

number of themes and it is a good idea to pause before a new

theme begins. Each theme has its own title page to indicate the

transition. When I led this session, I quite candidly shared my

own experiences when I have felt uncomfortable or uncertain as

well as when I’ve assumed that others feel comfortable in the

classroom based on my positive feeling rather than their

experience. The suggested readings can be read prior to the

discussion session or then included at different points. The two

videos hopefully provide different entry points into educational

experiences and how educators can respond to the diversity of

educational communities today. No final solutions are provided,

but on the basis of the discussions, readings and critical

reflections it should be possible to begin to think about what

more pedagogical responses can be developed in particular

communities.



ReferencesBakhtin, M. (1986). Speech Genres and Other Late Essays.

University of Texas Press.

Bruner, J. (1996). The Culture of Education. Harvard

University Press.

Emerson, C. (1996). Keeping the self intact during the

culture wars: A centennial essay for Mikhail Bakhtin. New

Literary History, 27(1), 107-126.

Palmer P. J. (1986) Community, Conflict, and Ways of

Knowing Ways to Deepen our Educational Agenda, Change

Magazine

Moate, J. (2016) Living between two educational systems, In

(eds) A. Raiker, & M. Rautiainen, Educating for democracy

in England and Finland: Principles and culture. Taylor &

Francis. 17-26

Further Reading

Background MaterialBakhtin, M. (1986). Speech Genres and Other Late Essays.

University of Texas Press.


University Press.

pedagogue. (n.d.). Collins English Dictionary - Complete &

Unabridged 10th Edition. Retrieved April 29, 2016 from

Dictionary.com

websitehttp://www.dictionary.com/browse/pedagogue

Palmer, P. J. (2007) The Courage to Teach

Palmer P. J. (1986) Community, Conflict, and Ways of

Knowing Ways to Deepen our Educational Agenda, Change

Magazine

Waugh, E. (1934) Ninety-Two Days. Penguin Travel

Library: Middlesex, England.

Further WatchingThird Culture Kids

https://www.youtube.com/watch?v=ltZ-PrWj8w0

Other home

https://www.youtube.com/watch?

v=1bdnNZx1IdM&feature=youtu.be

PEDAGOGICAL GUIDE

HISTORY OF EDUCATION: THE NATION STATE THROUGHOUT MATERIAL CULTURE

CARMEN SANCHIDRIÁN

DescriptionThis unit introduces students to the concept of material culture

and the history of education. It is focused on objects in schooling

that were chained by action and routines. These artefacts can be

sources for a better understanding of history and can show us

another way of approaching the past. School artefacts are more

than just material things as they communicate ideas, symbolise

values, and convey emotions.

In this unit, students will analyse some examples of school

artefacts, mainly textbooks used in Spain during Franco’s

Dictatorship. These schoolbooks constructed the new national

identity in the sense of a dictatorial regime against the ‘Other’ and

their texts and images were not truly designed to convey cognitive

content to students, but to form their emotional and sentimental

being.

Teaching history has been strongly linked to the notions of Nation

State, Homeland and Patriotism, with outcomes that have been

both good and bad.

The unit can also be seen in connection to the TED-Talk The

Danger of a single story and with Edward Relph’s Place and

Placelessness (1976).

ObjectivesBecome aware of the rich variety of sources that historians use

to explore the past

Evaluate the importance of the study of school objects in order

to develop a better understanding of the history of education

Develop skills of critical historical thinking, including the ability

to analyse sources and to make comparisons in context

Understand and criticise the effects different history textbooks

may have on students

Assess the historical importance of texts and images in

textbooks

Reflect on the relationship between Nation State, Place,

Insideness and Outsideness and the teaching of history at

schools

Applied MethodologiesBasic information

Students are asked to give examples of school artefacts that

have been relevant in their school history

Students are asked to choose a personal and relevant object

that represents insideness and explain the reasons of their

choice

Collaborative learning – Students will share their

“experiences” about learning history and interpret them in

their political and social context

Reflective questions – For example What were you taught

about Nation State and Homeland at school? Does it help to

develop Insideness? Do you think these concepts must be

taught al school? When? How? Why?

… become more sensitive to the complex interrelations

between school objects, school ac-tors and the education as

well as the social systems

… more awareness for school artefacts and the history of

education

.. acquired some theoretical background knowledge related to

the history of education and its relevance

… established links between texts and images of history

textbooks and the notions of Na-tion, Nation State, and

Homeland

… found more examples from different countries and

historical periods

… proposed ways of how to construct history for an inclusive

nation that seeks understand-ing across its own component

groups as well as its neighbours

… detected the presence of stereotypes created by the “single

story” in some past and pre-sent textbooks.

Expected Learning Outcomes At the end of this unit the learners will have..

Boyd, C.P. (1997). Historia Patria. Politics, History, and

National Identity for Spain, 1875-1975. New Jersey:

Princeton University Press.

Braster, S., Grosvenor, I. & Pozo, M. (eds.) (2011). The Black

Box of Schooling. A Cultural History of the Classroom.

Brusells. Peter Lang,

Craig Campbell , Geoffrey Sherington & Margaret White

(2007): Borders and Boundaries in the History of Education,

Paedagogica Historica: International Journal of the History

of Education, 43:1, 1-6. To link to this article:

http://dx.doi.org/10.1080/00309230601080543

EERA (2014). Education across Europe. A visual

Conversation. Network 17 - Histories of Education,

Network 17 - Histories of Education, EERA. Retrived from

http://hdl.handle.net/10993/18609

References

Electronic presentation

Braster, S., Grosvenor, I. & Pozo, M. (eds.) (2011). The Black

Box of Schooling. Peter Lang, Brusells, p. 277.

Chimamanda Ngozi Adichie: The danger of a single story,

TED Talk. Retrieved from

https://www.ted.com/talks/chimamanda_adichie_the_dange

r_of_a_single_story?language=enRelph, Edward (1976): Place

and placelessness. London: Pion, pp. 44-62.

Working Material

Serrano de Haro, A: (1943-1966). Yo soy español. Madrid:

Escuela Española (26 eds.).

Villardefrancos, M. (1963). José Mari. El hermano de Paloma.

Madrid: Escuela Española.

Spanish History/primary textbooks:

Chang, Bi-yu (2015). Place, Identity, and National Imagination in

Post-war Taiwan. London: Routledge.

Guyver, R. (Ed.) (2016). Teaching History and the Changing

Nation State: Transnational and Intranational Perspectives.

London, Bloomsbury Publishing.

Lawn, M. & Grosvenor, I. (2005). Materialities of Schooling:

Design, Technology, Objects, Routines. Oxford: Symposium

Books.

López Facal, R. and Sáiz Serrano, J. (2016). Spain: History

Education and Nationalism Conflicts. In R. Guyver, R. (Ed.),

Teaching History and the Changing Nation State: Transnational

and Intranational Perspectives. London, Bloomsbury Publishing,

pp. 201-216.

Marsico, G., Dazzani, V., Ristum, M. and Souza, A.C. de (Eds.)

(2015). Educational Contexts and Borders through a Cultural

Lens. Looking Inside, Viewing Outside. Berlin: Springer.

Sanchidrián Blanco, C. (2013). La Historia cultural de la

educación: Entre cambios y continu-idades. Málaga: SPICUM.

Retrieved from

https://riuma.uma.es/xmlui/bitstream/handle/10630/6165/HIST

ORIA_CULTURAL_%20Sanchidrian.pdf?sequence=1

Tinkler, P. (2013). Using Photographs in Social and Historical

Research. Manchester: SAGE.

Vansledright, B. (2008). Narratives of Nation-State, Historical

Knowledge, and School History Education. Review of Research

in Education, 32, pp. 109-146. DOI:

10.3102/0091732X07311065

Further Reading

PEDAGOGICAL GUIDE

DEBATES ON NATIONALISM

CARMEN SANCHIDRIÁN

DescriptionNationalism is probably one of the most potent forces in the world

and has been so for about two hundred years. The topic can be

approached from historical, geographical, political, linguistic or

sociological perspectives, among others. This unit introduces

students to the concepts of Nationalism, Patriotism, Supremacism

and their interconnectedness in order to develop critical thinking

about the ambiguity of such notions.

ObjectivesDifferentiate between the concepts of Nationalism, Patriotism,

Racism and Supremacism

Identify concepts and perspectives that underlie written and

oral texts (cartoons, newspaper articles and TED Talks)

Make comparisons in context

Develop critical skills including the ability to analyse political

cartoons, newspapers and academic literature

Criticise the bias that different newspapers or TV channels may

have

Expected Learning Outcomes At the end of this unit the learners will have..

… recognised bias and prejudices

… read and interpreted different and sometimes contradictory

arguments from cartoons, videos, newspapers and academic

literature

… analysed the actions, beliefs, and circumstances that

resulted in conflict due to Nation-alism in their countries

(today or in the past)

… compared opinions about Nationalism and Interculturalism

… become aware of the relevance of these concepts and feel

prompted to find out more.

Applied MethodologiesLecture – information is provided on nationalism and its

impacts on the world.

Group Work – In small groups, students are asked to look at

the cartoons and define the idea of nationalism that underlies

them.

Work with Media – Students are asked to watch the TED

Talks and define the idea of na-tionalism that underlies them.

