Advocacy, History and Philosophy of Theatre...
Transcript of Advocacy, History and Philosophy of Theatre...
1
Advocacy, History and Philosophy of Theatre Education
THED 670, Spring 18
3 credits (On-Line)
Syllabus
***Please carefully read through this syllabus at least twice ***
Instructor: Gillian McNally
Phone: 970-351-2597
Email: [email protected]
Office: Crabbe Hall, 303
Mailbox: Frasier Hall, 105
Office hours: Please arrange a time to Skype for an appointment
Prerequisites: B.A. or B.S. degree, acceptance to UNC’s MA program in Theatre
Education
Course Description: This course will explore the history and philosophy of drama and
theatre education in the U.S. Participants will investigate the guiding question: why is
drama/theatre education essential? In order to answer this question we will look broadly
at educational theories and current advocacy writings that are relevant to the field. We
will also examine how issues of diversity impact the drama/theatre classroom. Students
should complete the course with a strong foundation and ability to advocate for arts
education.
Course Objectives:
1. To increase knowledge of resources available in arts advocacy.
2. To examine the historical and philosophical educational theories which impact
practices for drama/theatre educators.
3. To delve deeply into the impact of diversity in the drama/theatre classroom.
4. To learn how to build a strong argument for the necessity of arts education in
schools.
Technology Use:
All students must be able to use MS Word (including track changes feature),
Canvass, Electronic Reserves and the Internet for research
Outline of Course Content:
1. Advocacy paper
2. Weekly history, philosophy, advocacy, and diversity readings
3. Research paper
Course Requirements:
1. Readings in history, philosophy, advocacy and diversity in drama education: Each
week, the instructor will assign a set of readings on a topic. Students will write
2
responses and post them online. Students will be expected to give thoughtful
responses to each other’s work online.
2. Arts Advocacy week: Each student will find arts advocacy articles and lead a
week’s class discussion online.
3. Research or Advocacy paper: Students will choose a guiding question relevant to
advocacy, history, philosophy or diversity of drama/theatre education. In a series
of steps, students will post on-line a thesis statement, outline and drafts of their
papers. Students in the class will work collaboratively with one another to give
each other feedback. Final paper should be 6-8 pages. Students should consider a
possible publication source for their papers.
Method of Evaluation: letter grade
1. History, philosophy and advocacy readings: 30% (300 points)
2. Advocacy readings & leading class: 10% (100 points)
3. Research/Advocacy paper: 60% (600 points)
Grading:
A=93-100 A-=90-92 B+=87-89 B=83-86 B-=80-82 C+=77-79 C=73-76 C-=70-
72 D+=67-69 D=63-66 D-=60-62 F=0-59
Required Texts and/or Required Reading List:
Grady, Sharon. Drama and Diversity: A Pluralistic Perspective for Educational
Drama. Heinemann Drama; 1 edition, September 1, 2000. ISBN-13: 978-
0325002620
Various readings online. See syllabus
How to find articles:
1. The only actual “book” you will use is Grady’s book. There are several chapters
we will read from this book. Please order book on amazon.com.
http://www.amazon.com/Drama-Diversity-Pluralistic-Perspective-
Educational/dp/0325002622/ref=sr_1_1?s=books&ie=UTF8&qid=1420760154&
sr=1-1&keywords=drama+and+diversity
2. If you see “lib”—this means the article is posted on the library website. To access
these articles, go to http://library.unco.edu/. In the left portion of the page, there
is a tab that says “Reserves”. Enter my name or course number. It will prompt
you to enter your name and bear number. Readings are listed by author. Click on
the reading to view!
3. Canvass: A few of the articles are posted on Canvass. These are included in each
week’s postings.
4. Online: if the article is posted with a website address, please go to that website for
reading. Student Code of Conduct
All students are expected to adhere to the University’s Student Code of Conduct,
designed to promote a safe and respectful learning environment. For more
3
information about your rights and responsibilities as a UNC student see
http://www.unco.edu/dss/UNChonorCode.html.
Academic Integrity: Plagiarism / Consequences
It is expected that members of this class will observe strict policies of academic
honesty and will be respectful of each other. Any instances in which cheating,
including plagiarism and unauthorized use of copyrighted materials, computer
accounts, or someone else’s work is determined, will be referred to Student Services
and will be investigated to its full extent.
Consider providing a definition of plagiarism and examples if desired or referring
students to: http://www.unco.edu/english/wcenter/academicintegrityindex.html.
Specific examples of academic dishonesty to provide to students.
Examples of academic dishonesty (not limited to):
Cheating – A student uses a smart phone to access the internet while taking a quiz.
