Drama in Education

The Imagined Drama Curriculum

An exploration of concepts and ideas

The curriculum can be defined as all of the learning that is guided and planned by the school or college where it takes place. It can take place in groups or individually both inside or outside the school. Education both inspires and reflects the values of society, and the type of society we want to be. Therefore it is important to recognise a set of common aims, values and purposes that support the school curriculum and the work of schools and colleges. These values are a set of beliefs and principals primarily set out by government, they determine priorities and set the context of what should be taught and how it is to be assessed. They are also seen as what is valuable and worthwhile; determine priorities, actions and intentions and underpin the curriculum and course content.

According to the ‘Qualifications and Curriculum Development Agency’ there are three main aims to the national curriculum and these aims could fall into three main sections: Students who are successful learners enjoy the learning process and achieve. (Functional) Students should become confident and able to live fulfilling, safe and healthy lives (Cultural) and they should become responsible members of society who make a positive contribution. (Social) (2010, [online])

Within these aims successful learners will have the required level in literacy, numeracy and ICT. They will be creative and resourceful and be able to identify and solve problems. They will be able to think for themselves and reason, question and evaluate their work. Have communication skills and be able to understand how to learn from mistakes. Be independent but collaborative learners and know about ideas and events related to our world. They will enjoy learning and be motivated to achieve.

Confident learners will have their own personal identity and self worth, form relationships and deal with their emotions, as well as have good values and know right from wrong. They will become independent and make healthy lifestyle choices. Recognise their own talents and be ambitious as well as willing to try new things and be inspired by the world and human achievements.

Finally by becoming a responsible member of society students will be prepared for life and work and be able to work and collaborate with others. Be respectful of others as well as different traditions and culture and respect diversity. Live lawfully within the community and try to improve the environment as well as think of the needs of the present and future generations.

The values that underpin these aims reflect a society which promotes equality, personal development, democracy and economic wellbeing and health with a sustainable future. (QDCA, 2010 [online])

In the curriculum document ‘Edexcel GCSE in Drama, Specification’ these values and aims can be seen clearly within a specific subject context:

In recent years, higher education institutions and employers have consistently flagged the need for students to develop a range of transferable skills to enable them to respond with confidence to the demands of undergraduate study and the world of work.

The Organisation for Economic Co-operation and Development (OECD) defines skills, or competencies, as ‘the bundle of knowledge, attributes and capacities that can be learned and that enable individuals to successfully and consistently perform an activity or task and can be built upon and extended through learning.’ [1]

Edexcel, 2016, 71

The specification clearly aims to meet the guidelines set out by the QDCA and upon reflection this is successful. Students are able to practise their functional skills through the written coursework element of the course, where they reflect on their work and that of others in ICT controlled conditions, as well as evaluate it. Throughout the course they are encouraged to problem solve, be collaborative and be able to communicate their ideas in group situations. The different units studied cover issues of culture, society and diversity, law and psychology. The only areas which might sometimes be neglected are healthy lifestyle and environmental issues, however these could be seen as hidden curriculum within the different play texts studied.

I believe although Drama is not seen as a particularly academic subject, (although thought does finally seem to be shifting) the values and aims set out under the specification are invaluable for the future workplace. Contrary to popular belief, Drama is not an easy examination, but it is extremely rewarding and students can expect to gain much in terms of self-confidence and teamwork skills, as well as developing their dramatic ability and understanding of theatre and performance.

Universities and employers look favourably upon students who can demonstrate a wide range of skills, and Drama can contribute much towards creating a ‘well-rounded individual’ for those who are prepared to work hard at it. It does, however, demand a sensitive and considered approach as the success of group work depends upon the concentration and commitment of every student.

The teaching of a subject within the curriculum can fall within certain theoretical models, process and praxis being practical, product being productive and theoretical normally relating to the syllabus. Many people still associate a curriculum with a syllabus which is derived from the Greek word, meaning a succinct statement, the contents of a thesis or the content of a sequence of lectures. In its contemporary form it is associated with courses that have an end result of examination.

The Curriculum as a Product is linked closely to behaviourist objectives and theorists such as Tyler and Bloom; it assumes that there are facts and skills to master. Knowledge is seen as something comparable to a product that is man-made. Meaning, at first one knows nothing, we are then taught and we apply that knowledge to an action. This can organise learning in a neat and tidy way, with a series of steps:

Step 1: Diagnosis of need. Step 2: Formulation of objectives. Step 3: Selection of content. Step 4: Organization of content. Step 5: Selection of learning experiences. Step 6: Organization of learning experiences. Step 7: Determination of what to evaluate, and the ways and means of doing it.

Borders, 2006 [online]

One problem with this model is that it is directed towards the teaching and doesn’t specifically consider the students, therefore discouraging creativity. The focus is very much on how the information is given and often relates to a pre-specified program. This model relies more on convergent thinking, where one specific answer is needed and may be geared more towards science or mathematics. Although within the drama curriculum students are aware of their levels and a large emphasis is placed on evaluation, it doesn’t really fit in to this theory and is largely related to the curriculum as a process instead.

By looking at curriculum as a ‘Process’, the students in this model are not objects. Instead they have a voice and involvement in the way that the sessions develop. The centre of attention is on interaction which can lead to transference from teaching to learning.

Lawrence Stenhouse (1975) formed an innovative exploration of a process model of curriculum theory and practice. He likened curriculum to a cookery recipe:

It can be criticized on nutritional or gastronomic grounds — does it nourish the students and does it taste good? — and it can be criticized on the grounds of practicality — we can’t get hold of six dozen larks’ tongues and the grocer can’t find any ground unicorn horn! A curriculum, like the recipe for a dish, is first imagined as a possibility, then the subject of experiment. The recipe offered publicly is in a sense a report on the experiment. Similarly, a curriculum should be grounded in practice. It is an attempt to describe the work observed in classrooms that it is adequately communicated to teachers and others. Finally, within limits, a recipe can vary according to taste. So can a curriculum.

Stenhouse in Smith, 2000 [online]

Therefore the curriculum is first an imagined possibility, then an experiment and then can be varied according to taste. This model falls into divergent thinking, meaning a stimuli is offered, leading to ideas, these are guided by the teacher and lead to discussion and critical thinking. (Borders, 2006 [online]) This directly fits, as Drama encourages the exploration of ideas and concepts; it is expressive in nature with active roles and enhances life skills. The downside of this can be a difficulty in applying an approach or measurable objectives and assessment can become subjective. However it does build a good foundation for collaboration, co-operation and communication which are valuable skills for life.

Article written by Drama Llama | Educator | Writer | Academic | Consultant