They are then asked to read newspaper articles and to

compare them with the information given in the TED talks.

Collaborative learning – Students will share their

“experiences” with Nationalism and in-terpret them in their

respective political and social contexts.

Reflective questions – For example:

What have you read or heard about the ‘nationalism debate’?

How has Europe changed due to nationalist movements?

How are nationalism, patriotism and supremacism promoted?

Are the logics of nationalism, interculturalism and democracy

contradictory?

Do you think Nationalism has had more of a positive or

negative impact on the world? Support your answers with

evidences.

Working MaterialElectronic presentation: cartoons about Nationalism.

Jun, S. (2015). Nationalism: A Dangerous Culture. Ted

TEDxSouthPasadenaHigh. Retrieved from

https://www.youtube.com/watch?v=TuN6-uUGKuc

(Somi shares her thoughts on how nationalism is a harmful

and unnecessary force in society and the responsibility that

future generations have in a globalisation movement)

Rosenberger, Ch. (2017). Are We All Nationalists?

TEDxBrandeisUniversity. Retrieved from:

https://www.youtube.com/watch?v=HFnXuCqEEAw.

(This talk discusses a very provocative question: Are we more

nationalist than we think we are?)

Anderson, B. (2006). Imagined communities. Reflections on

the Origin and Spread of Nationalism. London: Verso.

http://art.yale.edu/file_columns/0000/8647/anderson.pdf

Breen, K., O'Neill, S. (Eds.) (2010). After the Nation? Critical

Reflections on Nationalism and Postnationalism. London:

Palgrave Macmillan

Bryan, A. (2009). The intersectionality of nationalism and

multiculturalism in the Irish curricu-lum: teaching against

racism? Race, Ethnicity and Education, 12 (3) 297-317.

Retrieved from:

https://doi.org/10.1080/13613320903178261

Brubaker, R. (2004). In the name of the nation: Reflections

on nationalism and patriotism. Citizenship Studies, 8 (2)

115-127.

https://www.tandfonline.com/doi/full/10.1080/136210204

2000214705

Eugenio, Ch. (2016). Nationalism in Our Society.

TEDxYouth@SeaburyHall. Christian Eugenio believes that

nationalism is a source of good in the world. Retrieved from:

https://www.youtube.com/watch?v=-SFms7qWMMk

References & Further Reading

Working Material (Continued)

Astore, W. (08/06/2017). Beware the Blinding Power of

Nationalism. The Huffington Post.

https://www.huffingtonpost.com/entry/beware-the-

blinding-power-of-

nationalism_us_5987352fe4b00833d1de28e2

NYT- The Interpreter (28/02/2018). How Nations Make Up

National Identities. The New York Times. Retreived from:

https://www.youtube.com/watch?v=F9qF6FvwrHI

Williams, Z. (08/05/2018). Nationalism can be a good thing.

We have to make the case for it. The Guardian. Retrieved

from:

https://www.theguardian.com/commentisfree/2018/may/0

8/nationalism-positive-case-immigration-counter-

narrative-nhs

Selection of articles on Nationalism. For Example:

Harari, Yuval Noah (2017). Nationalism vs. globalism: the

new political divide. Discussion between Harari and TED

curator Chris Anderson. Retrieved from:

https://www.youtube.com/watch?v=_bpwHkHsEpY

Orwell, G. (1945). Notes on Nationalism. London: Polemic.

Retrieved from

http://orwell.ru/library/essays/nationalism/english/e_nat

Sabbagh D. (2005) Nationalism and Multiculturalism. In: A.

Dieckhoff & C. Jaffrelot (eds.) Revisiting Nationalism. The

CERI series in Comparative Politics and International

Studies. New York: Palgrave Macmillan.

Vansledright, B. (2008). Narratives of Nation-State,

Historical Knowledge, and School History Education.

Review of Research in Education, 32, pp. 109-146. DOI:

10.3102/0091732X07311065

Willians, K. (2017). What George Orwell Wrote About the

Dangers of Nationalism. On Facts, Fallacies, and Power.

Adapted from Between the Bullet and the Lie: Essays on

Orwell. Retrieved from: https://lithub.com/what-george-

orwell-wrote-about-the-dangers-of-nationalism/

References & Further Reading

(Continued)

PEDAGOGICAL GUIDE

APPRECIATING LINGUISTIC DIVERSITY THROUGH LANGUAGE PORTRAITS

SILVIA JINDRA

DescriptionThis unit explores the linguistic diversity in our classrooms by

using autobiographical

portraits of language experiences and practices. It aims at

familiarising students and teachers with the linguistic wealth and

diversity present in our classrooms. By using language portraits,

teachers and pupils can understand the importance of languages in

a person’s life better and embrace the linguistic diversity as a

valuable learning resource for all classmates.

ObjectivesDiscover one's own linguistic diversity

Reflect on one's own linguistic diversity by identifying which

role different languages play in different situations and with

different people

Get to know the linguistic diversity of fellow students

Become aware of the importance of diverse languages for

oneself

Get information about the diverse language backgrounds of

learners

Recognise and value the diverse linguistic resources the pupils

bring to the classroom

Experience multilingualism as an added value

Experience respect and appreciation for one's mother tongue

Create a classroom climate that affirms linguistic diversity

Expected Learning OutcomesAt the end of this unit the learners will have...

… become aware of and reflected on their own multilingualism

… gained knowledge of the diverse language backgrounds of

their classmates

… experienced the importance of knowing or being interested in

different languages by learning that the richness of linguistic

plurality constitutes an added value

Working Material

Applied MethodologiesPersonal reflections based on participants’ linguistic diversity

Language portrait silhouette – Students paint the languages

they speak in different colours on a silhouette sketch of a

body. Information can be given on…

- … how well they speak the language,

- … who they use the language with,

- … how frequently they speak it

- … in which settings they speak it

- … why they are interested in a certain language

- … which language they prefer and why

- … which languages they would like to learn later

Group work – In groups of four, students present their

language portraits to each other by explaining their choice of

colour, the use of shapes and symbols (e.g. flags) and

placement in the body

Visualisation – All language portraits are then displayed for

everyone to see by hanging them on the walls of the

classroom


Body template

Coloured pencils

… developed a sense of how to use their languages in different

settings, with different people and on different subjects

… experienced respect and appreciation for their mother

tongues by making its uniqueness and importance visible

… gained insight into the importance of different languages in

their life

Expected Learning Outcomes (Continued) At the end of this unit the learners will have..

Further Reading Krumm, Hans-Jürgen (2010). Mehrsprachigkeit in

Sprachenporträts und Sprachenbiographien von

Migrantinnen und Migranten. Retrieved from

http://www.akdaf.ch/html/rundbrief/rbpdfs/61_Mehrsp

rachigkeit_Sprachenportraits.pdf

Dressler, Roswitha (2014). Exploring Linguistic Identity in

Young Multilingual Learners. In: TESL Canada Journal,

volume 32, issue 1. Retrieved from

https://files.eric.ed.gov/fulltext/EJ1057309.pdf

Gogolin, Ingrid and Ursula Neumann (1991). Sprachliches

Handeln in der Grundschule. Die Grundschulzeitschrift 43: 6-

13.

Krumm, Hans-Jürgen (2001). Kinder und ihre Sprachen -

lebendige Mehrsprachigkeit. Wien: Eviva.

Sprachliche Bildung in der Schuleingangsphase:

Bildungssprache Deutsch, Minderheitensprachen,

Erstsprachen, Fremdsprachen fest im Griff. (2017) Kiesel neu.

Heft 3. Graz: Österreichisches Sprachenkompetenzzentrum.

Retrieved from

http://www.oesz.at/OESZNEU/document2.php?

Submit=&pub_ID=186

References

PEDAGOGICAL GUIDE

CULTURAL LITERACIES

JOSEPHINE MOATE

DescriptionThis unit encourages educators to critically consider their

assumptions around the role of language in education and

introduces why and how language can differ. This unit also briefly

outlines the value of bi-/multi-lingualism and provides some

foundational ideas for creating more positive educational

communities that create space for different languages and value

the different resources a broad language repertoire provides.

Objectivescritically reflect on existing educational cultures in relation to

language

rethink the role of language in education

differentiate between the different types of language in

education

pedagogically support language development


… become more sensitive to the way in which they use

language and assume language should and can be used in

education

… a broader understanding of the way in which language is

present in and used in education

… more tools to explore the languages and role of language in

their own educational communities

Applied MethodologiesThe slides that accompany this session should be used as the

basis for discussions as well as information. The slides move

through a number of themes and it is a good idea to pause before

a new theme begins. Each theme has its own title page to indicate

the transition. The suggested readings can also be read prior to

the discussion session and the readings can be divided between

the larger group.

If there are 15 participants, the readings can be divided between 3

groups of 5 which can support greater engagement with the text

as participants have to then explain what they have read to

others and answer questions. The TED talk is also a fascinating

introduction to the ‘linguistic genius of babies’. Above all,

participants should be encouraged to reflect on their own

experiences and assumptions, as well as the way in which they

are responding to the examples. The examples from the Black

Church might not be closely related to their community, but

there might be other religious or social communities that do use

language in particular ways. What are these ways and are these

examples considered in a positive or negative light? This is a

useful way of pealing back layers to find underlying assumptions.