Copyright infringement – A student uses a photograph found on the internet in a presentation without obtaining permission from the photographer.
Deception – A student gives a dishonest excuse when asking for a deadline extension.
Denying access to information or material – A student makes library or shared resource material unavailable to others by deliberately misplacing those resources.
Fabrication – A student invents data in an academic work.
Facilitating academic misconduct – A student knowingly allows a portion of their work to be used by another student.
Plagiarism – A student represents the ideas of another in a paper without citing and referencing the work.
Sabotage – A student prevents others from completing their work by opening a window to affect a temperature controlled experiment.
Unauthorized collaboration – A student works with other students on a paper without the specific permission of the instructor.
Procedural information about academic misconduct. Important if not addressed in the grading information.
Work that violates these values is incompatible with the goals of this class and will not be tolerated. Students who are found responsible for a violation of the Academic Misconduct Policy will receive a failing grade for the test or assignment; Students have the right to appeal and may do so by following the procedures described in the Academic Appeals policy.
Students with Disabilities
4
Any student requesting disability accommodation for this class must inform the
instructor giving appropriate notice. Students are encouraged to contact Disability
Support Services at (970) 351-2289 to certify documentation of disability and to
ensure appropriate accommodations are implemented in a timely manner.
Sexual Misconduct/Title IX Statement
The University of Northern Colorado prohibits and will not tolerate sexual
misconduct or gender-based discrimination of any kind. UNC is legally obligated to
investigate sexual misconduct (including, but not limited to sexual assault, sexual
harassment, stalking, and intimate partner violence). If you disclose an incident of
sexual misconduct to a faculty member, they have an obligation to report it to UNC’s
Title IX Coordinator. “Disclosure” may include communication in-person, via
email/phone/text message, or through in/out of class assignments.
If you wish to speak confidentially about an incident of sexual misconduct, please
contact the UNC Counseling Center (970-351-2496) or the Assault Survivors
Advocacy Program (970-351-4040).
If you would like to learn more about sexual misconduct or report an incident, please
visit www.unco.edu/sexualmisconduct.
Equity and Inclusion Statement The University of Northern Colorado embraces the diversity of students, faculty, and
staff, honors the inherent dignity of each individual, and welcomes their unique
perspectives, behaviors, and worldviews. In this course, people of all races, religions,
national origins, sexual orientations, ethnicities, genders and gender identities,
cognitive, physical, and behavioral abilities, socioeconomic backgrounds, regions,
immigrant statuses, military or veteran statuses, size and/or shapes are strongly
encouraged to share their rich array of perspectives and experiences. Course content
and campus discussions will heighten your awareness to each other’s individual and
intersecting identities.
The Office of Student Rights & Responsibilities (located in Decker Hall) serves as
resource to anyone seeking support or with questions about equity and inclusion at
the University of Northern Colorado (UNC). If you are a witness to or experience acts
of bias at UNC and would like to learn more about bias response or report a bias
incident, please visit Bias Response at http://www.unco.edu/biasresponse/.
Students may report discrimination here: http://www.unco.edu/dos/Conduct.html.
Tips for Online Learning:
Most theatre educators are auditory-kinesthetic learners, so online learning can be
challenging. I recommend reading through directions at least 2-3 times before
completing the assignment. I notice that students often miss important components of the
instructions and therefore get lower grades because they did not take the time to read
instructions carefully. I assume that you carefully read these instructions and will not
5
accept re-writes because of a lack of ability to follow instructions.
For weekly posts, I’m looking to see if the readings further your knowledge. I’m looking
carefully to see if you are doing a close read of the material. Please use personal stories
and narratives to illustrate examples of ideas in readings. In this course in particular, it is
easy to go into a rant of why we are so angry that we don’t get enough kudos/funding
etc…. Please avoid the trap of complaining. Instead, look to find solutions. Ask
yourself: why??? How can I incorporate what I know from my classroom experience with
these new ideas? Always cite specific quotes from readings to back up your assertions.
MLA citation is required at all times.
For major papers, I give you multiple weeks to work. The expectations of your writing
for these major papers are higher. If you have more time, I expect better work. Please
don’t wait until the last minute to write your major papers. Be cautious of how you use
your time. In this course, you are all given equal amounts of time to complete
assignments, especially major papers. Because additional time is given for major papers,
I will not be able to accept re-writes of these papers. You are evaluated on the work you
create in the given time you have to write the paper.
