A resource using drama based

active learning methodologies in the CSPE classroom

by Valerie Lewis

1010 TAKETAKE AACTIVECTIVE LLEARNINGEARNING MMETHODOLOGIESETHODOLOGIES

2

ContentsContents

Take 1 Take 1 ~ ~ Word PoemWord Poem ………...……………………….Creative brainstorming to write a poem pg 8pg 8

Take 2 Take 2 ~ ~ Role on the WallRole on the Wall …………………… Creating and developing a character pg 10pg 10

Take 3 Take 3 ~ ~ Freeze FrameFreeze Frame ...……………………… Creating ’human photographs’ pg 12pg 12

Take 4 Take 4 ~ ~ Thought TrackingThought Tracking …..…………..……Developing and analysing thinking pg 14pg 14

Take 5 Take 5 ~ ~ Walking DebateWalking Debate …………………….. Inclusive debate and discussion pg 16pg 16

Take 6 Take 6 ~ ~ Life in a BagLife in a Bag …………………………….Every object tells a story pg 18pg 18

Take 7 Take 7 ~ ~ Hot Seating Hot Seating …………………………..Questioning and analysing a character pg 20pg 20

Take 8 Take 8 ~ ~ Mantle of the ExpertMantle of the Expert ……….Advice and insight from the experts pg 22pg 22

Take 9 Take 9 ~ ~ Student in Student in RoleRole …………………..From the students’ perspective pg 24pg 24

Take 10 Take 10 ~ ~ Teacher in RoleTeacher in Role …………………….Getting the teacher involved pg 28pg 28

What to expectWhat to expect

Dear TeacherDear Teacher

Controversial IssuesControversial Issues

………………………………………Using this resource pg 7pg 7

……………………….……Strategies and ground rules pg 6pg 6

AssessmentAssessment ………………………………………….……How to assess active learning methods pg 5pg 5

……………………………………..……Introduction pg 3pg 3

Templates and ResourcesTemplates and Resources ……………...….Templates, books and websites pg 33pg 33

© Professional Development Service for Teachers and Valerie Lewis, 2012

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This resource is intended for any teacher who is looking for a

little bit of inspiration and innovation for their CSPE classroom, not

only for themselves but also for their students.

CSPE has been on the curriculum for some time and we have

been fortunate with the range and variety of excellent resources.

However this range can sometimes be a little over whelming as we

struggle to figure out the best pack with the best lesson plan.

This resource isn’t about lesson plans and content but is offered

as a stimulus to take a familiar topic and approach it in a different

way. While the title of the resource emphasises active learning it is

the vehicle of drama methodologies which will take us on our journey.

Often the notion of using Drama in Education or Drama in

Education methodologies in the classroom conjures up more

apprehension than enthusiasm, as we query whether we have enough

’drama’ without introducing some more. “Drama is just messing about,

they won’t learn anything, they’ll just run riot: I’m not skilled enough,

I’m not a specialist: I don’t have the time/space: Drama is putting on

plays, my students aren’t performers…..”

Practitioners from Aristotle to Dorothy Heathcote provide all

the theoretical and academic evidence needed to dispute the

previous concerns and practicing teachers in classrooms all over the

world provide the school based confirmation that drama

methodologies can and do work.

Dear TeacherDear Teacher

4

Planning and structure is still in existence in the drama based

classroom and context and rules are made clear from the outset, both

for teacher and student. Not all methodologies need large amounts of

space and can be as big or small as you choose to make them - operating

within everyone’s comfort zone.

The CSPE curriculum aims to prepare students for active

participatory citizenship - how better then by using active participatory

methodologies. Drama methods provide an opportunity to broaden and

challenge the learning environment of the classroom. They can create a

safe setting to explore/experience issues in an approach that engages

both students and the teacher. Rather

than being a ‘production’ they are a useful

tool for extending learning experiences in a

controlled environment.

Drama is sharing, involving,

understanding and communicating, in all its

formats. Interpreting and analysing the

silence of a student in role can prove far

more productive and interesting than

interpreting the silence of a student in class.

The following pages are about drama as an educational tool. Use

them individually, collectively, in part or in whole, but do have a go at

using them.

Enjoy!

5

Of the many concerns raised, assessing the learning can often be one of

the major misgivings that educationalists have about using Drama methodologies.

How can we grade or acknowledge a process? Particularly a process which,

because of it’s very nature, does not always have set outcomes. This can be even

more of an issue as you are not teaching drama but citizenship - so what do you

assess?

Begin by telling students at the outset what you are looking for “Children

perform better when they know what they are expected to achieve”.

(KennethTaylor) Students like to succeed and naming the intentions and goals

gives them a clear point to aim for. It also reinforces for you as teacher what you

are looking for; content, engagement, dialogue, interaction, story telling or

numerous other areas that you can choose to include.

These methodologies provide for assessing both formally and informally,

looking throughout the process for signs of engagement and towards the end for

signs of understanding. While some of the homework and options listed with each

activity will provide some assessment opportunities, here are some other ideas.

AssessmentAssessment

Informal

We can stop and reflect

Analyse (verbal)

Discussion

Repeat/redo

Questions

Observation

Engagement

Listen and Respond

Formal

Word Poem - language/

grammar

Written letters/narratives

Research

Written evaluations as

characters in role or

objectively

Photographs

Drawings

Surveys

6

Citizenship education, more than many other subjects, often brings us into the

realm of teaching “controversial issues”. While much has been written about how

to plan, prepare for and deal with such issues, often the dynamics of a given

room, group, teacher or particular day, individually and collectively, can impact

far more on the outcome than any pre-emptive effort you may put in place.