No final solutions are provided, but on the basis of the

discussions, readings and critical reflections it should be possible

to begin to think about what more pedagogical responses can be

developed in particular communities.



ReferencesBiesta, G. (2005) Against learning – Reclaiming a language

for education in an age of learning Nordisk Pedagogik, vol.

25 pp.54-66


University Press.

Cummins, J. (2007). Rethinking monolingual instructional

strategies in multilingual classrooms. Canadian Journal of

Applied Linguistics/Revue canadienne de linguistique

appliquée, 10(2), 221-240.

Dorsey-Gaines, C., & Garnett, C. (1996). The role of the Black

Church in growing up literate: Implications for literacy

research. Discourse learning and schooling, 247-266.

Kuhl, P. K. (2004). Early language acquisition: cracking the

speech code. Nature reviews neuroscience, 5(11), 831-843.

Moate, J. (2017) Language considerations for every teacher

https://www.kieliverkosto.fi/fi/journals/kieli-koulutus-ja-

yhteiskunta-huhtikuu-2017/language-considerations-for-

every-teacher

Moate, J. & Szábo, T. (2018) Mapping a language aware

educational landscape


yhteiskunta-toukokuu-2018/mapping-a-language-aware-

educational-landscape

Moate, J. (2016) What is the value of plurilingualism?


yhteiskunta-lokakuu-2016/what-is-the-value-of-

plurilingualism

Further Reading

Background MaterialCazden, C. (2001). Classroom discourse: The language of

learning and teaching.

Cummins, J. (2009). Multilingualism in the

English‐language classroom: Pedagogical considerations.

TESOL quarterly, 43(2), 317-321.

Dillon, Patrick, et al. "What Constitutes ‘Context’in

Sociocultural Research? How the Mongolian Experience

Challenges Theory." Transtext (e) s Transcultures 跨⽂本跨

⽂化. Journal of Global Cultural Studies 4 (2008): 18-31.

Hicks, D. (1996). Learning as a prosaic act. Mind, Culture,

and Activity, 3(2), 102-118.

Kuhl, P. K. (2004). Early language acquisition: cracking the

speech code. Nature reviews neuroscience, 5(11), 831-843.

Palmer, J.P. (2007) The Courage to Teach

Unsworth, L. (2001) Multiliteracies, Open University Press

Voss, M. M. (1996). Hidden Literacies: Children Learning at

Home and at School. Heinemann, 361 Hanover St.,

Portsmouth, NH 03801-3912.

PEDAGOGICAL GUIDE

EARLY SCHOOL LEAVERS

BRIGITTE ROTH

DescriptionThis unit introduces students to the topic of “Early school leavers”.

It provides basic information and data exploring the situation of

Early School Leavers in Europe and raises the question what early

school leaving means for the individual school leaver and for

society.

ObjectivesIntroducing students to definitions of Early School Leavers

Learn about the situation of Early School Leavers in Europe

Analyse different reasons for leaving schools/dropping out and

learn about groups that are at risk of dropping out

Reflect on one’s own experiences with Early School Leavers –

as a student/ as a future teacher

Discuss consequences of Early School Leaving and analyse the

Europe 2020 strategy concerning Early School Leavers

Propose and discuss ways of preventing Early School Leaving


…. learned how Early School Leavers can be defined

…. received information about Early School Leavers in Europe,

about the Europe 2020 targets concerning Early School

Leavers and about the situation of the students’ home

countries

…. become aware of and reflected on their beliefs and

experiences concerning Early School Leavers

…. been prompted to discuss groups at risk and consequences

of Early School Leaving for the individual and for society

….reflected on the importance of knowing about Early School

Leavers as future teachers


http://ec.europa.eu/eurostat/statistics-

explained/index.php/Education_statistics_at_regional_level

http://ec.europa.eu/regional_policy/sources/docgener/informat/

country2013/maps/5_earlyschool.pdf

ReferencesGoran, Petra (2016). EU Actions on Early School Leaving – Early

School Leaving: A Pathway for Change. In: Who Fails? – What

Works? Der andere Blick auf Bildungsbenachteiligung und

Schulabbruch sowie Ansätze von Guidance. Fachtagung Wien,

3. Nov. 2015, Euroguidance Österreich.

Radke, Frank-Olaf (2016). Bildungsungleichheit. Effekte und

Mechanismen institutioneller Diskriminierung. In: Who Fails? –

What Works? Der andere Blick auf Bildungsbenachteiligung

und Schulabbruch sowie Ansätze von Guidance. Fachtagung

Wien, 3. Nov. 2015, Euroguidance Österreich.

Heckmann, Friedrich (2008). Education and Migration.

Strategies for integrating migrant children in European schools

and societies. A synthesis of research findings for policy makers.

Report submitted to the European Commission by the NESSE

network of experts. Bamberg.

Working Material

Participants are informed about the situation of Early School

Leavers in Europe and are provided with data and definitions

Personal reflection based on the participants’ own experiences

Cooperative learning when discussing and analysing statistics

showing different Early School Leavers rates in Europe and

when reflecting on the importance of knowing about Early

School Leavers for themselves as future teachers


PEDAGOGICAL GUIDE

EARLY SCHOOLLEAVERS: WHO FAILS ANDWHY?

CARMEN SANCHIDRIÁN


... become aware of this issue that affects more than four

million of young people in Europe

... acquired some theoretical background related to this issue

and its relevance

... reflected on their own experiences with ESL

... established links between ESL and unemployment, social

exclusion, poverty and poor health

... interpreted data and figures on ESL after having made these

connections

... proposed ways of preventing ESL.


DescriptionThis unit will portray one of the most challenging topics in the

European education policy. After having offered an overview

(definition, figures, recent evolution, European targets), a case

study will be presented: Spain, one of the countries with the

highest rate of Early School Leavers (ESL) and huge differences

between regions. Some other European projects concerning this

issue will also be discussed and some proposals as well as further

reflections will be suggested.

ObjectivesReflect on own experiences with ESL

Determine different situations that could lead to ESL

Examine different variables (cultural, economical, personal,

educational…) that are involved in ESL

Evaluate and compare the educational policy measures put into

practice in their countries or regions

Justify visions about this issue

Propose ways of preventing ESL through a regional approach

Basic information

Case study learning

Independent learning – Students will need to think of early

school leavers that they already know and consider how/why

they became ESL

Collaborative learning – Students will share their “cases” with

students from different countries

Inquiry learning – The open questions are supposed to

facilitate new questions and some answers



Early school leaving in Europe – Questions and answers

http://europa.eu/rapid/press-release_MEMO-11-52_en.htm

Eurostat (2018). Statistics Explained. Early leavers from

education and training.


explained/index.php/Early_leavers_from_education_and_tr

aining

European Commissison (2015). Education & Training 2020.

Schools policy . A whole school approach to tackling early

school leaving, p. 5. Retrieved from:

http://ec.europa.eu/dgs/education_culture/repository/educat

ion/policy/strategic-framework/expert-

groups/documents/early-leaving-policy_en.pdf

European Commission (2018). Education and training.

Supporting education and training in Europe and beyond.

Early School leaving, p. 5. Retrieved from

https://ec.europa.eu/education/policy/school/early-school-

leavers_en

Working Material

References

Tackling Early School Leaving (European Commission).

Retrieved from https://www.youtube.com/watch?

v=qmhiu392AOA (1:56 video)

Video

European Commission (2016). European Semester Thematic

Factsheet. Early School Leavers.

https://ec.europa.eu/info/sites/info/files/european-

semester_thematic-factsheet_early-school-leavers_en.pdf

European Commission (2018). Education and training.

Supporting education and training in Europe and beyond.

Early School leaving. Retrieved from

https://ec.europa.eu/education/policy/school/early-school-

leavers_en

Eurostat (2018). Statistics Explained. Early leavers from

education and training.


explained/index.php/Early_leavers_from_education_and_

training

Official Information

Published materials

Further ReadingMora, T.; Escardibul, J.-O. & Espasa, M. (2010). The effects

of Regional Educational Policies on School Failure in

Spain. Revista de Economía Aplicada, XVIII, 54, 79-106.

http://www.redalyc.org/pdf/969/96915832004.pdf

Vallejo, C. & Dooly, M. (2013). Early School Leavers and

Social Disadvantage in Spain: from books to bricks and

vice‐versa. European journal of education: research,

development and policy, 48 (3), 390-404.

https://doi.org/10.1111/ejed.12037

IES Cartima webpage: http://proyectocartama.es/

IES Cartima Facebook page:

https://www.facebook.com/proyectocartama/

Further WatchingVideo retrieved from https://www.youtube.com/watch?

v=06GgAxQcawA

References (continued)

De Witte, K.; Nicaise, I.; Lavrijsen, J.; Van Landeghem, G.;

Lamote, C. & Jan Van Damme, J. (2013). The Impact of

Institutional Context, Education and Labour Market Policies

on Early School Leaving: a comparative analysis of EU

countries. European journal of education: research,

development and policy, 48 (3), 331-345.


Fernández-Macías, E. ; Antón, J.I. ; Braña, F.J. & Muñoz de

Bustillo, R. (2013). Early School‐leaving in Spain: evolution,

intensity and determinants. European journal of education:

research, development and policy, 48 (1), 150-164.