Course Policies
Late Paper Policy: No late papers will be accepted without previous consent of
instructor due to personal circumstances. I prefer to receive papers on the deadline, but
understand that most of you are also working full time while taking this class. If you
would like an extension, arrangements must be made AHEAD of deadline or the paper
will not be accepted. (Requests must be sent by previous Friday @ 10 am MST) During
the week of your production, you are allowed a week extension on the assignment. Please
remind me before the deadline that it is your production week. You will find that I am
quite accommodating to your needs if given notice. We are all balancing a million balls. I
get it. Plan ahead and be honest with yourself about your time. My rule of thumb during
grad school: if I thought a paper would take 2 hours, it usually took 4.
For UNC’s general policy on absences see http://www.unco.edu/regrec/Current%20Students/Attendance.html
Communication: Because this is an online class, it is important that you communicate
with me with any questions or concerns regularly. If you don’t understand an
assignment, I ask that you do two things: 1. Re-read instructions and email classmates to
see if you are on the right track. 2. If you have made several attempts, but still cannot find
an answer, then please contact me via email. I prefer to be emailed with questions by 10
am on Friday mornings. I check email M-F 9- 5 pm MST. I always respond as soon as I
get your email during business hours. Please allow reasonable amount of time for an
email response. If I am traveling, I always send an automatic reply to emails and will
respond to your question as soon as I am back at work.
6
If there are any changes in the syllabus, I will email you as soon as possible. Please be
respectful of the instructor and of classmates: please respond to emails promptly. For me,
I understand if you are busy. If I email you at a busy time, please respond with a nice,
“got your message, will get back to you soon” response. This helps me know that you
have received the email. It is expected that you are responsible for all information
emailed to you. Please be courteous and professional to classmates and instructor at all
times. I encourage you to avoid complaining and work to find solutions and positive
educational growth instead. Graduate school is a challenging, glorious experience. It is
firmly in your hands to make this a positive experience.
I expect everyone to have a minimum of one Skype session with me over the course of
the semester. Online learning can feel very lonely—so PLEASE contact me so we can set
up a Skype time to talk!
Expectations of Writing: This MA in Theatre Ed encourages students to be both
practitioners and scholars. Therefore, I have very high expectations for your writing.
You should think about a place to publish the papers you write in this class! Writing is
often a difficult skill for many people. I encourage you to find a writing tutor to help you
with your papers. It can be very useful to have someone proofread your material. I
encourage to always ask WHY. Higher grades will be given to students who show an
ability to demonstrate higher-level thinking and analysis in their writing. Please contact
the Writing Center for more assistance: 970-351-2056. This semester is academically
rigorous. This is good. It makes you a smarter, better teacher.
Everything you turn in must be in MLA format. If you do not have the book, please buy
the most recent edition. (8th) I also recommend this website for reference:
https://owl.english.purdue.edu/owl/resource/747/01/
It is good practice to be in the habit of using MLA format. Our plan is to help you with
professional writing style as much as possible so that it is second nature by the time you
write your thesis. Points will be deducted if you do not use proper MLA format.
If Dr. Schutter or I request that you work with a writing tutor, this obligation must be
fulfilled. If not, 25% will be deducted from your grade for not using a writing tutor.
The material taught in this course meets the following K-12 Colorado Model
Content Standards in Drama and Theatre:
Standard 1
Create: The creation of drama and theatre is a demonstration of learned skills in forming
new theatrical works, interpreting theatrical works for performance and design, and
developing characters and analyzing roles.
Standard 2
Perform: The theatre process is a product of the knowledge and essential skills gained in
the study of theatre toward the expression of the human experience in story, movement,
speech, and staging for an intended audience.
Standard 3
7
Critically Respond: An informed literacy, ethical judgment, and cultural research are key
aspects of theatre arts study. Responding focuses on the artistic and scientific knowledge
of conventions, cultures, styles, genres, theories, and technologies needed to know better
choices and best practices.
The National Council for Accreditation of Teacher Education (NCATE) Standards
Standard 1: Candidate Knowledge, Skills, and Professional Dispositions
Candidates preparing to work in schools as teachers or other school professionals know
and demonstrate the content knowledge, pedagogical content knowledge and skills,
pedagogical and professional knowledge and skills, and professional dispositions
necessary to help all students learn. Assessments indicate that candidates meet
professional, state, and institutional standards.
Standard 2: Assessment System and Unit Evaluation
The unit has an assessment system that collects and analyzes data on applicant
qualifications, candidate and graduate performance, and unit operations to evaluate and
improve the performance of candidates, the unit, and its programs.