Sometimes the controversy may be less of a global one and more of a local

personal issue. Better then to place emphasis on the strategies for teaching the

issue rather than the issue itself. With any issue that may become controversial

the ground rules are the same - our desire as teachers to create a safe and

respectful environment where students can explore the things that matter.

The drama methodologies suggested encourage that exploration, guided

within certain structures and allow for the teacher to facilitate rather than

have all the “right answers”. Drama is fundamentally a mirror of our activities in

the wider world, what better way to look at issues in the wider world than to

“try them out” in the safety of the classroom

Controversial IssuesControversial Issues

Classroom OrganisationClassroom Organisation

All of the following methodologies and suggested lessons have been designed and

organised to be completed in a single class period. It should also be possible to

undertake all the activities in a regular classroom, without the need for too much

reorganisation. If possible the latter methods - Student in role/Teacher in role

can benefit from a double period, particularly if being used as a concluding

exercise for a module of work

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What to expect........What to expect........

The instructions and outlines for each methodology are just starting points.

Some topics lend themselves better to the methods than others and those

included are suggestions for lessons that have already been tried. Everything is

open to change and adaptation to your own classroom. These methods are

merely a starting point to begin the process.

How to…..

Why Use It

L

Options

HHH

What does it mean - some of the symbols you’ll see

Its important to have some good reasons for using a

methodology - other than it was something different. These few lines explain

some of the educational theory behind why a particular approach might be useful.

This should be fairly self explanatory. These boxes outline, in a

general sense, the materials, set up and ground rules for each methodology. They

highlight the overall essence of the approach and any issues that may arise.

L is for Literacy and Learning. Some methodologies lend themselves towards a

particular type of learning and it can be useful to know what this is from the

outset. This information may also be useful when looking at assessment modes.

Where possible I have tried to recommend some extensions or

alternatives to the methods presented. We don’t all have the same space,

equipment, facilities (or students) so I have included some possible different

approaches

The homework - some possible assignments that provide an extension or

follow through after the activities.

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This is a different kind of brainstorming exercise that involves the

entire class group. Often the general class brainstorm results in

information from a regular few students. This exercise includes all students and encourages

them to think more creatively about a topic. The feedback is visual and can be displayed and/

or referred to throughout the following weeks, forming the foundation for ongoing work.

Students brainstorm individually

and then in groups to create a poem based on a given topic.

Wordbank - Students can create a word bank based on the chosen topic.

Grammer - Select different descriptive phrases, and discuss and

highlight their grammatical features.

L

Why Use It

How to….. This exercise follows a THINK – PAIR- SHARE method

The topic is written on the board

THINK – each student individually writes 5 words that they can think of, about the topic

PAIR – Each student then turns to the person beside them and shares their list. This pair

of students receives a new sheet of paper and rewrites their joint list of words. If any

words are similar, they will only to be written once.

SHARE – The ‘pair’ now work with another pair. This new group repeats the process to

create a larger bank of words – again repeated words are removed. (If they are really

lucky and creative it is possible that there will be twenty words in their word bank)

This word bank will now form the basis of the word poem. No other new words can be

used in the poem except for prepositions or short connecting words e.g. In, on, by, to, the

The students will work in groups to create a poem using the bank of words and connecting

words. The poem does not have to rhyme and lines can be as long or short as required.

Spare words can be used in the title. Words cannot be repeated. Students should write

out their poem on A2 sheets where possible and the poems read to the class as written.

Take 1 ~ Take 1 ~ Word PoemWord Poem

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Compare student poems to other poems/songs about the topic.

Discuss the use of storytelling in poems/songs.

Revisit the exercise again at the end of a topic to explore new/additional learning.

SHARE

Streets, smelly, cold, family, job, drugs,

drink, begging, lost, refugee, poor,

sick, hungry, disease

Student 1

Streets

Smelly

Cold

Family

Job

Student 4

Poor

Sick

Drink

Job

Hungry

Student 2

Drugs

Drink

Streets

Begging

Disease

Student 3

Family

Lost

Cold

Drugs

Refugee

Student 1 + 2 (PAIR A)

Streets Smelly Cold

Family Job Drugs

Drink Begging Disease

Student 3 + 4 (PAIR B)

Family Lost Cold

Drugs Refugee Poor

Sick Drink Job Hungry

Add the

prepositions and

connecting words

Disease

The poor sick refugee

Was hungry and begging on the streets

He was cold and lost, smelly and dirty

No job, no family

Students could draw or find an image that they associate with their created

poem and add these collectively to the large sheet.

Lesson Topic Lesson Topic -- HomelessnessHomelessness

Options

HHH

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This exercise can be carried out as a group activity or by

individuals. Usually students are discussing and writing about a character or individual they

have already encountered in an earlier lesson. E.g if the topic is about disability the

student may be developing the characteristics of an individual from a previous lesson.

You can include known facts such as physical appearance, age, gender, location and

occupation, as well as subjective ideas such as likes/dislikes, friends/enemies, attitudes,

motivations, secrets and dreams.

Using the blank template (page 30 ) the student(s) write or draw inside/outside or around

the body frame to give the chosen character some characteristics, physical traits or even

thoughts. The student(s) can be specific about where they write their ideas e.g. in the

head might represent thoughts that the character has. Outside the body might represent

outside influences or other people, near the ear might be things others are saying. The

written pieces may just consist of words but may be sentences or statements.

