folkbildning.net an anthology about folkbildning and flexible learning OFFPRINT

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1 folkbildning.net an anthology about folkbildning and flexible learning THE SECOND REVISED EDITION OFFPRINT The Swedish National Council of Adult Education (Folkbildningsrådet) The Swedish Agency for Flexible Learning (CFL) Adult Study Net Project Stockholm, Sweden 2004

2 The dramaturgy of flexible learning by Ronny Schueler There are great demands on course and study circle organisers within folkbildning * for them to achieve successful courses and study circles at a distance. How do you keep a vivid and learning dialogue alive? Is everyone being seen and heard? How do we maintain the interest and the excitement throughout the course? How do the group dynamics develop when the participants most of the time do not see each other in the physical room? How do you avoid people dropping out during the course? Within the theatre and the cinema, as well as in dramatic storytelling, there are rules and customs for this. It is called dramaturgy. It is not that common today to think about the dramaturgy of learning, especially not in the flexible learning process in folkbildning, even less so to concretely put it into practice. However, there is reason to think about and develop the thoughts about the dramaturgic process in distance education. In CFL (Swedish Agency for Flexible Learning), where the issue has come up, further development work will be carried out around the dramaturgy of learning, with the focus on producing a publication in CFL s folkbildning unit s report series around this issue. * About folkbildning, see p. 1 for explanation. folkbildning.net 143

3 What is dramaturgy? The definition of dramaturgy varies a bit in its form of expression: The term dramaturgy is usually described as the art of storytelling. * dramaturgy (from the Greek word dramatourgi a writing of a drama ), nowadays often: dramatic storytelling or the art of dramatic storytelling. Dramaturgy is, according to this linguistic usage, on the one hand a tool for the analysis of a drama, on the other hand a facilitator at the construction of a drama. In a transferred sense, you also talk about the dramaturgy of for example films, mass media, advertisements, and sports. ** Dramaturgy is the art of the theory and the problems of forms in the drama, or, if one wants, the art of dramatic storytelling. If we see it from a more practical perspective, then it is all about catching the interest of the audience/user. *** A classical drama is about conflicts and their solving. There is a main character, also called the protagonist, the one who impels the action forwards, and there is the hero. The hero is not necessarily the same person as the main character but the character who best represents the ideal that we want to attain. Within drama and film you always relate to dramaturgy. If you break the rules you do it consciously and for a specific purpose, but most of the time you follow the rules of the established western dramaturgy, basically because it has proven to best live up to the requests of the audience. Classical dramaturgy counts its days from Aristotle and his most important work Poetics, 330 years AD. The rules of dramaturgy comprise of the following phases: plot, presentation, turning point 1, the deepening, escalation of the conflict, turning point 2, the solving of the conflict and gradation. **** (next page) * Mellander, Klas, Länge leve lärandet, lmi, Malmö, Sweden, 1991, p. 98. ** The Swedish National Encyclopaedia, artile.jsp?i_art_id=156171, * * * Source: Dramaturgi och manus, folkbildning.net

4 According to the dramaturgic model, drama or film consists of three acts where the turning points, which are occasions for important and crucial changes, function as bridges to the next act. Dramaturgy and learning Dramaturgy is also about format, or if you prefer, method. Dramaturgy is not contents but about how the contents are presented. It basically is about catching the interest of the audience. For curiosity, in this context, one can mention that the plot of the dramaturgy in a television film differs from the big screen movie. In the television film, where you have to stop people from changing channels, the plot must be more direct and captivating than in a regular movie, where the audience has paid money for an expensive ticket and therefore has more patience with the film s introduction. When we try to define the dramaturgy of learning in the distance process, we are not focusing on the contents of the learning but on its format, methodology and process. So, what does classical dramaturgy have to do with the flexible learning of folkbildning? A conscious usage of applicable dramaturgic rules is about catching the interest of the audience, namely to make courses and study circles so interesting, exciting and challenging that we keep the majority of the distance students in our courses and study circles. Well, people dropping out from distance courses within folkbildning is not a big problem. There are probably less people dropping out from distance courses that combine online teaching with physical meetings than from traditional courses in the general programmes. By looking at my own distance course environment and from my work as a further educator in flexible learning, quite a few courses do have people dropping out. In completely virtual courses, that are more difficult for students, there is a higher drop out rate. Almost 40 percent of the partici- **** See further Granath, Thomas, Manus och dramaturgi för film, second edition, Liber, Malmö, Sweden, folkbildning.net 145