Standard 3: Field Experiences and Clinical Practice
The unit and its school partners design, implement, and evaluate field experiences and
clinical practice so that teacher candidates and other school professionals develop and
demonstrate the knowledge, skills, and professional dispositions necessary to help all
students learn.
Standard 4: Diversity
The unit designs, implements, and evaluates curriculum and provides experiences for
candidates to acquire and demonstrate the knowledge, skills, and professional
dispositions necessary to help all students learn. Assessments indicate that candidates can
demonstrate and apply proficiencies related to diversity. Experiences provided for
candidates include working with diverse populations, including higher education and P–
12 school faculty, candidates, and students in P–12 schools.
Standard 5: Faculty Qualifications, Performance, and Development
Faculty are qualified and model best professional practices in scholarship, service, and
teaching, including the assessment of their own effectiveness as related to candidate
performance. They also collaborate with colleagues in the disciplines and schools. The
unit systematically evaluates faculty performance and facilitates professional
development.
Standard 6: Unit Governance and Resources
The unit has the leadership, authority, budget, personnel, facilities, and resources,
including information technology resources, for the preparation of candidates to meet
professional, state, and institutional standards.
National Association of Schools of Theatre (NAST) Teaching Competency
Standards for Theatre Education
The theatre teacher is expected to understand the total contemporary educational
program-including relationships among the arts-in order to apply theatre competencies in
teaching situations and to integrate theatre instruction into the total process of education.
Essential competencies are:
1. An understanding of child development and the identification and understanding
8
of psychological principles of learning as these relate to theatre education;
2. An understanding of the philosophical and social foundation underlying theatre in
education and the ability to express a rationale for personal attitudes and beliefs;
3. An ability to assess aptitudes, experiential backgrounds, skills, and interests of
individuals and groups of pupils, to devise learning experiences to meet assessed
needs, and to manage classrooms and rehearsals effectively;
4. A knowledge of current methods and materials available in all fields and levels of
theatre education;
5. An understanding of the principles and methods of developing curricula and the
short- and long- term units that comprise them;
6. An understanding of evaluative techniques and the ability to apply them in
assessing both the progress of students and in the objectives and procedures of the
curriculum; and
7. An awareness of the need for continuing study, self-evaluation, and professional
growth.
Schedule
*Schedule may change. Make sure you check online regularly for any updates.
Unless otherwise noted, all assignments are due on the last Sunday of the week at
midnight, MST. Turning work in past deadline will result in a deduction of points.
Everything must be posted on Canvass.
Week One: Jan 9-15: History of Educational Theory
Due: Sunday, Jan 15, midnight MST
Assignment #1:
Readings assigned to groups:
**Groups listed under “assignments” on Canvass**
Hall, M.C. Multiple intelligences: Teaching Kids the Way they Learn. Torrance,
CA: Frank Schaffer Publications, 1999: “What is the Multiple Intelligences
Theory?” (lib)
Readers: Group 1
Banks, James. “Multicultural Education: Characteristics and Goals.”
Multicultural Education: Issues and Perspectives, 3rd ed. Eds James Banks and
Cherry McGee Banks. Boston: Allyn and Bacon, 1997. 3-31. (lib)
Readers: Group 2
Bodrova, Elena and Deborah Leon. “The Vygotskian Framework.” Tools of the
Mind: The Vygotskian Approach to Early Childhood Education. Upper Saddle
River, NJ: Prentice Hall, 1996. (lib)
9
Readers: Group 3
Brooks, Jacqueline and Martin Brooks. “The Call for Constructivism: Honoring
the Learning Process.” In Search of Understanding: The Case for Constructivist
Classrooms. Alexandria, VA: Assoc for Supervision and Curriculum
Development, 1993. (lib)
Readers: All
Assignment #2:
Getting to know you exercise
Week Two: Jan 16-22: History of Creative Drama/Theatre for Young
Audiences/Theatre Education
Rosenberg, Helane. “History of Creative Drama.” Creative Drama and
Imagination: Transforming Ideas into Action. New York: Holt, Rinehart, and
Winston, 1987. 18-48 (lib)
Swortzell, Lowell, Editor. International Guide to Children’s Theatre and
Educational Theatre: A Historical and Geographical Source Book. Greenwood
Press, NY: 1990. (lib)
McCaslin, Nellie. Creative Drama in the Classroom and Beyond, 7th Edition.
Addison Wesley Longman, New York: 2000. Chapter 1. (lib)
Hobgood, Burnet. A Short History of Educational Theatre. Teaching Theatre.