The outline of a body is drawn or photocopied

onto a large sheet of paper. Words or phrases describing a character within the

chosen topic are then written directly onto the drawing.

Develop students descriptive skills by naming and using adjectives. Using

simple features students can develop each noun by adding several

adjectives e.g red hair, long red hair, dirty long red hair, dirty long

uncombed red hair.

How to…..

Why Use It

L

An exercise used to explore a specific character, from a given

situation or scenario in a more detailed manner. This method encourages students to

think more deeply about the characters involved and by writing about their traits, issues

and influences, develop a deeper understanding of the people involved.

Take 2 ~ Take 2 ~ Role on the WallRole on the Wall

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Students could write a diary entry based on the character they have

discussed, using ideas from the role sheet.

If space is available students can create a life size template by

drawing around one of the students and completing the exercise as a class group.

A template could be created for all main characters and students can add or

change information as the module progresses.

About the character…..

- “How old are they?”

- “What are their hobbies?”

- “What is their favourite

possession?”

- “Where do they live?”

- “Who are their friends?”

About their situation…..

- “How do they feel about it?”

- “What do they want done about it?”

- “Who can they share their problems with?”

- “Where would they rather be?”

About how others see them…..

- “Who knows that there’s something

wrong?”

HHH

Options

Lesson Topic Lesson Topic -- Human DignityHuman Dignity www.bbc.co.uk/schools/gcsebitesize/drama/responding/roleonwallrev5.shtml

12

Just like a photograph, a freeze frame can be examined closely,

and the audience can note body language and facial expressions to

give clues as to the situation or the people within the situation at that moment. It

develops observational skills and initiates discussion. Freeze frame work requires and

helps to develop team-working skills. It is a very controlled form of expression which

creates pictures that can be interpreted by the class.

Divide the class into groups of 4/5. As an introduction,

nursery rhymes are useful to demonstrate the concept of Freeze Frame to the class.

Ask each group of students to portray a nursery rhyme of their choice. Each group can

hold their pose completely still while the remainder of the class tries to guess the

rhyme.

This introduction need only be carried out once, but is valuable not only in

demonstrating the technique but also in putting the students at ease.

Students can represent characters or objects in the scene e.g. someone could be the

spider in Little Miss Muffet.

After this initial introduction the technique can be used as part of the development

of an ongoing topic. Each group can be given some detailed information in relation to the

chosen topic but a theme or headline could be used also.

Discussion and preparation time should take no more than five minutes, after which

each group will present their Freeze Frame for the rest of the class group. Initially

students might only comment on what they “see” and as the class develops a more

detailed discussion may follow.

L This exercise can be used to expand and develop students analytical and

descriptive skills - being creative, thinking, decision-making.

This methodology can provide practice for Section 2 of the CSPE exam paper,

where students are asked to analyse a given stimulus.

Students explore a given situation by creating a

picture, with their bodies, to tell their audience about their interpretation of that

situation. The created picture which is like the image when someone has pressed pause

on a DVD has no sound or movement. It is a snap-shot.

Why Use It

How to…..

Take 3 ~ Take 3 ~ Freeze FrameFreeze Frame

13

IN THE KITCHEN

Communal cooking women get up at 4am

and light the fire for tortillas

They prepare beans and if they have

enough money they make coffee.

Tragic end….

SECURITY

The entrance to La Confianza

is guarded at all times. Each

year there have been several

attacks on the community by

the landowner.

ACCESS TO WATER

A small amount of drinking

water is piped into the

community and rationed

among the families. They

bathe and wash their clothes

in the nearby polluted river.

Students can

choose to interpret

very literally

general meaning

just the title

Man dies after fall

Options

Lesson Topic Lesson Topic -- DevelopmentDevelopment

HHH Students could take a photo from a daily newspaper and write a piece on what they

see. If written skills are weak, students can present the image to their class and

make verbal comments about the body language, story and other observations.

‘Reading’ the image should become more detailed over time as

students become more familiar with the technique.

Students can create a theme of three freeze frames - the moment before, the

moment of and the moment after.

A debrief afterwards could focus on the nature of body language used in the

freeze frame, why pupils decided to depict the scene in the way they did, and

why others might have depicted the event in a different way.

14

Sometimes in daily life we would like to know what someone thinks

at important moments. We really want to know how people have been affected by a

situation. When we know more of what they are feeling, we understand them better.

Thought-tracking encourages pupils to reflect on the action of the drama and consider the

point of view of the character they are playing. By allowing the group to hear the thoughts

of all characters in the scene/freeze frame, thought tracking encourages an awareness of

the views of others and the potential consequences of events/actions.

This method is a follow on from the previous activity – freeze

framing. A group should be frozen mid-scene as part of a freeze

frame exercise. Explain that you are going to enter the picture and

tap members of the group on the shoulder. Make it clear that when you do this, you

want the person to speak aloud the thoughts of his/her character at that moment.

Emphasise that you want them to speak the thoughts as that character, e.g.

“I can’t believe he would do this to me”.

When all the characters have been “thought-tracked”, the scene can continue, or

another freeze frame explored.

As an alternative to tapping the student before they speak, the teacher

can have a pre-prepared speech bubble or thought bubble laminated on an

A4 card. S/he can then hold the card over the chosen characters head

as a cue to speak. (page 31/32)

The teacher can encourage further class discussion based on the comment made or

s/he can move to another member of the group and get them to comment.