Relph, E. (1976). Place and Placelessness. London: Pion.

ExamplesWorking questions

• To what extent were you aware of the importance of ESL?

• Did you know the scope of the problem in your country?

• What is your opinion about the Europe 2020 Targets?

• Do you think a European educational policy is possible?

• Have you ever felt likely to become an ESL? Why?

• Do you know ESLs? Could you explain how they became ESLs? Do

you think they will have a second chance? Why?

• As a teacher, in your classroom, what could you do to prevent

ESL?

Proposals

• Recognition of Non-formal and Informal Learning – Home

• http://www.oecd.org/edu/skills-beyond-school/recognitionofnon-

formalandinformallearning-home.htm

• Recognising Non-Formal and Informal Learning: Outcomes,

Policies and Practices

• Recognition of Non-formal and Informal: Learning Pointers for

policy development

Suggestions

- Changing education paradigms, curriculum, methods, time and

space.

- Literacy pedagogy

- Connecting ideas with previous information:

• ESL and Changing Education Paradigms (Ken Robinson):

• ESL and Insideness/Outsideness

• ESL and Formal/Informal learning: InOut/OutIn

... the situations of their own country within the European

context

... early school leavers that they know, reasons, solutions…

... the Key Statements made in ‘The Whole School Approach’

(Annex 1)

... the elements included in the info graphic (Annex 2).

would you change any of your previous answers? State your

reasons.

Students work in mixed groups, sharing their experiences about

this topic and reflecting about...

Students will also identify and distinguish...

After having shared and discussed their perceptions and ideas, and

bearing in mind the new information they received, students discuss

the following:

Annex 1

Annex 2

SOURCE:

European Commissison (2015).

Education & Training 2020. Schools policy.

A whole school approach to tackling early

school leaving, p. 5.

Retrieved from:

http://ec.europa.eu/dgs/education_culture/

repository/education/policy/strategic-

framework/expert-

groups/documents/early-leaving-

policy_en.pdf

SOURCE:

European Commission (2018). Education

and training. Supporting education and

training in Europe and beyond. Early

School leaving, p. 5.

Retrieved from:

https://ec.europa.eu/education/policy/scho

ol/early-school-leavers_en

PEDAGOGICAL GUIDE

LEARNINGMINDSETS AND GROWTHMINDSET

ELVIRA BARRIOS


... become aware of and reflected on their beliefs concerning

the fixed or growth nature of intelligence;

... received information on conclusions from research

regarding how holding certain learning beliefs influences

school performance; and

... become aware of teaching strategies that promote a growth

mindset

... learned notions of neuroscience concerning how the mind

works and changes functionally and physically


DescriptionThis unit will deal with the topic of certain beliefs, known as

learning mindsets, and particularly, with that of growth mindset

beliefs, which lie at the heart of school learning and have been

proved to impact on academic performance.

ObjectivesReflect on own implicit beliefs concerning intelligence in terms

of holding an entity theory versus an incremental theory of

intelligence (or a “fixed” vs. a “growth” mindset)

Learn about four beliefs (self-efficacy beliefs, the feeling of

belonging to a learning community, the perception of the

relevance of school work and a growth mindset) that research

has shown to impact positively on student learning and school

achievement

Learn about the differences between an entity and an

incremental theory of intelligence and the implications for

teaching, learning, and school achievement

Applied MethodologiesSocratic questioning to foster critical thinking

Cooperative learning as activities will place special emphasis

on the sharing and discussion of ideas, experiences, insights,

etc.

Teacher-fronting lecturing when information is provided on

learning beliefs and a growth mindset

Further ReadingDweck, C. S. (2016). The remarkable reach of growth

mind-sets. Scientific American Mind, 27(1), 36-41.

Khan Academy and PERTS (2015). Growth Mindset

Lesson Plan. Retrieved from

https://www.mindsetkit.org/practices/13FaDf7VkjCekZJc


TED. (2014, December 17). The power of believing that you

can improve | Carol Dweck [Video file]. Retrieved from


v=_X0mgOOSpLU&t=31s

Working Material

Dweck, C. (2017). Mindset-Updated Edition: Changing The

Way You think To Fulfil Your Potential. New York:

Ballatine Books.

Farrington, C.A., Roderick, M., Allensworth, E., Nagaoka,

J., Keyes, T.S., Johnson, D.W., & Beechum, N.O. (2012).

Teaching adolescents to become learners. The role of

noncognitive factors in shaping school performance: A

critical literature review. Chicago: University of Chicago

Consortium on Chicago School Research.

Retrieved from

https://consortium.uchicago.edu/sites/default/files/publica

tions/Noncognitive%20Report.pdf

References

Further Watching Talks at Google (2015, July 15). Carol Dweck: "The Growth

Mindset” [Video file].

Retrieved from https://www.youtube.com/watch?

v=-71zdXCMU6A&t=168s

PEDAGOGICAL GUIDE

BRINGING THE COMMUNITY IN AND TAKING THE SCHOOL OUT: EXPERIENCES AT CARTIMA LOWER SECONDARY SCHOOL

ELVIRA BARRIOS


... become aware of and reflected on their own experiences of

the school as a place of belonging, and of connections between

the school and the community;

... received and analysed information on experiences of

school-communities partnerships, and of schools promoting a

sense of belonging among the pupils;

... interpreted school experiences on the issues dealt with in

this unit in light of theoretical considerations and research

conclusions; and,

... devised ways of connecting a particular school and the

community.


Description

... involve the community in school life and, at the same time,

... actively engage the school in the outside community.

ObjectivesReflect on own experiences of school promoting a sense of

belonging, and of school engagement in the community and of

the community participating in school life

Explore experiences of school engagement in the community

and of the community engagement in the school

Analyse different dimensions (affective, organisational,

political…) of school engagement in the community and of

community engagement in school

Develop a theoretical basis for the experiences of school

involvement in the community

Conceive ways of connecting the school and the community in

one’s own context

The unit will present one case study of a school in the Málaga area

that deliberately develops policies in order to ...

Further ReadingIES Cartima webpage: http://proyectocartama.es/

IES Cartima Facebook page:

https://www.facebook.com/proyectocartama/



Working Material


References

Case study learning

Socratic questioning to foster critical thinking

Critical thinking and enquiry learning, as students will need to

develop awareness of their own ex-periences, analyse these

and other experiences, evaluate them, consider alternatives,

identify fac-tors that facilitate and hinder school-community

relations, consider political issues around the unit topics, etc.

Cooperative learning as activities will place special emphasis

on the sharing and discussion of ideas, experiences, insights,

etc.

Independent, autonomous, self-study learning, as students will

need to design some courses of ac-tion to promote school-

community collaboration.


PEDAGOGICAL GUIDE

SCHOOL CULTURE,LEARNINGCULTURE

ERIKA KOPP

DescriptionThis unit prepares students for a school visit. It uses the concept of

school culture as a theoretical framework for preparation, as this

concept shows the hidden parts of school life that may link to

school dropout as well. We assume that if teachers are aware of

these factors, they can consider this in their future work to

prevent dropout. First (lecture) students familiarise themselves and

create common knowledge of definitions and levels of school

culture. After this section, students work on different tasks in

groups: they collect questions and observation criteria, and discuss

the potential bias arising from a school visit. In the final section,

the groups present the teamwork results to the whole group and

participants reflect on the presentation of each group.

The unit is linked to previous readings and to the unit “Insideness

and Outsideness in Humanistic Geography”.

Objectivessupport students in gaining a broader perspective on school life.

The emphasis is primarily on school culture

support the participants in preparing for the school visit and in

designing and evaluating the experience they gained there

raise students' awareness of the complex nature of school

culture

Expected Learning Outcomes At the end of this unit the learners will be able to...

... identify different levels of school culture and to connect the

concept of school culture with their activities during school

visit

…. prepare appropriate interview questions and observation

criteria that are related to diversity and drop-out

… recognise and reflect on their own bias that affects their

experiences during a school visit

… present their views on school experiences in an

intercultural environment and to reflect on the beliefs and

experiences of the others

This unit will be conducted in an interactive manner and will

require a great deal of student participation. Most of the activities

will be conducted in mixed small groups which help students to

critically reflect on the cultural characteristics of their own

school system.

Section 1: Warm up activity: Students in small groups collect

conventions specific to their education system/university and

discuss the similarities and differences.

Section 2: Introductory presentation by the lecturer. Whole group

discussion about questions referring to school culture.

Section 3: Collaborative work: Students in mixed small groups

collect questions and observation criteria for school visit, and

discuss the possible bias that may arise during the visit.

Section 4: Group work presentation: Small groups present the

results of their collaborative work to the whole group. Students

give feedback on the work of each group.


Handout


ReferencesSchein, E. H. (1985). Organizational culture and leadership.

San Francisco: Jossey-Bass.

Bounds, Greg, Adams, Mel, & Yorks, Lyle. (1994). Beyond

Total Quality Management: Toward The Emerging

Paradigm. Singapore: McGaw-Hill.