5 pants in the investigated courses on Folkbildning Network at a Distance in 2000, dropped out of their courses.* At the same time, folkbildning, with only 7-8 years experience of distance education, is only just starting; the activities are still carried out by fiery spirits. Flexible learning within folkbildning, will however increase. Basically because it is a study form that well suits the pedagogy of folkbildning, and because it will be more and more in demand in the knowledge intensive society we live in. There are also democratic reasons why we will see an increase in flexible learning; the target groups of folkbildning, not least the groups with little study experience, must also get the opportunity to choose to study at a distance. However, the tools must be sharpened. To develop the dramaturgy of learning might be one effective way. Dramaturgic elements have always been used by skilled tutors. A cliffhanger between different sessions, a plot that creates excitement and expectations, turning points that turn terminology upside down and bring the session forwards, conversations that uncover conflicts and lead them to a resolution with new knowledge gained. These processes have probably often taken place without the influence of the rules of classical dramaturgy. This probably stems from the fact that we are so exposed to dramaturgy through the theatre and films that it is natural that parts of it are incorporated in our personal pedagogical and methodological arsenal. This probably also depends on the rules of dramaturgy being really close to the learning process. Klas Mellander makes an interesting comparison in his book Länge leve lärandet (Long live the learning) in an arrangement between the learning process in general and the dramaturgy (see next page).** To follow the dramaturgic rules in the drama, the film or the storytelling world has proven to be of crucial importance in order to catch and to * Dahlgren, Ethel, Hult, Agneta and Olofsson, Anders, Folkbildning på distans? en utvärdering, Umeå University, Department for pedagogy, 2001, p. 45. ** Mellander, 1991, p folkbildning.net

6 LEARNING PROCESS Attention Mental preparation Susceptibility Information Facts (data) are added and become information Adaptation Information becomes experience/insight Conclusion Experiences and insights become knowledge Application Knowledge becomes skills and attitudes and competence DRAMATURGY Plot Presents the film s main conflict, e.g. - the bad versus the good - the known versus the unknown Presentation and intensification Who is who? What is the problem? What are the power relationships? Escalation of conflict The duel: What is going to happen? Conflict resolution The climax of the drama the resolution This is what happened Gradation One experience richer keep the interest of the audience. Does the same apply in the learning process? Plot and presentation are assumed to be the crucial steps in dramaturgy when it is concluded if the audience is with them or not. It is probably the same in distance learning. If we do not manage to create expectations in the course and make the participants receptive it becomes more difficult to keep them. We also know how important it is that the contents and the assignments in the course are carefully presented in the introductory phase. There are primarily two reasons for this: So that the participants feel that the course contents agree with their expectations, this is the course I have applied for!. And so that a deeper knowledge about the course contents makes it possible for them to participate more actively and to influence the course. The escalation of the conflict in the film and the drama is then the adaptation in the learning world, where the information that the participants receive becomes insights and experiences through the adaptation in the form of the conversation and the dialogue. The exchange of ideas, folkbildning.net 147

7 with the participants different understandings and interpretations of the material, is a link to the escalation of the conflict in the dramaturgy. Right and wrong is not as clear as in the world of the drama, where the conflict resolution makes everything right for the audience. The learning process is instead about new insights, a deeper knowledge of the information the participants have taken part in and the adaptation that has been done through conversations and dialogues. The gradation in the film and the drama gives the audience a chance to take in, during quite a short time, and to reflect on the culmination of the film and to get answers to questions not already answered. The equivalent gradation in the course is the participants opportunity for reflection and for feedback to expectations and demands of the course, which is often expressed in different types of evaluations. What feels natural in the physical meeting in the classroom is not as simple when teachers and students meet virtually. What can be done spontaneously and on impulse and feeling in the physical room, must be planned for and organised in advance in a distance situation. This is where the well prepared and thought through dramaturgic process comes in. Dramaturgic elements in the distance process In order to maintain a high quality in the flexible learning of folkbildning, we strive for courses that are inspiring, where surprising things can happen, which give enjoyment and vitality to the process and where the participants therefore log in expectantly to see what has happened since last time, courses that consider the surrounding world, courses that see to the participants group dynamic development and that create participation. This effort is naturally nothing new; it is an ambition found in everyone. A conscious using of dramaturgic thinking, which considers both the course s and the study circle s entire process as well as each element, 148 folkbildning.net