L This exercise can be used to expand and develop students analytical and

descriptive skills by being creative, thinking and decision-making

Students explore the differences and similarities between body language, facial

expressions, gestures and what we think.

Helps inform an audience about a character.

You see it in action when a character thinks about his/her inner thoughts at a

particular moment and speaks them out loud during a freeze frame.

Why Use It

How to…..

Take 4 ~ Take 4 ~ Thought TrackingThought Tracking

15

Careful use of either the “thought bubble” or the “speech bubble”

can be used to highlight the differences that sometimes occur between what a

character ‘thinks’ and actually ‘says.’

The groups can be divided into pairs, where one person plays a character and the

other plays his/her shadow.

Mrs. O’Reilly was on corridor

duty during break. There was a

lot of noise coming from the

bottom of the hall. When she

went to investigate she

spotted Tim hitting another

student.

“Oops, I think he

might know that I

stole his pens…….”

Jack is outside the

Principal’s office. He has

been involved in a fight and

has been hit by another

student. The teacher doesn’t

know that he hit Tim first.

Tim’s mother has just put

down the phone. The school

has called to say that Tim has

been in a fight. She was on her

way to work and just about to

leave, she really hasn’t time to

visit the school.

“Oi, you, I want a

word…..”

HHH Get students to write their own definitions for Freeze Frame and Thought Tracking

Ask students to write two alternative scenarios for their characters, different

from those already explored.

Options

Tim has been caught hitting

another student. He is now outside

the Principal’s office, with another

teacher. His parents are inside

talking to the Principal. Tim was

only defending himself.

Lesson Topic Lesson Topic -- BullyingBullying

16

Make 3 large signs AGREE DISAGREE NOT SURE (Photocopy page 33- 35)

Place the Agree and Disagree signs at opposite ends of the room, with the NOT SURE

sign in the middle, as if along an imaginary line.

Read out one of the statements for discussion and ask the students to stand nearest

the sign that reflects their opinion on the topic.

Emphasise that it is okay to stay in the middle, listen to the debate and then move

according as their opinion is formed.

When students have taken a position ask them to say why they have taken that

position.

Encourage dialogue /debate among students to persuade those who don’t share their

opinion to change sides.

Don’t underestimate the importance of a good statement – one that is open ended and

will give an opportunity for a variety of opinions. Statements should evoke a range of

responses (e.g. “footballers earn too much money” is a better statement to use than

“all footballers earn too much money” since the first statement leaves room for some

interpretation).

L This exercise works with all levels of ability.

The methodology facilitates differing opinions and develops a variety of skills -

critical thinking skills, debating/discussion skills.

Why Use It Traditional debating can be difficult to organise in single class

periods. It is often only suited to a minority of students and can be dominated by a few

voices. A walking debate involves the entire class group, does not hinge solely on large

amounts of information and encourages students to note that their opinions can change

based on different information.

How to…..

A debate/discussion with a difference.

It encourages students to discuss the chosen topic but allows them to change their opinion

throughout the course of the conversation.

Take 5 ~ Take 5 ~ Walking DebateWalking Debate

17

If your space is limited a class set of cards can be used. Each

student receives a set of AGREE/DISAGREE/NOT SURE cards and holds up the

card relevant to their opinion on a given statement.

Each student writes their name on a post-it. A line can be drawn on the blackboard

and their AGREE/DISAGREE/NOT SURE statements are placed as appropriate on

the line.

1. Set up the classroom as

recommended in the “how

to...” Call out the following

statement `It's okay to break the law' and encourage

the students to move to the side of the room that

reflects their opinion on the statement.

2. When students have taken a position ask them

some of the recommended

questions (below).

The teacher can show the

complexity of the issue by

allowing different views to be aired. The teacher can also push the students to explain

and illustrate their position, e.g. •When might it be okay to break the law? •Can you give

an example of a law that it would be okay to break and in what circumstance? •Does it

depend on who makes the laws (a democratic government or a dictatorship)? •What

would happen if everyone decided to break the law? •Why do

more people from poorer backgrounds end up in prison? •Is a

rich person more likely to get away with breaking the law?

`It's okay to break the law'

AGREE

NOT SURE

DISAGREE

Some teachers work through

many statements in a single class

while others concentrate on one

or two and spend time fleshing

out the discussion and

encouraging debate. The process

in this methodology is just as

important as the outcome.

Students could source different articles on a current topic, on the internet, in

newspapers or by conversation, noting at least two different viewpoints and

discovering the evidence, if any to support them.

Options

Lesson Topic Lesson Topic -- LawLaw

HHH

18

This exercise requires a little advance preparation. Trinket and random items are

used - about twenty items are needed per class group.

*Euro stores, charity shops and even that “junk” drawer at home are great sources for finding

objects for the bags.

Select a bag and choose a number of items to put into it. The items are clues to the

identity of the bag's owner, so you may choose both bag and objects to be male,

female or appropriate for either. You can 'design' your mystery character, or

choose fairly random items.

Students work in groups of 3/4. Each group is given a bag of objects and asked to

figure out as much information as possible about the objects and their possible

owner. Information may be as literal as whether the objects belong to a male or

female, age, and hobbies. This information can then be expanded and students will

discuss why the particular objects were in the bag and what significance they held

for the individual in question. Each group presents their findings to the rest of the

group

Simple items such as a handkerchief, piece of ribbon, or a safety pin can all easily

be used, as the imagination of the students will dictate why the object came to be in

the bag.