Tierney, W. G. (1988). Organizational Culture in Higher

Education: Defining the Essentials. The Journal of Higher

Education, 59(1), 2. https://doi.org/10.2307/1981868

https://phdinahundredsteps.files.wordpress.com/2016/08/b

ias-blindspot.jpg

Pannucci, C. J., & Wilkins, E. G. (2010). Identifying and

Avoiding Bias in Research. Plastic and Reconstructive

Surgery, 126(2), 619–625.

http://doi.org/10.1097/PRS.0b013e3181de24bc)

Russ, M., & Gonsales, L. (2014). Leadersip in Education. Long

Grove: Waveland.

Hattie, J. A. C. (2010). Visible learning: a synthesis of over

800 meta-analyses relating to achievement (Reprinted).

London: Routledge.

MacNeil Angus J. ,Busch, P. (2009) The effects of school

culture and climate on student achievement, International

Journal of Leadership in Education: Theory and Practice,

12:1, 73-84, DOI: 10.1080/13603120701576241

Further Reading

PEDAGOGICAL GUIDE

TEACHERS' COMPETENCES IN MULTICULTURAL SCHOOL SETTINGS

ORSOLYA KÁLMÁN

DescriptionThis unit helps student teachers to reflect on the various

competences a teacher needs in a multicultural school setting. The

students are introduced to the case study of a Hungarian

multicultural school and community as well as to the notion of

teacher competences. The student teachers participate in group

work in order to negotiate their teacher competences and to

discuss the possibilities of effective ways for professional

development.

This unit is linked to the unit “Cartima Lower Secondary School”.

Objectivesto support students to reflect on the development of their

teacher competences, especially in multicultural settings

to introduce a Hungarian initiative of inclusive education for

Roma pupils

to raise student teachers' awareness of the importance of the

local community for the school system

Expected Learning Outcomes At the end of this unit the learners will be able to...

… understand the concept of teacher’s competences

… analyse and reflect on their teacher’s competences and

beliefs in multicultural settings

… identify ways of improving their own teacher’s

competences

… understand the different challenges of multicultural school

contexts

… analyse the challenges and innovations for the inclusion of

Roma pupils

Applied Methodologies This unit will be conducted in an interactive manner and will

require a great deal of student participation. Most of the activities

will be conducted in mixed groups which help students to

critically reflect on the challenges of multicultural school settings

in different countries.

Section 1. Round question: What do you think about the

expectations of teachers in multicultural school setting?

Section 2. Lecture and videos: Introducing an initiative for inclusion

of Roma pupils in a high poverty area in Hungary.

Section 3. Discussion about the questions raised by the videos and

lecture.

Section 4. Explanation of competence and teacher’s competences.

Section 5. Group work about student teachers’ competences: In

groups student teachers are asked to identify their strong

competences and those that should be developed in order to teach

in multicultural school setting. Furthermore, they are asked to

brainstorm about how they can further develop these competence

areas.

Section 6. Group work presentation: The small groups present the

results of their collaborative work to the whole group. Student

teachers give feedback on the work of each group.


Videos about the Real Pearl Foundation:


v=52MSYbJQMtU&feature=youtu.be

https://www.youtube.com/watch?v=G-

E2PYmtrq0&feature=youtu.be

https://www.youtube.com/watch?v=4AmFRlWVeAU

ReferencesEuropean Commission (2013): Supporting teacher competence

development for better learning outcomes. Education and

Training.

http://ec.europa.eu/dgs/education_culture/repository/education

/policy/school/doc/teachercomp_en.pdf

Ritók, N. L. and Bodoczky, I. (2012), ‘The positive influence of art

activities on poor communities’, International Journal of

Education through Art 8: 3, pp. 329–336, doi:

10.1386/eta.8.3.329_7


Further ReadingLawson, H. A., Alameda-Lawson, T., Lawson, M. A., Briar-Lawson,

K. H., and Wilcox, C. C. (2014): Three Parent and Family

Interventions for Rural Schools and Communities. Journal of

Education and Human Development, Vol. 3, No. 3, pp. 59-78.

PEDAGOGICAL GUIDE

USING PROCESSDRAMA AS ATOOL FORTEACHINGADDITIONALLANGUAGES

BETHAN HULSE


... stimulated their curiosity about this innovative approach to

language learning and

... been prompted to find out more.


DescriptionStudent teachers are invited to participate in a one hour workshop

which models the use of process drama to teach additional

languages. The workshop is led by language teacher educators

who also have some knowledge of drama techniques. Participants

use movement as well as spoken language to invent a story

together, to create characters and to engage with their creative

imagination. They may use any language apart from the main

language of communication for the group, which in this instance is

English. Participants must teach each other phrases in other

languages which they speak.

Objectivesintroduce student teachers to the possibilities of using

unscripted drama in the languages classroom

reflection on valuing linguistic diversity.

Applied MethodologiesPROCESS DRAMA:

Process drama is presented as a means of introducing an

enjoyable, lived experience into the language classroom and

providing a meaningful context for spontaneous language

production. Research shows that effective language learning

requires opportunities for authentic verbal interactions

(Mitchell, 2003) which allow learners to progress from familiar

to unfamiliar contexts and require them to produce language

‘on the spot’ (Harris et al., 2001). Traditional methodologies

limit the scope for learners to do this because, they emphasise

‘practising language rather than expressing personal meanings

and identities’ (Ushioda, 2011,p. 227). Process drama allows the

participant to alternate between watching, listening and doing

(Boal, 1979).It introduces emotional and physical elements into

language learning which are often missing (Rothwell, 2011,

p.578).

References and Further Reading Boal, A. 1979. Theatre of the Oppressed. Trans. Mc Bride, L.

London: Pluto Press.

Bräuer, G. (Ed.). 2002. Body and Language: intercultural

learning through drama. Westport, USA: Ablex

Chang, L.S. 2012. Dramatic Language Learning in the

Classroom. In Winston, J. (Ed.) (2012) Second Language

Learning Through Drama. Oxon: Routledge.

Harris, V. , Burch , J., Jones , B. and Darcy, J. 2001.

Something to say? Promoting spontaneous classroom talk.

London: CILT.

Mitchel, R. 2003. Rethinking the concept of progression in

the National Curriculum for Modern Foreign Languages: a

researcher perspective. Language Learning Journal, 27(15):

25-33.

Rothwell, J. 2011. Bodies and Language: process drama and

intercultural language learning in a beginner language

classroom. Research in Drama Education: The journal of

Applied Theatre and Performance, 16:4, 575-594.

Sommers, J. 1994. Drama in the Curriculum. London: Cassell.

Ushioda, E. 2011. Why autonomy? Insights from motivation

theory and research. Innovations in Language Learning and

teaching, 5:2, 221-232.

Applied Methodologies (continued)Communication becomes possible through a continuum of

verbal and non- verbal responses, allowing sophisticated

thought processes to occur within a limited range of language.

The acknowledgement that communication involves not just

the voice, but the body (Bräuer, 2002) opens up new

possibilities for the languages classroom. This can help the

learners to overcome fears of linguistic inadequacy enabling

them to make the best use of the language they already know

(Sommers, 1994, in Chang, 2012, p.8) and share their knowledge

with others.

PEDAGOGICAL GUIDE

DRAMA EDUCATION CONVENTIONS - CREATIVE PRACTICES

ALLEN OWENS

DescriptionDrama conventions are ways of organising time, space and action

to create meaning. They allow all members of the group to

participate in the drama in an organised and hopefully challenging

way. Different conventions can allow for different levels of

participation which often means that at one end of the scale

individuals can contribute and participate without feeling that they

have to do anything embarrassing. While at the same time other

individuals can take on a big personal challenge.

ObjectivesA group experienced in drama will be able to suggest conventions

that could be useful to develop the drama. It is important to share

these terms with the group from their first drama session. In this

way they will be able to make suggestions about form as well as

content, and will be improving their drama and theatre skills,

knowledge and understanding.

Conventions are not sufficient in themselves to create process

drama. It is the transitions and timing, pace and appropriateness of

these in relation to the content being considered and feelings and

thoughts of the participants that give the drama a dynamic. A

string of pre-determined conventions mechanistically worked

through will produce a perfunctory piece of work.

The conventions themselves are drawn from a wide range of

sources; theatrical, literary, psychological, therapeutic, the arts

etc. Conventions used in one particular way establish a scenario

giving clear definitions of role, situation, focus and perspective.

They can be used to feed information into the drama and help

build the context. They often operate on a narrative or plot level

ie what happens next? Used in another way the same

conventions can be used to explore areas other than those

concerned with narrative, plot development drama and the art

form. They can focus on the symbolic dimensions of the work

through careful use of signing and reading. They can give the

opportunity for individuals to consider their thoughts, emotions,

feelings and understandings in relation to the rest of the

individuals in the group. Used in such a way conventions also

allow for considered reflection from within the dramatic context.


Games:

played together to focus attention, calm down or wake up, to

reinforce, or make concrete concepts, to reveal the game

structure found in situations.

Narrative/voice-over:

commentary/narration: by the leader or a group member over

or in front of the action to create atmosphere, give

information, help reflection or move the drama on in time,

control the action, etc. In its simplest form narration can be

used to control the action.

Supporting sound/sound tracking:

sounds made using voice/body/first instruments which are

then used to support action. This may be recorded or done live

to create atmosphere, consolidate the context, usually used to

fit part of the drama.