Pages 13-17. (blackboard)
Week Three: Jan 23-Jan 29: Philosophy of Education
Dewey, John. The School and Society (lib) (Read ONE of the following):
Chapter One: The School and Social Progress
Chapter Two: The School and the life of the child
Chapter Five: Froebel’s Educational Principals
Chapter Seven: The Development of Attention
Everyone reads:
Seung Hwan Shim, A philosophical investigation of the role of teachers: A
synthesis of Plato, Confucius, Buber, and Freire. Teaching and Teacher
Education Volume 24, Issue 3, April 2008, Pages 515-535 (on blackboard. Listed
as “Philosophy of Ed Article” in course materials)
Week Four: Jan 30-Feb 5: Advocacy Group 1: “80% of what we teach is who we
are”
10
Eric Booth Article (Canvass):
Leaders: Group 1
Week Five: Feb 6-12: Advocacy Group 2: Reframing Arts Education for those not
in our field
All read:
http://www.aep-arts.org/wp-content/uploads/2012/08/Making-a-Case-for-the-
Arts-for-Download.pdf
http://www.aep-arts.org/wp-content/uploads/2013/04/Preparing-Students-for-the-
Next-America-FINAL.pdf
Leaders: Group 2
Week Six: Feb 13-19: Advocacy Group 3: The Unique Teacher/Student
Relationship in Arts Classrooms
Stevenson, Lauren M. and Richard J. Deasy. Third Space: When Learning
Matters. Arts Education Partnership, 2005. Chapters 1 & 2. (lib)
Leaders: Group 3
Week Seven: Feb 20-Feb 26: Contemporary Issues in Theatre Education: Social
Class
Chapter 1 & 3; Drama and Diversity
Lazarus, Joan. Signs of Change: New Directions in Secondary Theatre
Education. Heinemann Drama; Portsmouth. 2004. Chapter Three: Socially
Responsible Practice. pp 57-80. (lib)
Week Eight: Feb 27-March 5: Gender
Chapter 4; Drama and Diversity
McNally, Gillian. Empowering Ophelia: Developing Critical Awareness
of Gender Issues in Youth Theatre Rehearsals. Stage of the Art; Spring 2007, Vol
18. No 2. Pages 5-7 and 24. (Posted on Canvass. Listed as “Stage of the Art”
article under course materials)
Gallagher, Kathleen. Drama Education in the Lives of Girls: Imagining
Possibilities. University of Toronto Press Inc, Toronto: 2000. Pages 131-135. (lib)
11
Week Nine: March 6-12: Contemporary Issues in Theatre Education: Race
Whole Class:
How to Be an Ally if You Are a Person with Privilege
Frances E. Kendall. Ph.D. (BB)
Chapter 2; Drama and Diversity
Assigned readings to groups:
Performing National Identities: Gonzalez’s The Migrant Farm Workers Son. Youth
Theatre Journal, Vol 19, 2005. (Lib)
Readers: Group 1
Schroeder-Arce, Roxanne. Toward Culturally Responsive Artistry: Implications for
Institutions, Artists, Educators and Audiences. International Journal of Education and the
Arts, Volume 15 Number 20, November 1, 2014.
http://ijea.org/v15n20/v15n20.pdf
Readers: Group 2
McNally, Gillian . Breaking the Borders of Geography and Low Expectations. Youth
Theatre Journal, 29:2, 138-145, 2015. (Blackboard)
Readers: Group 3
SPRING BREAK
Week Ten: March 20-26: Contemporary Issues in Theatre Education: Sexuality &
Ability
Chapter 5 & 6; Drama and Diversity
Choose one on the topic of sexuality:
http://nytimes.com/2009/02/20/theater/20rent.html
http://www.examiner.com/high-school-theater-in-indianapolis/north-central-high-
school-s-laramie-project-sparks-protests
Choose one on the topic of Inclusion:
The Paradoxes of Disability and Inclusion By Talleri McCrae, Incite/Insight 2010
(Canvass)
Assessing the Future of the Field: An International Convening of Thought
Leaders in Theater, Dance, Disability, Education, and Inclusion. Kennedy Center
12
for the Performing Arts, 2012 (Canvass)
Week Eleven: March 27-April 2: Work on papers Due: Post thesis, outline, and sources for paper on Canvass. Make an appointment
(Skype/email) with Gillian to get feedback!
Week Twelve: April 3-9: Work on Final Papers
Week Thirteen: April 10-17: Papers Due
DUE: Final papers due Monday, April 17 @ 5:00 pm MST
Week Fourteen: April 17-23: Feedback
Gillian grades papers and sends feedback
Week Fifteen: April 24-May 1 Feedback
Gillian grades papers and sends feedback