L At the most basic level students will be able to describe the items found

in their bag – colour, shape, and name. This can then develop into very

specific information about the person and why/how these items came into their

possession. Why did they choose to keep them? Why are they relevant?

How to…..

Creative thinking , story telling and descriptive skills are enhanced.

Students have a starting point by using the objects to make

associations. Previous knowledge can be used to expand on the items in their possession

to develop vocabulary and storytelling skills.

Why Use It

Students work in groups to discuss a bag of found

objects relating to specific situation or event.

The bag of objects usually belongs to someone and there is a story behind its existence.

Take 6 ~ Take 6 ~ Life in a BagLife in a Bag

19

You could choose to use just one bag of items for the entire

class. Explain how you came to be in possession of the bag and as you remove each

item, the class group can participate in the discussion of the significance and

background of each item.

SETTING THE SCENE……...

“Unfortunately class I come to you today with

some very bad news. As you know in recent weeks

we have been following the lives of the children

working every day in the dumps of Cambodia.

Today we have heard that some of those children

have lost their lives as one of the dumps collapsed.

In a small area near the entrance we have found

some bags belonging to those children and we

would like to return them to their families. We

don’t know who owns each of the bags.

With your help we are going to look at the bags

and the items in them and try and figure out where

they should go”.

The physical bag

itself can play an

important role in giving

clues to students about

the owner. Disposable

plastic shopping bags tell

us something different

to a recyclable bag or a

paper bag.

Each student could write a letter (page 36) from the owner of the bag to be

included with the items. It could include some personal information and include

details of the objects and why they were important.

Draw an identikit picture to help identify the mystery owner.

HHH

Options

Lesson Topic Lesson Topic -- Child LabourChild Labour

20

The traditional approach is for the pupil playing the character to sit

on a chair in front of the group (arranged in a semi-circle), although characters may be

hot-seated in pairs or groups. It is important that the person being ‘Hot Seated’ stays in

character for the duration of the Hot Seating session.

The person being questioned should answer in accordance with what s/he already knows

about the character but if a questioner requires more information, the person can simply

use her/his imagination to deepen the character. It is helpful if the teacher takes on the

role of facilitator to guide the questioning in constructive directions.

A group can answer collectively for a character. Take a chair and place on it something

that suggests the character in question, e.g. a hat or a jacket. The group who will speak

for this character should stand behind the chair facing the rest of the class. The class

should address questions to the chair and any member of the group can answer. This

approach can be particularly useful if the topic in question might cause some controversy

within the group e.g. bullying

A debrief afterwards could involve asking pupils what they learned, what they found

interesting and if they would challenge anything which the person in the hot seat said.

L

A character is questioned by a group about his or her

background, behaviour and motivation.

Even done without preparation, this is a good way of fleshing out a character.

Why Use It Hot seating allows the class to question or interview people in role.

This can help the group learn more about a character’s point of view. The technique is

useful for developing questioning skills with the rest of the group. It allows the student

to engage in a more real view of an individual and maybe gain information about why

actions or events have taken place. This works for both the student being hot seated and

the questioning students.

How to…..

Students will develop questioning and interviewing skills in order to

obtain the information needed.

Interviewees learn to respond in role using language appropriate to the context.

If the note taking exercise is used, students learn this skill and can then use those

notes to write a full report.

Take 7 ~ Take 7 ~ Hot SeatingHot Seating

21

As an additional competitive game, pupils might be given a topic or character to

research and then hot seated for one minute to share as much information as

possible with the class without hesitating or repeating themselves.

An idea or issue could also be placed on the hot seat, such as the

war in Iraq, human cloning, the use of wind farms. Using this technique, answers can

come from anyone in the class.

A mystery game could also be played out using this technique, with class members

having to guess the identity of the person in the hot seat.

A new TD has just been elected in your area.

The class is told that they are newspaper

reporters at a press conference about to interview the TD and ask him/

her questions about his plans, ideas and current work.

The 'character' (a student who has volunteered to take on the role) sits in the front,

facing the rest of the class and answers questions posed by the reporters. He is

interviewed for no more than 10 minutes. The reporters ask not just questions, but, also

take notes in order to write a news story or a more descriptive feature article for the

next edition of their paper.

In case of a large number of students in the class, three can team together and pose as

reporters from the same newspapers. The whole activity can be

extended by asking the students to make their nameplates with

newspaper names and display them on their desks.

A student can be given the role of a moderator who

introduces the "character" and ensures a smooth functioning of

the conference.

After the interview is over, the teams of "reporters" work

together for the write-up. The student who has been questioned

in the role of the character can join one of the teams of the

reporters or write a report from their own perspective.

The note taking aspect

is only one approach - which

is useful in this scenario.

However this exercise can be

undertaken as a simple

question and answer session

with no note taking.

Lesson Topic Lesson Topic -- DemocracyDemocracy

HHH

Options

22

L MoE encourages creativity, improves teamwork, communication skills,

critical thought and decision-making. Students learn to discuss topics at their

own vocabulary level while experiencing the language of other ‘experts’

The creation of a fictional world where a

student assumes the role of ‘expert’ in a designated field. As these experts, they are

given a problem to solve or asked to offer advice whilst in character.

