Performing Academic Spaces: An Ethnodramatic Exploration of Drama Curriculum Design in Teacher Education

By Medina, Carmen; Belliveau, George et al. | Theatre Research in Canada, Fall 2007 | Go to article overview

Performing Academic Spaces: An Ethnodramatic Exploration of Drama Curriculum Design in Teacher Education


Medina, Carmen, Belliveau, George, Weltsek, Gus, Theatre Research in Canada


Introduction

Three bodies are frozen with their backs to the audience.

GEORGE. Okay girls are you ready to go? Say goodbye to your house in PEI. We're off to UBC and the West Coast!

Coming alive and miming picking up bags, looking at watch ...

CARMEN. Vamonos Gustavo. We have a long way to go.

Same type of preparing to leave activity.

GUS. Let me put the dog in the car and we'll be ready to roll.

Same as the other two.

Multiple Voices:

Image of encounter--shaking hands/ break image and move into multiple voices and positions around the stage throughout the dialogue.

GUS. The courses need revisions.

CARMEN. Get published.

GEORGE. We need to increase the numbers in the drama classes.

GUS. Is there a theatre space to work in?

CARMEN. We have to attract more teachers from the system.

GEORGE. Get published.

GUS. Are you a drama or a theatre person?

CARMEN. We need to revisit the elementary drama program.

GEORGE. We need to build the secondary drama program.

GUS. Don't forget drama in the multiliteracies.

GEORGE. Get published.

CARMEN. Where is the social justice piece?

ALL. Get published!

Actors return centre stage, then stand next to each other and face audience.

All three turn their backs to the audience and freeze.

During the following monologues actors turn to audience as they begin to speak.

CARMEN. Yep, the work ahead is extensive but it is quite exciting and the possibilities are endless for what we could do and contribute. At first this excitement of being a group of drama educators all in one institution translated into an impulse to just start doing and producing. We had lots of well-intentioned ideas and quickly realized that our impulses sometimes connected with each other and at times did not.

New perspectives in teacher education questioned the nature of pedagogy as fixed and authoritative where there is an impulse to "manage technique, discipline bodies, and control outcomes" (Britzman 60).A call is made to look at ways to decentre our practices and reflect on the ideological discourses that frame beliefs and approaches to "doing" teacher preparation. Grounded on these notions in this performance/ presentation we share the results of a collaborative process of self reflection using an arts-based inquiry approach (Barone; Diamond and Mullen).Our goal was to examine the subjectivities constructed in our narratives to disrupt claims for neutrality that tend to situate drama teacher preparation in a false generic space. In order to represent our data in a manner that reflects our field of study, we decided to dramatize our reflective journals and create this ethnodramatic script. Ethnodrama represents a relatively new approach of disseminating data in qualitative research inquiry, with researchers in various fields analyzing and sharing findings using this methodology (bullying--Belliveau; cancer research--Gray; drama--Saldana; health care--Mienczakowski; multiculturalism, social justice--Goldstein; Taylor).

It is important to note that Ethnodrama, as a field of study, borrows heavily from the African American Feminist tradition of performed autobiographies/ ethnographies such as those found in the work of Dr. Robbie McCauley and Anna Devere Smith. As in a radical pedagogical positioning that intends to subvert the dominant white patriarchal capitalist paradigm(hooks) these African American Feminist Performance Artists and scholars intended to present research in an alternate form that would not necessarily adhere to the rigid structure imposed through the academy (Garoian). It is also this subversive form that assisted us in presenting our written reflection in a nontraditional way.

GEORGE. As a group of newly-hired professors in a "developing" drama education program within a teacher education program we bring diverse experiences and understandings of pedagogy and research. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Performing Academic Spaces: An Ethnodramatic Exploration of Drama Curriculum Design in Teacher Education
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.