Theatre arts with youth in an alternative educational setting : a case study of a teaching artist
Notice bibliographique
Résumé
Conceptual FrameworkTeaching A¡tist i3 .I must be able to bring power to my students and to draw on their power.þp.[18][19][20][21] Heathcote's suggestions, whle they refer to an awareness and means for interaction with students, also impart the importance of relating to ourselves, and the practice ofreflection.Heathcote advises, "Before we can ¡elate to people successfully, we must fust come to terms with ourselves" (198a, p. 22).British researcher Hesten (n.d.) wrote her doctoral thesis on Heathcote and with Heathcote's collaboratior¡ created a large archive of her legacy in dramatic a¡ts education Hesten (n.d.) acknowledges the necessity of reflection in Heathcote's practice: Although, she was to become one of the world's leading Drama in Education practitioners, she never lost sight ofher c€ntral beliefth¿t her teaching methodology was dependent on her own praxis.A concept which she had adopted from Freire...Freire believes in the dialectical movement ofaction and ¡eflection.Action causes reflection and reflection causes new action.Praxis is puçoseflrl activity.(p.15) Heathcote's writing on teaching dramatic arts, Shor's guide for empowering educatior¡ and Courtney's suggestions for d¡amatic a¡ts age appropr¡âte curriculum form the conceptual framework for this research study and provide significant guidance for the data analysis and interpretation ofa teaching artist's practice.SigniJìcance of the studyThis is a unique study that will be of benefit to policy-makers, educators, teaching artists, and researchers in that the role ofthe artist is documented and analyzed, thereby providing valuable insights into the goals, practice and influences affecting teaching Teaching Artist 14 artists' curricular choices.Policy makers may gain insight into the value ofthe teaching artist as curriculum planner and consider their fi¡rther integration into the educational system.Educators may be encouraged to invite teaching artists in their classroorn, to support their students' artistic experience and their own professional development in the arts.This study also provides teaching artists and arts educators with documentation of a teaching artist's empoweriog pedagogy and cleæ curriculum plan.The study may also serve to encou¡age teaching artists and educators to more fully reflect upon their own teaching practice.A¡tists who are not yet teaching may gain the impetus to explore and develop their own teaching potential.Researchers and student researchers are provided with an example of a well-documented case study.The study may also provide ¡esearchers with the encouragement to corsider areas of fuither research.The study sewes as a rnajor contribution to the under-researched area ofteaching artists employed or contacted to work in the area ofarts education in Canada and may be a stimulus for fi¡rther conversations abouf, and research into, the role and possibilities for teaching artists.As Canadian Drama and English educator David Booth (1998) observes, 'lvhen the community listens to its members revealing and commenting upon his or her experiences, everyone can benefit from the variety ofobservations being offered, selecting those reflections that will illuminate their ownjourneys.i'Organization of the Study Chapter I introduces the study by examining the research problern, defuring the purpose ofthe study and providing the conceptual framework guiding the study.Chapter II reviews the literature related to the study with a focus on the te¿shing artist as curriculum planner.chapter trI identifies the methodological path for conducting the Ieaching Artist 15 research study.Chapter IV provides the furdings, the analyses and interpretations ofthe data collected, a¡rd the final chapter, Chapter V, addresses curricultrm implications ofthe study and suggests areas for further research.
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Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,007 | 0,007 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,001 | 0,001 |
| Bibliométrie | 0,002 | 0,002 |
| Études des sciences et des technologies | 0,024 | 0,007 |
| Communication savante | 0,005 | 0,002 |
| Science ouverte | 0,002 | 0,006 |
| Intégrité de la recherche | 0,003 | 0,005 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,003 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
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Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».