Why Use It Mantle of the Expert (MoE) is based on the idea that treating

children as responsible experts increases their engagement and confidence. The

technique can be used to actively explore issues across the syllabus, empowering pupils

by giving them an opportunity to assume responsible roles and make decisions in guiding

the outcomes. Their presumed expertise develops into a genuine expertise in certain

areas of learning (some of them pre-planned by the teacher) and their understanding of

certain concepts is greatly enhanced.

How to…..

A problem or task is established and the students are engaged

or “framed” as a team of experts using imaginative role-play to explore the issue. The

students may be involved in mimed activities, improvisation, research or discussion.

Depending on the ability level of the students, the ‘expert’ positions may be pre-

planned or occur ad hoc, during the course of the discussion. The situations are

usually created out of some previous knowledge and MoE lessons would usually occur

during the middle to end of a module of work.

If pre-planned the teacher may begin the class by introducing the various

‘experts’ and giving a bit of background information. If the experience evolves with

less planning, the teacher may still give a brief introduction and also give each student

a cue to the possible direction the expertise may take e.g “Dr. Forde has taken time

out from his laboratory to join us today. He will reveal some interesting information

about his studies on climate change”. This gives the student some thinking time and is

also open ended enough to allow the “interesting information” to be of the experts

own choosing.

Take 8 ~ Take 8 ~ Mantle of the ExpertMantle of the Expert

23

Keep a ‘power’ role as teacher and if students are slow to engage

use this to give them more information. E.g “I notice from my research notes that

reports are coming in from America that……”

Current affairs and newspaper reports provide ready material for this approach.

MoE is particularly suitable for dealing with emerging news stories and dilemmas.

Students can enhance their experience by researching more about their ‘Expert’

and presenting their findings in written or verbal form.

Write a report - in character about a typical day in their lives.

SETTING THE SCENE……….

“As you know in recent weeks we have been discussing

the issue of Homelessness. I see we are fortunate

today in having a room full of experts who have very

different experiences of this topic. I see our local

Politicians, from the various parties, have joined us.

Luckily we also have some experts from the support

groups, like Simon and Focus Ireland. Also with us

today are Peter and Jane, who will share their

experiences with us…….etc.

Mantle of the Expert, planned

or unplanned, should be within

the experience level of the

student concerned.

Each experience can be as

varied as the teacher/students

choose to make them. They can

be short encounters or

scenarios that develop over the

course of the class period.

Situations can develop from a

conversation, Freeze Frame,

brainstorming exercise or even

an object.

The most important

understanding will come from

the reflection of the

experience after the event.

The teacher must share status to

create students (individually and

collectively) who are knowledgeable and

competent colleagues.

While the focus is on the enquiry

process, it can often lead to real

outcomes such as writing letters,

printing leaflets or selling products.

HHH

Options

Lesson Topic Lesson Topic -- HomelessnessHomelessness

24

L Language and movement skills are increased and ‘writing in role’ exercise

can increase understanding, particularly if it happens during /after the role work.

If it is a complicated role play, consider giving students prompt sheets with key

vocabulary/questions for their characters.

How to…..

Each student takes the role of a person affected

by an issue and studies the impacts of the issues on human life and/or the effects of

human activities on the world around us from the perspective of that person.

Why Use It Role-playing is simultaneously interesting and useful to students

because it emphasizes the "real-world". It challenges students to deal with complex

problems with no single "right" answer and to use a variety of skills. In particular, role-

playing presents the student a valuable opportunity to learn not just the course content,

but other perspectives on it.

Role plays can be a very good way for students to develop

confidence by forgetting themselves and concentrating on the task in hand. They provide

the opportunity for extended interaction. However, they do need careful setting up and

staging. If your students haven’t done any role plays before or aren’t used to doing them,

start gently and don’t launch into a really challenging activity immediately.

The teacher needs to decide the context for the exercise and the role(s) that the

students will play. The context is generally a specific problem dealing with a pre

organised scenario. Lessons need to be carefully explained and supervised in order to

involve the students and to enable them to learn as much as possible from the

experience.

Role play is not about the quality of acting and you do not need to relinquish your position

as the person in charge. Create cues and opportunities to step out of role if necessary

and discuss any issues which arise.

Many of the current CSPE resources include various role play scenarios, so the planned

work is already available. These are often not prescriptive and allow for adaptation to

the circumstances of the individual classroom.

Take 9 ~ Take 9 ~ Student in RoleStudent in Role

25

To explore concepts of development and how different views of

development can sometimes lead to conflict.

A new water well has being constructed by a foreign engineer in a small rural

village in South Africa. Many people in the village and others in the area,

including visitors have very different opinions about the new well. We are going

to use a role play to explore the thoughts and ideas of those involved.

1. Divide the class into five groups and assign them the following title : women from

village, men from village, labourers, foreign visitors, engineers.

2. Distribute one role card to each group and ask them in character to discuss

their answers to the following questions - they can take note of some answers if

needed.

How do I feel about the new `development' in the village?

What difference has it made to my life/the life of the village? Is it

positive or negative?

3. After 5 minutes of discussion, ask one member of each group to form a new

group. These new groups should consist of one person from each of the five roles

4. This new group should discuss their opinions and feelings about the building of

the new well - still in character - but now taking on board the different

viewpoints and opinions of those in the group. They can use the viewpoints

discussed in their initial group or can if they wish change

their mind based on the discussion of the other interested

parties.

5. Feedback can be facilitated by the teacher and

students remain in character. Depending on time, you can

choose to concentrate on one group, discussing their opinions

or take feedback from characters in different groups.