Drawing together/collective drawing:

the whole group draw on a very large sheet of paper (pieces

taped together) or all contribute to it over a period of time, to

pool ideas, share perceptions, consolidate the context.

Hot spot/hot seating:

the group interviews a person in role (the groups may also be

in role or not) to build characters, clarify perspectives and the

context.

Still images, freeze frame, frozen image, tableaux, set in

concrete, photo album:

groups or individuals get into a frozen position which may be

looked at, and read, by others to focus closely on one moment

or to physically express an abstract concept. The images might

be presented as part of the drama as, for example, a photo that

has been found, a painting, a sculpture, a statue. This is a very

versatile convention and can be used as a form of work in its

own right.

Interviews/interrogations:

in pairs or groups to give or gain information and build roles.

Examples include detectives, scientists, TV researchers,

barristers, members of a jury, oral history, etc.

Reconstruction/re-run/re-enactment:

the whole group, or small groups. or pairs carefully reconstruct

an incident to explore its dynamics and tensions as in real life

crime programmes on TV e.g. ‘Crimewatch.’ Separate re-

enactments could be done from different viewpoints.

Conventions

Mind parts:

the group are invited to become various parts of a role or

character’s mind. The conflict within the mind is

deconstructed and the various elements within it identified.

The group then choose which element they would like to play.

The individual playing the role then stands in the middle of

these elements. When she points to an element, that group

gives all the reasons why she should act as they wish. As soon

as she drops her hand, they must fall silent, even in mid

sentence. The role can keep on pointing and listening until she

feels a decision can be made. This can be a powerful way to

build commitment using teacher in role in the middle of the

circle.

Hidden thoughts/speech bubbles/thought-tracking:

one person moves and speaks in role whilst the other speaks

the subtext, e.g. what the person is really thinking but cannot

say. This helps build roles and reveals dynamics and tensions

of the situation. Alternatively, one person can be frozen while

the rest of the group are asked if they will individually pass

behind this character and speak their thoughts at that

particular moment.

TV/radio & newspaper report/coverage/media reports:

events are interpreted or approached through the conventions

of TV/radio/newspaper headlines etc. This can build context

by revealing different perspectives.

Mini productions/teams/small group

playmaking/improvisation:

the group splits into small groups to demonstrate alternative

understandings which may or may not be shared. This can

help build roles and situation and can be combined effectively

with teacher in role or used as a means of making a statement

about the action as performance.

Parallel story/analogy:

the class works as a whole group or in small groups through

parallel situations that mirror themes and dynamics in the

agreed area to be explored. This requires and encourages

objectivity.

Mantle of the expert/the ones who know:

there are various levels at which this convention can be

explored. At its simplest, pupils are endowed with specialist

knowledge e.g. designers or historians. When used in full

form, specialist knowledge is not endowed but slowly built

through carefully identified tasks which require the gathering

of more and more knowledge. This task-driven form of drama

builds up strong commitment and belief in roles and situation

and can become a form of work in itself.

Simulations:

this emphasises the importance of facts and previously

identified dynamics rather than creating drama based on

individual and group imagination. Useful in providing

background to situation, e.g. if a project on unemployment is

producing only stereotypical responses to perceived problems,

the drama is shelved for a session and an exercise set up in

which the weekly allowance is given to family units, plus a list

of their bills. What can they afford to eat that week? A list of

current prices is provided. Chance cards with additional

financial demands are dropped in, e.g. ‘It is one of the family’s

birthday.’ The following session, the group returns to the

drama with the insights gained from the simulation.

Defining space:

the action is located in a particular space and defined by an

agreed method.

Costuming:

can be used to hook interest, generate questioning and build

belief particularly when used in a partner-in-role situation.

The costume itself may be read in a way which begins to

suggest a story about the way a person lives.

Official messages, letters, diaries, journals, documents:

these can allow movement away from the immediate action of

the drama and provide opportunities for the consolidation of

individual roles. They can also be used to initiate drama as

they provide excellent opportunities for thoughtful, well

focused problems to be set in context. They can be written in

or out of role. Information technology can be very effective,

e.g. taped messages or ‘last recordings’, photographs, video

recordings, word processed documents which could, for

example, add authenticity to an official letter.

Eavesdropping/Overheard conversations:

the majority of the group listen to a spontaneous or rehearsed

conversation between a pair or smaller group. This provides

an opportunity to explore different perceptions of the same

event. It can add tension as well as feeding information into

the drama.

Maps and diagrams:

a collective activity which can be teacher or group led. It can

allow the implications of a particular situation to be carefully

explored in visual form at the beginning of, or during the

drama.

Captions/titles:

a phrase/thought/slogan/graffiti is written large on paper and

presented with the action of a particular group. The

relationship between the physical action and the written work

can have its own resonance.

Off-stage pressure:

tension is provided by a force/ power/ person who will soon

arrive but is not yet present. This can give impetus to a task

which needs completing or a decision which must be made

before this arrival.

Partner-in-role:

another teacher/parent/senior pupil provides the focus for the

drama. Information is let out very slowly by the role who

carefully listens to contributions by the group and responds to

signals from the actual teacher. The group are aware of the

person playing the role and may well know them, but that

person does not come out of role. The teacher uses the

dynamic of the space between the group and the role to create

tension as implications are carefully explored. The partnership

is between the teacher who is controlling the action and the

partner who is acting as the live focus.

Role-swap:

at a key moment in the drama, roles are reversed in order to

explore the predicament from a totally different perspective.

Forum theatre:

an event/ scene is recreated in detail and then replayed. If

anyone feels that they would have acted differently at a

specific moment within that scene they put up their

hand/shout out. The scene is rewound in order for them to

step in to the action and try their theoretical idea out in

practice. The scene can be fast forwarded/slowed down, new

characters can be introduced in order to explore the situation.

Artefacts/unfinished materials:

useful for generating questions to start a piece of drama or to

introduce tension during it. e.g. a map partially completed, a

letter torn, only the opening lines left.

Game shows:

the group agree to explore a difficult issue through a game

show format. For example 'Guess that Prejudice' where a

member of the audience who has suffered prejudice is quizzed

by the audience who must guess what sort of prejudice they

are looking at. The volunteer who can only answer yes or no,

must then recount the incident as quickly as possible to win a

prize. The juxtaposition of form and content can be used to

start or reflect on a drama.

Teacher-in-role:

a major convention which allows the teacher to challenge,

support and develop the drama, and individuals in it, from

within the drama. It does not involve the teacher acting but

does require conviction and the adoption of an attitude that can

be shown in action. Useful in allowing the teacher to

encourage the group to see the possibilities of the ‘game’ of

drams.

Telephone talk/long distance communication /conversations:

two people speak together with the group as audience. To

clarify and control the action, introduce new roles, create

tension.

Meetings:

where the space is organised in an agreed way and a procedure

established for communication to take place. This allows

information to be fed in, problems to be debated, roles clarified

and built, e.g. a group of protesters, pirates, police, conspirators,

concerned members of the public.

Collective role:

often at the start of a drama, participants adopt a ‘collective

role’. For example, they all become astronauts. The emphasis

here is often on establishing the situation, focus and

perspective through a general role experience. As the drama

progresses, participants are encouraged to make these roles

more specific or to adopt others in which they see potential.

Computer input:

an individual, or small group, or the teacher programmes the

computer to give an input to the drama. For example, a

communication may suddenly start printing out at a moment in

the drama which serves to increase tension and focus activity.

Metamorphosis:

the group or individuals can become inanimate objects. This is

useful for defining space and giving detail to location. It allows

commentary to be made from a different perspective, e.g.

“What would be in the old woman’s attic when the students

entered? In groups of two or three, find a way of representing a

specific object they might find

Either /or:

ask the group to choose between two options which in effect

divide the class in half, e.g. ‘If you think you would rush and get

help, sit on the right of the room. If you think you would

attempt a rescue yourself, sit on the left.’ This is useful for

managing the drama and creating two audiences. Most

importantly, it gives the group the opportunity to see that they

can determine the direction of the drama. This had to be true,

as they all may decide to set on one side of the room and

developments accordingly take place from there.

Continuum:

draw an imaginary line down the centre of the room and place

the word ‘Yes’ at one end of the room and ‘No’ at the opposite.

Place a chair to the side of the room at mid point on the

continuum. Ask anyone who wants to, to stand on the chair

and ask any question relating to a character or issue that they

would like to ask. The rest of the group must then move to yes

or no or some point in between on the continuum.

This is a useful way to allow individuals to make statements

without having to defend them verbally. It allows the group to

see physically and visually that there are many differences of

opinion in a group.

Moving sculpture/essence machine:

one person is invited to walk into the centre of the room and

start repeating a small piece of movement (with repeated words

or sounds). One by one, the others join in this moving and

audible sculpture. e.g. the title of the sculpture is ‘Home’.

Individuals in the class could suggest what the subject or name

of this might be. This convention can move responses away

from the literal to the abstract and conceptual.

Marking the moment/where were you?

each person in the drama is asked to go to the exact place where

they felt a significant moment occurred for them in the drama.

Some of these can be shared or people can be encouraged to

reflect on why this was significant for them. A useful way of

reflecting on a session or for gathering thoughts when

continuing a drama perhaps a week later.