8 can become an important tool for us to maintain the high quality that we are striving for. Mats Ödeen writes in his very interesting book Dramatiskt berättande om konsten att strukturera ett drama (Dramatic storytelling about the art of constructing a drama): Dramaturgy is about the art of staging of scenic action Transferred to our stage, the online distance process, it is about using an alternating arsenal of methods, feel free to call it dramaturgic elements or tricks, in order to realise the quality requirements. Here follows a number of such methods, dramaturgic elements that are used today in folkbildning s flexible learning. Some of it I have personal experience of, others I have taken from my colleagues who work with distance education. Separately they are only good examples of methods that have sprung from the experiences in the distance activities within folkbildning. They only become dramaturgic elements when they are put into a context and a movement in the distance process. An individual assignment can, for example, preferably be replaced by an online seminar, during a longer project in pairs, a common diversion can be put in. It might be unsuitable to let a group project be replaced by another group project. When the group dynamic honeymoon is almost over, a bit into the course, you might try to strive for a turning point, maybe a physical meeting or an assignment where the participants are supposed to go out in the world around them on for example study visits. The point is that you should not only strive for alternation, which in itself is obviously good, but also find a rhythm, a dramaturgic movement, which fits the current course or study circle. Are there such dramaturgic movements that are more general for folkbildning s flexible learning? It is, according to me, too early to say anything about that. It is still sufficient enough to test this attitude towards flexible learning. Dramaturgic element BEFORE THE COURSE STARTS. Right before the start of the course, it is wise to send out a questionnaire to the participants. The purpose of the questionnaire, besides setting up a digital contact with the course par- folkbildning.net 149

9 ticipants, is to get some information about the participants computer experience and possible experience of the current digital learning platform. It is crucial to quickly set aside those technical problems that the participants might have. It might also be valuable if the questionnaire contains questions about the participants expectations on the course. Much information can be drawn from the answers, which can be used by the course leader when the course formally starts. Here, already the plot of the course is set does the course seem exciting and rewarding, what confidence does it impart? COURSE START. The plot continues over the start of the course, but here the plot probably transfers into the next step: the presentation. A crucial moment: are the participants with you or not? The start of the course is therefore crucially important for the interest and the motivation of the course participants. Experience shows that a course introduction with a physical meeting has a great positive meaning for how the course evolves. If the course lacks physical meetings, the presentation phase has to be done digitally. Plenty of time must then be used in this element so that the participants get to know each other and so that the course contents can be presented and discussed. The advantage with having this element online is that all participants get started quickly with the text-based communication. THE SIGNIFICANCE OF THE CAFÉ. Question: What is the similarity between today s youth and Jesus? Answer: They live at home until they turn 30 and if they do something it s a miracle! The story was found in a course café. The course participant who had contributed the story writes. I have heard the following story from a pulpit and I thought it was quite nice, despite the fact that I m a part of the fellowship. Here the course café was used to brighten up the communication, to make people laugh and the course participant generously invites the others to have fun on his account. But not only that, a good story can also be a significant element to be used when the studies feel a bit of a drag, thus, a dramaturgic element. The café conference is both a breathing-space and an important part of the course s group dynamic 150 folkbildning.net

10 development. Quite often the café functions as the most important forum to get the course started; the lighter nature of this forum creates a place where the course participants can shake off their insecurities about their writing. I think you can say that the course café in itself is a dramaturgic tool, for the course leader as well as for the participants. VARIATIONS IN GROUP PROJECTS. It is natural for a teacher, in the physical room, to alternate between different group configurations to adjust the methods in order to, at each occasion, optimise the stimulation for learning. Often the teacher knows, more or less spontaneously, what is most fitting both when it comes to the assignment s contents and the mental level in the group at that given time. It is as important to vary the configurations of the group in distance learning. If you choose to alternate the participants ways of working together, it must be structured right from the start and the participants should be informed and prepared. An important experience in group projects at a distance is that it takes time to get started. If the groups themselves shall decide the goal and the direction of the group project and maybe also decide on a moderator for the group, you can easily spend a couple of weeks just organising the work. Therefore it might be useful to do this already at a physical meeting before the group project element is supposed to be carried out. If the course is completely virtual, there might be a reason for the course leaders to play a more active role in the group configurations, choose a moderator for the group and also actively help them formulate the goal and contents if it is needed. Projects worked on in pairs are an interesting form of collaboration online. In CFL s Supplementary course in flexible learning one course element in intensified literature studies is carried out in pairs. Interesting and rewarding meetings can take place here, not least if the pairs are chosen because of their different backgrounds and focus. During all these different collaborative methods, it might seem very quiet in the course conference and quietness in the common course conference always makes the course leader nervous. It is actually good that folkbildning.net 151

11 the common activities alternate in pace during the course. Planned pace alternations are important parts of a dramaturgic structure. If the different group projects are long, you can always add an easy-going common assignment parallel to the various forms of group projects. THE ONLINE SEMINAR. The purpose of an online seminar is to gather strength and to focus around an important subject or topic. Online seminars do not take place in real time, but require a high intensity in the participants connections to the Internet. The point is that the online seminar takes place intensively during a short period of time, from one day to a maximum of one week. It is vital that the seminar is planned well in advance so that the participants are well prepared. The online seminar can however also be used as a turning point or a break in the course. Then you would probably have to give up your time for preparations, but at a time when the course starts feeling a bit stagnated, the online seminar method can be a way to gather the course participants for a new push. SUBSTITUTE. An effective dramaturgic element if there is a sense of stagnation in the group, or if it stands still in one position, is what we can call a substitute. This is how one distance tutor describes an excellent replacer: We studied economy a while back in our general course. Economy is always at risk of getting immeasurable dry and it is hard to get a discussion going about macroeconomics. To discuss our private economies is a completely different thing. Well, I wanted the students to find out what inflation was, what the risks with it are etc. They did it but the discussion and the assignment lacked life. It felt like, when reading the messages, the participants were only reproducing facts that they had found somewhere. Furthermore, the whole discussion died when a student presented everything that he had found. There was basically nothing left to be said about it. That s when it was time for a substitute, to make the topic real and to get the students activated. I looked for a historic picture of German children playing with bundles of notes (they are building a giant tower) dur- 152 folkbildning.net