Lesson Topic Lesson Topic -- DevelopmentDevelopment

(Courtesy of Trócaire)

26

6. Out of role invite the whole class

to reflect on their experience of the

role-play. Some useful questions might be:

What happened in your group? How did you

feel? Did your opinion change as you

listened to the views of others? If the

discussion got heated, why was this so? Can

you identify the cause of conflict - different interests, values, opinions?

7. Together you could discuss the following questions

What were the benefits and disadvantages of the new well?

How essential is ‘local participation’ to development?

What is the link between ‘development' and ‘community'?

What happens when you have one without the other?

8. Finally, ask the groups

to re-design the project

together. Everyone must

have a say and the project

decided upon must be

agreeable to all. Share this

new project with the rest of

the class.

A well-done scenario never

runs the same way twice, but can

teach people things they might not

ordinarily have learned, and tends

to be fun for all involved.

Each student could write a letter, in character, to the relevant authority

outlining their discussion and highlighting any issues raised.

Students could design a poster announcing the unveiling of the new well.

Role play can involve -

small groups of students playing out different sections of a scene

groups of students playing out different scenarios of the same scene

the entire class, with each student playing a different role within a given situation

You can easily turn ordinary conversation

practice into a mini role play. Ask students

who are supposed to be on the phone to sit

back to back so that they can’t see each

other’s faces.

Ask students who are having a conversation

in a shop to stand up and exchange money,

HHH

Options

27

Foreign Visitor I go into a rural village in Africa. There are no women around but after a few hours they

all appear carrying water. I ask them how far away is the well where they fetch water.

They tell me it's a forty-minute walk. I leave the village that evening but am determined

to find some way to make their lives easier.

Engineer I am an engineer from Europe. I hear of this place from a friend who was in Africa where

people have to walk forty minutes for water. With some help from friends and business

contacts I raise the necessary funds and go to the village in Africa and design a water well

right beside the village. I employ some of the local men to dig the well and the people

throw a great party to celebrate when we are finished.

Local Labourer I live in a village near to where the new water well was being constructed by the foreign

engineer. He spent far too much money on it as there was no need to have the cement

brought by truck all the way from the capital city. He could have bought cement in my

village at a fraction of the price. Still, it was good to have the few weeks work as money is

not plentiful here and digging the well was very well paid.

Woman from the Village

I hate this new well. In the past, I used to walk forty minutes with my friends every day

to fetch water. During this walk we discussed many things and decided on our children's

education, problems between some families in the village and things that we women

needed to sort out in the village. Now, we just work in the fields and rarely get time to

talk together any more. Some of these family problems are getting worse since we have

not had the time to talk as we used to.

Man from the Village This new well is great. Before the well was there my wife and daughter spent much of the

morning fetching water. Now since the water is nearby they spend all of this time working

in the fields. This has saved me a lot of work and I think we might have a better harvest

as a result. Even though some of the women complain a little and some of the families

seem to fight a bit more, it's a small price to pay for such great progress in our village.

28

L

Explain to the group that you are going to play a particular character in the drama you

are exploring as a class. The nature of the role you take on will depend on what you want

to achieve.

Examples:

1. To excite interest (e.g. a market trader selling strange goods)

2. To control the action (e.g. a police officer who has arrived to question people following

an incident)

3. To invite involvement (e.g. a community leader who has called an urgent village meeting)

4. To create choices and ambiguity (e.g. as a young person who has decided to leave the

village for the city and wants friends to join him/her)

Choose a piece of costume or a prop (clipboard) to signify when you are in role.

As soon as you put on the costume or pick up the prop, become your chosen character and

manage the learning opportunities from within the drama.

Remember that the teacher still has a teaching purpose but learning is negotiated in role,

allowing teacher and students to lay aside their actual roles and create relationships

which have a variety of status and power variables.

From within the role the teacher has lots of opportunities to highlight

language, terminology, expression and pronunciation. This can operate

seamlessly without the need suspend the role itself.

Paired writing could be used to review the role and the development of the action

How to…..

This is an invaluable technique for shaping the

dramatic process. Teacher assumes a role in relation to the pupils. This may be as a leader,

a peer, or a subservient role - whatever is useful in the development of the lesson.

Why Use It This technique encourages the pupils to enter and engage with the

fiction of the drama. If the teacher is actively engaged with her/his role, it makes it

easier for the pupils to enter and engage with their own roles. The teacher-in-role can

control the drama from within, develop the fiction of the narrative and question the

choices made by the pupils. Teacher-in-role can also lend a huge amount of credibility to

the drama and very much encourage young people to get involved in the fiction.

Take 10 ~ Take 10 ~ Teacher in roleTeacher in role

29

HHH

“Young people should have a vote when the country is dealing with

Environmental Issues”

SETTIN THE SCENE……...

The set up involves a chat show forum. The topic is an environmental one and

both students and teacher take on different roles representing the various

interested parties and individuals.

Lesson Topic Lesson Topic -- EnvironmentEnvironment

The teacher takes on the role of the chat show host

Students split into a number of groups and volunteer for or are given a role ( Local

Politicians, Environmental Groups, Member of Green Schools Committee, general

student/youth population, parents, teachers)

One person from each group is chosen to be on the ‘panel’ at the top of the room,

while the rest of the group become the ‘carefully selected audience’

The teacher/host interviews the ‘panel’, takes questions from the audience and

facilitates discussion. The host has the power to swap a member of the audience onto

the panel at any point.

