IDIERI 2012
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Transcript of IDIERI 2012
Paradigms align: Emergent research drawing on socio-
cultural paradigms and Vygotskian concepts in drama/education research
Sue Davis, Hannah Grainger Clemson, Beth Ferholt, Satu-Mari Korhonen, Marjanovic-Shane
IDIERI 2012
• Sue Davis, CQUniversity Australia – [email protected]
• Hannah Grainger Clemson, UK – [email protected]
• Beth Ferholt, Brooklyn College, City University of New York [email protected]
• Satu-Mari Korhonen, Theatre Academy Helsinki, University of Helsinki, CRADLE [email protected]
• Dr. Ana Marjanovic-Shane, Chestnut Hill College [email protected]; [email protected]
Why Vygotsky? He was a teacher, a theatre lover, a researcher and revolutionary thinker. He understood the importance of play, of human interactions, of art and the imagination, the importance of creativity and aesthetic education for all children. He wrote about how humans think, create and learn in ways that are still relevant today.
Drama, more than any other form of creation, is closely and directly linked to play, which is the root of all creativity in children. Thus, drama is the most syncretic mode of creation, that is, it contains elements of the most diverse forms of creativity… The staging of drama provides the pretext and material for the most diverse forms of creativity on the part of the child. (Vygotsky, 1930/2004: 71)
CONCEPT FORMATIONExperience, activity
Perception & FeelingMeaning & Signs
MIND, MEMORY & IMAGINATIONWords and Concepts (including concepts of self)
Internalisation and AbstractionFeedback & internal dialogue
Combination of conceptsthrough work of Imagination
CREATIVE EXPRESSIONMotivation
Ideas & emotionsGoal-directed actionMediated expression
Creative output includingVersions of self
Interacting with others and with
culture
Created and shared within
the culture
Drawing from the culture
Davis 2012
Subject ObjectOutcome
Tools, signs & artefacts
RulesRoles/Division of
labourCommunity
Activity Theory – Vygotsky, Luria & Leontiev, Cole, Engestrom
Activity – the basic unit for analysis
Mediation triangle – Subject, Object, Tool
Joint activity – Rules, Community, Division of Labour
Epiphany workshop – week 2 •Group in circle. Check in – initial thoughts about characters & their special features•Circle warm up – 1,2,3 (1 = walk around one way, 2 = run the other, 3 = movement selected by the group)In pairs – 1,2, 3•Columbian hypnosis•Potter and clay – one person shapes the other in response to given words
(Freak, spectacle, twisted, mystery)
Role of contraction for development and learning
• Contradictions are historically accumulating structural tensions within and between activity systems… When an activity system adopts a new element from the outside (for example, a new technology or a new object), it often leads to an aggravated secondary contradiction where some old element (for example, the rules or the division of labour) collides with the new one. Such contradictions generate disturbances and conflicts, but also innovative attempts to change the activity. (Engeström, 2009, p. 57)
“How can Information & Communications Technologies and drama be used to facilitate creative practice and learning?”
The research question for my doctoral work
Research methodology considerations
• Mainly qualitative, though some quantitative• Inquiry models, expansive learning (see
Engestrom), can draw on narrative and arts-based inquiry, design based research & interventions
• Mixed methods – journals, surveys, interviews, CMCs and digital content
• Grounded theory type coding and thematic exploration
• Case study – exploratory & explanatory• Acknowledging contradictions, contexts, different
meaning making
ParticipantsObjects, Concepts,
Outcome – drama assessment ‘product’ interactive drama created using online spaces + live perf
Tools, signs & artefacts
Rules Roles/Division of labour
Community
Students, teacher, researcher/co-artist, audience at end
School internet use, task centred rules
Small group creation, class community, wider school/performance community
Teacher determined tasks, modelled learning, groups negotiate roles/work
Cyberdrama, narrative form, multi-media skills, concepts about immortality
E-learning sites, Internet, cameras, computers, scaffolding, bodies, cultural artefacts
Activity system analysis
Contradiction or structural tension Regarding participant tool preferences
Contradiction – rules about participant tool use – ICT focus & spaces
Teacher recognises some students reduced engagement
Student resistance to technical tool use
Expansive learning shifted tool use and practices to corporeal, face-to-face interactions
Student use of inappropriate tools/utterances –
Expansive learning - shift to use of institutional sites and rule structure for social network use
Shifts
Findings• Contradictions at the institutional
level (ICT tools) and crisis/conflicts at personal level
• Importance of considering the nature of micro-level interactions in the external activity & internal activity
• Importance of acknowledging ‘flow’ as well as contradiction in models & analysis
• Not all students wanted to use ICTs as for creative practice, some clear preferences for somatic tools
• Student engagement & meaning making related to tool preferences and versions of future self
• Student learning impacted upon through a ‘cybernetics of self’ and degree of flexibility in ‘self’ work as an outcome of activity