Role-on-the-wall:

draw around a student on a large sheet of paper and use the

outline to represent a character in the drama. Facts or

characteristics known or perceived are drawn around or in the

shape. It can be useful to contrast the 'outer' impressions with

the 'inner' truths which are represented so graphically.

Individuals can play this collectively agreed-upon figure.

Montage:

selected images, sounds and movements are juxtaposed to

evoke feelings and thoughts generated in a drama. Useful in

consolidating work or reflecting upon it.

Masks:

can provide a protected way into drama. The making of these

allows discussion to take place prior to the action and reduces

possible perceived threats. Also a distancing device.

Puppets:

again a safe way into drama work which allows time for

discussion during the making process. Also a distancing device.

Mime:

individuals or small groups communicate with the rest of the

group using their body rather than words. This can encourage

participation for those who feel unsure of speaking.

Empty chair:

place a chair in the centre of a circle. Agree upon and then

envisage a chosen character sitting in it. The group asks

questions of him/her. The group answers its own questions

through the chair, being sensitive to the logic and consistency of

the replies.

Two groups-two people:

split the group. One person faces the other whilst the rest of the

class stand in two groups (one group behind each individual).

The two groups must whisper what they want their individual

to say to the other individual. The individual is a mouthpiece

for one group. This allows a large group to shape a conversation

between two people.

Echo:

the physical setting is the same as ‘Two groups - two people’, but

in this convention the group is the mouthpiece of the individual

and can only act as an echo. Useful in building up tension in a

conversation between two people which actually involves a

whole group. To add tension, the individuals and the groups can

physically move towards each other during the conversation.

The two individuals at the front of each group lead the speeches

which must be in short phrases or sentences to work.

Song:

taped or sung live, this can be used to complement or provide a

contrast to action or to reflect on or in a drama,

Sculpture:

one person models an image by physically manipulating an

individual or group of individuals. Useful in exploring

individual perceptions and can be developed by subsequently

exploring ‘ideal’ images and the realistic possibilities of

transition between them and those first created. Much of the

value of this convention lies in the rest of the group reading the

image, i.e. saying what information and/or feeling this gives

them.

Tunnel of decision/conscience corridor/conscience alley:

the group from two parallel lines and try to verbally influence

the decision of the individual who walks down the alley

between them. By the time the individual reaches the end of

the alley/corridor, she or he must have decided on a course of

action in response to arguments/chants/pleas. Useful in

consolidating individuals’ decisions, thoughts and feelings.

Dance past:

two people are asked to represent the protagonists in a pivotal

moment in the drama. The group is then asked if, individually,

they would like to take it in turn to model that volunteer into a

physical position which they feel literally or abstractly represents

their emotional state. When a number of modellings have taken

place, the two volunteers are asked to remember the four

positions which really captured how this character was feeling.

The group is then split in two and half goes with one volunteer,

half with the other. The volunteer then repeats the four physical

positionings and then runs them together with link movements

to form a short dance/movement phrase. All of the half-groups

then learns this phrase and practises moving it across the room.

When both groups are ready, they stand at opposite sides of the

room and rehearse by simply walking the way they will move

past each other to get to the opposite side of the room.

After the rehearsal, music and lighting can be added as the two

emotions dance past each other. Just before they do this, they are

asked to reflect on the feelings and emotions they experience as

they dance past the others.

Ceremonial action/rituals & ceremonies:

to show or create a set of repeatable actions, gestures, visual

statements that are part of a specific culture or are particular to

one person or group of people. They may be devised to honour

specific events or may be observable parts of life. These may be

rituals of an opening ceremony.

Further ReadingAdams, J. and Owens, A. (2015), Creativity and Democracy in

Education: Practices and

Politics of Learning through the Arts, Routledge, London.

Boal, A. (1979), Theatre of the Oppressed. Trans. by A. Charles and

M.L. McBride and E.Fryer. London: Pluto Press.

Bolton, G. (1995) Drama for Learning: Dorothy Heathcote's Mantle

of the Expert Approach to Education, London: Heinemann.

Doona, J. () Drama Lessons for the Primary School Year,

Routledge.

Doona, J. () Secondary Drama: A creative Source Book, Routledge.

https://www.northwestdramaservices.co.uk/john-doona

Rancière, J. (1991), The Ignorant School Master: Five Lessons in

Intellectual Emancipation (Trans. Kristin Ross), Stanford, Stanford

University Press.

Rancière, J. (2010), The Emancipated Spectator, London, Verso.

Ricoeur, P. (2003). The Rule of Metaphor. The Creation of

Meaning in Language. trans. Czerny, R., McLauglin,K. and

Coatello,S. London: Routledge.

WebsitesNational Association of Teachers of Drama

https://www.natd.eu/

National Drama

www.nationaldrama.org.uk

North West Drama Services

https://www.northwestdramaservices.co.uk/john-doona

AITA IATA Drama Education Congress

http://www.aitaiata.org/gil/tag/drama-in-education/

Applied Theatre Research

https://www.intellectbooks.co.uk/journals,id=846/view-

Journal,id=218/

Dorothy Heathcote: Pioneer of Educational Drama

http://flash.lakeheadu.ca/~engl4904/friere.html

Paulo Freire on Critical Pedagogy: A Panorama of Narrative.

http://flash.lakeheadu.ca/~engl4904/friere.html

Centre for Research in to Creativty, Education and the Arts

through Practice (RECAP) University of Chester, UK.

https://www.chester.ac.uk/recap

Owens, A. and Barber, K. 2001, Carlisle: Carel Press

References

PEDAGOGICAL GUIDE

DRAMA FOR TEACHING AND LEARNING

KATRIN NIELSEN

DescriptionDrama and performance techniques are well established tools for

teaching and learning. In the field of education drama – based

teaching and learning has long history. You may have encountered

terms like creative dramatics, drama in education, improvisation

with youth, process drama, educational drama, or drama for

learning – each of these describes the drama-based method for

teaching and learning.

As far back as we can trace, evidence exists to suggest that

dramatic activities were used in rituals, ceremonies, classrooms,

and daily life to teach and reinforce knowledge, stories, and skills.

For centuries teachers have used drama-based pedagogy to connect

children’s inclination towards bodily-kinesthetic imitation as they

try on identities and understandings of their world. Over the last

200 years this process-oriented way of teaching through theatre

and performance techniques was defined as drama, a verb derived

from Creek word dran meaning to do, act or make. While we can

safely assume that imaginative play as a way to discover, practice,

and imitate as old as humanity itself, drama for teaching appeared

as a distinct discipline in the US [in UK at the same time] during the

early twentieth century.

Drama contrasts with theatre, an art form that aims to produce an

artistic product for an audience, through its orientation towards

process. Unlike theatre, a product is not necessarily the main

outcome of drama, even though participants in drama- based

learning may share results of their work with co-participants and

sometimes with larger public. Drama –based learning focuses on

deepening understanding of self; on fostering creative and critical

thinking skills; on exploring modes of expression and

communication; on bringing together cognitive, emotional, and

kinesthetic domains to make us human. Whether drama is used as

teaching strategy in education, in community work, or otherwise,

the benefits of drama as a teaching method are multiple.

Linear drama methods are designed with the clear beginning,

middle, and end.

Process-oriented drama (sometimes referred to as „holistic

drama“ or simply „Process drama“ is open-ended, often with

only the skeletal structure of activities designed to evolve

based on participants input throughout the lesson.


Reach participants who are not served by traditional methods

of teaching and learning;

Connect participants to themselves and others;

Transform the learning environment through collaboration

and explorations of uncertainty and ambiguity;

Adapt to fit needs of diverse learners, providing both challenges

for those participants who are already considered successful

under traditional learning paradigms and support for students

who experiences difficulties within contemporary classroom

settings;

Create space for new modes of creative and critical inquiry and

expression;

Enhance understanding of regular curricular subjects, helping

learners understand human experiences of heart, body and

mind;

Stand as subject in and of itself;

Advance the goal of metacognition (an awareness or analysis of

our own learning and thinking processes).

Objectives

LINEAR DRAMA METHODS are organised around specific goals

and objectives and consist of exercises and activities, that build

the course of lesson or unit. These exercises are divided into

broader categories related to drama and theatrical skills and may

include concentration, sensorial exploration, imagination,

character development, and/or guided or independent

improvisation.

Sidecoaching – act of facilitating learning without stopping the

action of the lesson,

Spotlightning – allows participants to informally view other

participants work, take inspiration from others ideas, and

safely share moments of work in progress,

Sharing- insted of formal production or performance, linear

drama uses sharing that is typically done at the conclusion of

the activity. As the rehearsal time is brief, mistakes may

happen. The sharing gives particiapants the opportunity to

make decisions about how to organize the space, how to

sequence events for the sharing, and how to use brief

rehearsal time.

Storytelling – telling stories should be integrated into drama, it

helps the development of linear drama and means that leaders

tell stories instead of reading them to a group of participants.

Telling a story involves knowing the narrative arc and

recounting it in your own words with your own flourishes

and details.

Image-based activities

Applied Methodologies (Continued)During the lesson a teacher or facilitator outlines a plan, sets it in

motion, and has a clear understanding where she wants to go.