To set the scene the teacher/host can begin with a brief introduction - of

themselves and their role e.g “My name is Patricia Kenny and I am your host for

tonight’s debate on…..”. This can be followed with an outline of the facts to date and

the main topic of discussion.

The panel are then introduced and the teacher may comment beforehand that s/he

will return to each panel member for a brief comment on their stance (this gives each

student time to prepare).

*The scenario runs similarly to the structure used for ‘student in role’ and would also

include some time for a debrief and review at the end of the process

Students could create an evaluation questionnaire rating the different aspects

of the programme. Depending on ability the finished piece could simply list some

review questions to be asked or could include a full questionnaire layout.

These could be shared and answered among the class.

30

31

32

33

AAG

RE

GR

EEE

34

DISAGREE

DISAGREE

35

?? ? NOT S

URE

NOT S

URE

36

Dear

_____________________________________________

_____________________________________________

_____________________________________________

_____________________________________________

_____________________________________________

_____________________________________________

_____________________________________________

_____________________________________________

_____________________________________________

_____________________________________________

_____________________________________________

_____________________________________________

Yours Sincerely

__________________________

37

ResourcesResources

Drama and Learning. Resource Book, English: Form 3-5 - Ministry of Education,

Wellington, 1994. Learning Media Ltd: Wellington, New Zealand.

Drama for Learning: Dorothy Heathcote's Mantle of the Expert Approach to

Education (Dimensions of Drama) - Cecily O'Neill, Dorothy Heathcote and Gavin M.

Bolton, 1995, Heinemann: Portmouth, New Hampshire.

Drama for Learning Pocketbook (Teachers' Pocketbooks) - Brian Radcliffe and Phil

Hailstone, 2007, Teachers’ Pocketsbooks: Alresford

Drama Worlds: A Framework for Process Drama - Cecily O’Neill, 1995, Heinemann:

Portmouth, New Hampshire.

Playing a Part: Drama and Citizenship - Danny Braverman and Carrie Supple, 2001,

Trentham Books: Stroke-on-Trent.

So you want to use role-play? - Gavin Bolton and Dorothy Heathcote, 1999, Trentham

Books: Stroke-on-Trent

With Drama in Mind: Real Learning in Imagined Worlds - Jonothan Neelands and

Patrice Baldwin, 2004, Network Educational Press: Stafford.

Drama - Books

www.adei.ie - Association for Drama in Education in Ireland

www.artsonthemove.co.uk - Drama, theatre and creative needs

www.creativedrama.com - Creative drama ideas for the classroom

www.dramaresource.com - Drama strategies and lessons

www.nationaldrama.co.uk - Drama teachers and educators

www.nayd.ie - National Association for Youth Drama

www.mantleoftheexpert.com - Mantle of the Expert; everything you need

to know

www.tidec.org - Supporting creative work in education

Drama - Websites

38

www.concern.net - Resources on tackling poverty and hunger

www.comhlamh.org - Social justice, human rights and global development issues

www.cspe.slss.ie - CSPE resources and publications

www.globaldimension.org.uk - Supporting school teachers in bringing a global

dimension to their teaching by providing access to teaching resources, case

studies and background information.

www.learn.christianaid.org.uk - Activities and games to help students engage with

world issues and reflect on their own role as global citizens

www.practicalaction.org/education - Resources on sustainable issues including

renewable energy and climate change

www.trocaire.ie - Development issues in the classroom

*These sites have specific ready made resources that will support Drama in Education methodologies. Many

other organisations produce resources that can be adapted to your own needs.

ResourcesResources

Citizenship - Books

Homelessness as a Contemporary Issue: A Module for Leaving Certificate Applied

(2003) www.focusireland.ie

Imaginative leaps - creative arts and sustainable development

Paul Bradbury and Sheila Harding, 2010, Development Education Centre South Yorkshire

www.decsy.org.uk

The following resources are produced by TIDE~Global Learning. Tide supports school teachers in

bringing a global dimension to their teaching by providing access to teaching resources, case

studies and background information. www.tidec.org

What is Development

Who’s Citizenship - A Teacher’s Toolkit

Starter activities for exploring controversial issues in Citizenship

Teachers in Development Education

Citizenship - Websites

39

“Indeed, in an art like teaching, the proof comes down to

whether an approach works, it matters little whether the

theory was correct”.

Howard Gardner

AcknowledgementsAcknowledgements

As always an active learning resource requires a lot of active participation.

Many thanks to all who assisted in the production of this booklet, particularly;

The students and staff of St. Ailbe’s School, Tipperary Town,

who, over many years have assisted and participated in all

methods dramatic.

Eileen Coleman and Eileen Gray who assisted in the development of the various

methodologies through the in-service programme run by the original CSPE

Support Service and the Professional Development Service for Teachers (PDST)

Conor Harrison, facilitator of this resource. Always encouraging and supportive

and provider of a constructive voice and listening ear whenever needed.

Marian McCarthy (Education Department, UCC) - who inspired me to teach from

the moon.

© Professional Development Service for Teachers and Valerie Lewis, 2012

“But ‘to know’ is one thing, to have the confidence to carry out

the knowledge in practice is another: the bridge from one

to the other is achieved through actual practice, in which

real life circumstances are arranged as part of drama and

the participants are provided with the opportunity of

actually feeling the situation without any of the possible

repercussions of failure to behave ‘correctly’”.

Brian Way