12 ing the hyperinflation that preceded Hitler s seizure of power. I scanned it and pasted it in a document. Under the picture I just wrote what do you think this is?. Then the discussion gained momentum. The picture wasn t very clear but someone saw that they were playing with money!!!! And then the discussion got going. They looked at the clothes in the picture to determine what time period it was from. When the picture was taken. Someone had read (in the boring fact presentation that had preceded the substitute) that Germany had had a hyperinflation and that an egg could cost a wheel-barrow full of Deutschmarks. Finally the discussion led onto Hitler s seizure of power, which in many ways was facilitated by the economy and the inflation. The picture then made the term inflation cross over from something boring that Bosse Ringholm is talking about to something very real that even affects families with children. The point with a substitute is that it should partly surprise and ask the question from a completely new and interesting angle and partly be used when a break for some reason is needed from the course pace. IMAGE AND SOUND. Up until now folkbildning has worked with sounds and images to a limited extent in flexible learning. There are reasons for this; many of folkbildning s target groups lack computer experience, are spread out across the country and only have access to modems for their Internet connections. However, the technology gets more and more user friendly and the technological threshold does not have to be that high for the tutor who wants to use the opportunity to communicate with images and sounds. Additional equipment and software might be needed, e.g. a digital video camera, a video editing programme and quite a lot of room on your hard drive for those that want to use film sequences. We should not forget about the still picture. The camera is an effective tool in flexible learning. In the distance courses that I have worked with, we have taken a picture of the group and put it in the course conference. In a completely virtual course, the participants can send in pictures of themselves and maybe some pictures from where they live to bring their personal presentations to life. If the participants have as an folkbildning.net 153

13 assignment to make a study visit locally, digital pictures can give the texts an extra dimension. If an interview is conducted, take pictures of the person being interviewed etc. On the Folkbildning Net it is easy to use the opportunity to record sounds, e.g. in language teaching or for a shorter introduction of a question or just for the sake of variety. * TAKE IN THE SURROUNDING WORLD. A colleague tells me that in his course, about drug preventive work, the participants got as an assignment to visit an organisation s web site where there was a open discussion about drug policies. There they should take part in and participate in the debate, thereafter they should write a report about it with reflections around the issues and the debate. This is one way to take in the surrounding world directly into the course, get inspiration and new angles of approach and to use the opportunities that the Internet provides. The world, as we all know, has become much closer and more accessible through the Internet. The likelihood to get an answer from almost anyone through s is surprisingly high. Another way is to invite current course literature writers to digital discussions around the literature. The writers of this anthology s first edition have participated in many of these kinds of discussions. It has been very appreciated by the participants and has given an increased value to the course. However, you do not always have to take it this far. This is what a distance tutor who works with completely virtual and certificated courses writes: We recently tried a new format with successful results in our English course. The ordinary work was interrupted and a new course leader came in and made a poetry project with readings, discussions and practical * Folkbildning s pedagogical resource pages, has in its toolbox many tips and ideas on how sounds and images can be used in pedagogical work. The multimedia bureau, for ordinary schools is a real treasure for those that are interested in developing their knowledge about the use of sound and images in flexible learning. 154 folkbildning.net

14 writing exercises in poetry. The participants appreciated the interruption and thought it was fun to have a guest lecturer. The result was a very vivid activity in the group. The surrounding world is the third leg in the meeting-based learning, where the first two legs consist of the dialogue between teachers and participants and between the participants. Only our imagination limits us when it comes to the possibility of taking in the surrounding world in the distance process. Learning is a thriving progress Thriving progress, driving force, identification, rhythm and turning point are all dramaturgic key terms. Every individual scenic statement is about finding the right thriving progress, identifying the driving forces and finding the rhythm in the drama that the audience can follow and identify with. Here the similarities with the learning process are obvious. We have stated earlier that all the experience we have had up until now shows that distance education needs structure and planning. Spontaneity, freedom and real participant steering stem from the good structure and the well-planned course. Is it not here where we can learn a lot from the classic dramaturgy? Most things are still unwritten about the dramaturgy of learning in the distance process. Folkbildning has the chance to lead the way in this area during the coming years. folkbildning.net 155