She teaches concepts, skills, and terms; introduces and facilitates

activities and provides necessary leadership from outside of the

drama world. For example, learners take part in different type of

improvisations facilitated by teacher but their inputs barely

influence the course of the whole session. Linear drama was

most common method of drama-based instruction in the US until

about the mid-1990s, and it continues to be vital methodology.

Pioneers in linear drama in US: Winifred Ward, Geraldine Siks,

Viola Spolin.

Core techniques in linear drama are:

a) tableaux are frozen pictures that people create with their

bodies,

b) pantomime is the act of dramatization without using words,

c) improvisation is dramatization in the moment

Mantle of the Expert – group of learners collectively

articulates areas of interest, then develops a group-designed

fictional world that allows them to explore this interest

together. MoE techniques do not impose a subject on

participants, but instead allow them to decide together what

they will explore in the session. The learners act in the

classroom as experts and construct their knowledge step by

step by improvising and personal investigation (see more

Dorothy Heathcote and Gavin Bolton 1995).

Facilitation – the leader/facilitator focuses on guiding the

drama and offering encouragement and motivation to

participants without directly steering their contribution. The

leader might step into and out of role for questioning, checking

how participants are feeling, provide information to push

drama forward, pause to provide opportunities for additional

dramatic exploration, or present research task to deepen

understanding of the topic. Facilitators also maintain control

and safety in the room, but adjust their leadership and in-role

work based on contributions from participants.

Role-play in process-oriented drama is typically grounded in a

set of given circumstances (conditions of a real or imaginary

world in which participants must operate) with the goal of

creating believable and realistic characters with the vested

interest in the topic at hand. Role-play involves two

components: role-making and role-taking, participants may

generate their own roles, completing additional research to

help justify decisions about characters and context.

Applied Methodologies (Continued)PROCESS-ORIENTED DRAMA sets out a main goal of learning

about life through dramatic methods. Process-oriented drama is

participant-oriented, with the group being collaborators with the

facilitator to help shape the drama. Leader often structures

learning processes from inside of drama functioning as in-role

facilitator. Process-oriented drama typically avoids a performance

or production component, the process is the purpose.

In the typical process-oriented drama, participants often find

themselves immersed into a story or dramatic scenario (based on

real or imagined events) in which they, as players in the drama,

directly contribute to the development of events and outcome of

the story or scenario.

Wellknown dramaeducators in processdrama in UK: Dorothy

Heathcote, Gavin Bolton, Cecily O’Neil, Allan Owens.

Process-oriented drama techniques are:

Drama and Education: Performance Methodologies for Teaching

and Learning. Manon van de Water, Mary McAvoy, Kristin

Hunt; Routledge 2015

References

Facilitator-in-role then the leader acts in role-play as well and

facilitates drama from inside of the group embodying different

functional roles during drama.

Expert role is foundational technique in MoE. Students agree

to take on the role of knowledgeable and skillful experts, for

example they are archeologists exploring an excavation for

the museum, or City council members offering advice on

improving playground spaces. Through the expert roles

participants generate knowledge to the topic, while also

encouraging an increased level of engagement and confidence

with events the drama.

Simulation provides a context for participants to work in-role.

Simulation is an imitation of real-world experience. In process-

oriented drama facilitators often design simulations based on

both real and imaginary. The simulation sets out to inspire

action from participants as they work in-role.

Interviewing is the simpler version of simulation. One player

takes the role of interviewer, the other

Sound tunnels are auditory-oriented in-role activities that

help with brainstorming perspectives, synthesizing ideas, or

concluding the residency.

Writing-in-role helps to get inside of the roles, to look events

in drama critically and to raise empathy to characters.


Gavin Bolton 1984. Drama as Education: An Argument for

Placing Drama at the Centre of the Curriculum. Longman

Helen Nicholson 2011. Theatre, Education and Performance: the

Map and the Story. Palgrave MacMillan

Dorothy Heathcote, Gavin Bolton 1995. Drama for learning :

Dorothy Heathcote's mantle of the expert approach to

education. Portmouth (N.H.) : Heinemann

Cecily O'Neill, 1995. Drama worlds : a framework for process

drama. Portsmouth (NH) : Heinemann

Allan Owens & Keith Barber, 1997. DRAMAworks:. planning

drama, creating practical structures, developing drama pretexts.

Manchester: Carel Press

Allan Owens & Keith Barber 2001. Mapping drama: creating,

developing & evaluating process drama. Carel Press

Further Reading

PEDAGOGICAL GUIDE

COGNITIVESTYLES: 'INTU' AND 'ANA'

AURIKA KOMSAARE AND

KATHRIN NIELSEN

DescriptionThis 90-minute session starts with a short introduction explaining

the background and the goal of the session. Different drama

techniques are used during the learning process: Drama Games,

Image Theatre, Continuum, Interviewing, Role Play, Reflection.

The teacher acts in the auditorium as drama facilitator and at one

point takes the role of the Joker (a technique from Forum Theatre

practice).

The Purpose of this session is to establish knowledge on the

concepts of learning style (knowledge from the group itself and

from the facilitators) and to help the participants in finding their

own individual preferences in the learning process.

Objectivesillustrate the theoretical material about learning styles, with

participants’ personal examples

raise students’ awareness about their own cognitive style and

preferences in the learning process

discuss how the knowledge and awareness could be used in

participants’ teaching practice


…become aware of and reflected on their cognitive styles;

…received information on conclusions from research

regarding learning and cognitive styles

…become aware of the possible uses of this information in a

teacher’s everyday practice

Discussion in pairs or in small groups:

The first task for participants is to open the topic of learning. It is

a short discussion in smaller groups about the concept of

learning; what are the images that first come into mind when

hearing the word ‘learning’?

Image theatre or other drama technique:

The next action is visualising the images discussed with human

sculptures, or short improvisation etc and showing them to the

other groups.

Sharing and short discussion:

The drama section is followed by another reflective discussion on

what participants saw and what the groups intended to show.

Characters on the wall (Introduction to the topic)

The facilitator presents two big papers (A2) with the contours of

the main characters INTU (Intuitive Learner) and ANA

(Analytical Learner). The visualisation and discussion is followed

by short overview of two polar cognitive styles (intuitive and

analytical) in Allinson and Hayes’s CSI (Allinson, C. W. & Hayes,

J. 2012. The Cognitive Style Index: Technical Manual and User

Guide).

Continuum/Scaling:

The teacher marks down, on the floor, the continuum. One end

would be for analytical learners and the other one for the

intuitive learners. Participants are then asked to find the place on

the line where they believe they belong to (what type of learners

they consider themselves to be, simply following their own

judgement). The continuum exercise will be summed up with

short discussion about why each one had taken one or another

position; basically, the reasoning behind the personal decision.

Characters on the wall:

Both drawings will be completed with the features and

behaviour descriptions that the participants have pointed out

during the discussion.

At the beginning of the session, drama contract should be

“signed”. It is important that everyone has the freedom to

participate or have an observer’s position if one feels that the

activities are too revealing or uncomfortable in any other sense.

A game or drama activity for warming up the group, or

discussion leading into the topic described below, would be useful

to start the process with. The session will then use the following

techniques:


Physical Theatre or Role-play:

Now the whole row is divided into two groups, ones representing

INTU, the other ANA. The facilitators mark down the contours

of a huge imaginary tabletop – four corners and the seat for a

character. The performing group’s participants are now asked to

think of an object that their character will most probably have on

that table; then, to place the object in the right place. They will

then continue to imagine themselves to be in the role of the

object – to see what it sees, hear what it hears... And so, the

improvisations of objects on two tables, the table of INTU and

ANA, will be played and observed.

Joker, Interviewing, Improvised Monologues:

Next, the facilitator acts as a Joker and gives every object a

chance to introduce itself and tell about its life on that table –

how INTU/ ANA treats it, what it has noticed about its owner’s

habits during the study process etc. While the members of one

group are improvising, the other group forms an audience and

observes the improvisation.

Reflection:

The session ends with a debriefing where the emotions

experienced during the activities, and the notions of what had

happened, will be discussed. Also, the notions of what patterns

were observed on the tables, what tendencies in thoughts of the

objects (if any) etc. What did participants find out about

themselves, about their preferences in their learning process?

The debriefing also links the exercises back to the theory of

cognitive styles and shows how we can use the knowledge in our

work as teachers.



The two A2 papers and the markers are needed.

ReferencesCoffield, F.; Moseley, D.; Hall, E. & Ecclestone, K. 2004. Learning

styles and pedagogy in post-16 learning: A systematic and

critical review. <http://sxills.nl/

lerenlerennu/bronnen/Learning styles by Coffield e.a..pdf>,

(10.12.2014).

Komsaare, A. 2014. Cognitive Style and a Field of Studies:

Comparison of Art Students and Leisure Time Management of

Students in Estonia. – International Journal of Arts and

Sciences, Vol. 7, No. 4, pp. 597–604.

Komsaare, Aurika (2016). Relations Between Students’ Cognitive

Style and Their Learning Method Preferences. Journal of

Teaching and Education, 06(01), 13−20.

Allinson, C. W. & Hayes, J. (2012). The Cognitive Style Index:

Technical Manual and User Guide.

Retrieved January 13, 2014, from

http://www.talentlens.co.uk/assets/legacy-

documents/71874/csi-manual.pdf

Further Reading

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