Drama Improves Key Competences in Education Ádám Cziboly InSite Drama, CEO DICE, project leader FKS jubileumskonferanse Litteraturhuset, 29. nov. 2012
What is the DICE project? Comenius Multilateral Project 2009-2012 12 partners Cross-cultural research Effects of dramatic activities on Lisbon Key Competences Communication in the mother tongue Learning to learn Interpersonal, intercultural and social competences, civic competence Entrepreneurship Cultural expression First complex quantitative research in the field 111 drama programs from 12 countries, 4475 students
Content of this presentation 1. 2. 3. 4. 5. What do we understand by drama Methodology of the research Key results Dissemination Policy level implications
When we say drama / theatre, what do we mean? Rule games, roleplaying Children & youth acting Interactive / participatory theatre for children & young Initiatory Theatre Theatre of the Oppressed Forum Theatre Rainbow Theatre Legislative Theatre Community Theatre Drama in Education Theatre in Education Creative drama Process drama Mantle of the Expert Interactive schoolclass (literature, history, physics ) Teatro Sociale Theaterpädagogie Etc. Etc.
Educational Theatre and Drama In theatre, A (the actor) plays B (the role) to C (the audience) who is the beneficiary. In drama, A (the actor) is simultaneously B (role) and C (audience) through participation and observation. It is a continuum (Eric Bentley)
The consortium Consortium leader: Hungary: Káva Drama/Theatre in Education Association (Káva Kulturális Műhely) Czech Republic: Charles University of Prague Netherlands: Foundation Leesmij Norway: Bergen University College (Hogskolen i Bergen) Palestine: Theatre Day Productions Poland: University of Gdansk (Uniwersytet Gdanski) Portugal: Technical University of Lisbon (Universidade Técnica de Lisboa) Romania: Sigma Art Foundation (Fundatia Culturala Pentru Tineret Sigma Art) Serbia: Center for Drama in Education and Art CEDEUM (Centar za dramu u edukaciji i umetnosti) Slovenia: Taka Tuka Club (Durštvo Taka Tuka) Sweden: Culture Centre for Children and Youth in Umea (Kulturcentrum för barn och unga) United Kingdom: Big Brum Theatre in Education Co. Ltd.
Project partners East, West, North, South equally represented 4 key national universities Internationally acknowledged professionals data from 4,475 students altogether 111 different drama projects 12 countries
Eight data sources
Example: effects on social competence DICE Policy Paper page 42.
DICE Policy Paper page 43.
DICE Policy Paper page 43.
Teachers about the children DICE Policy Paper page 53.
Key results compared with peers who had not been participating in any educational theatre and drama programmes, the theatre and drama participants 1. are assessed more highly by their teachers in all aspects, 2. feel more confident in reading and understanding tasks, 3. feel more confident in communication, 4. are more likely to feel that they are creative, 5. like going to school more, 6. enjoy school activities more, 7. are better at problem solving, 8. are better at coping with stress,
9. are very significantly more tolerant towards both minorities and foreigners, 10. are much more active citizens, 11. show more interest in voting at any level, 12. show more interest in participating in public issues, 13. are more empathic: they have concern for others, 14. are more able to change their perspective, 15. are more innovative and entrepreneurial, 16. show more dedication towards their future and have more plans, 17. are much more willing to participate in any genre of arts and culture, and not just performing arts, but also writing, making music, films, handicrafts, and attending all sorts of arts and cultural activities,
18. spend more time in school, more time reading, doing housework, playing, talking, and spend more time with family members and taking care of younger brothers and sisters; in contrast, they spend less time watching TV, surfing on the internet or playing computer games, 19. do more for their families, are more likely to have a part-time job and spend more time being creative either alone or in a group; they more frequently go to the theatre, exhibitions and museums, and the cinema, and go hiking and biking more often, 20. are more likely to be a central character in the class, 21. have a better sense of humour, 22. feel better at home.
Carefully Minor but systematic changes Evidence also shows that Drama has moderate impact in 63 % of all cases Remarkably strong impact in 21 % And was found to have a negative impact in 16 %! Besides quantity, quality also matters!
www.dramanetwork.eu You can read about the project in 12 languages, download the Policy Paper about the effect of dramatic activities on Lisbon Key Competences in 16 languages, download the Education Resource about the application of dramatic activities in schools to improve Lisbon Key Competences in 10 languages, listen to the complete audio recording of the Brussels conference, and many more.
Spreading the word 12 national conferences, reaching approx. 600 stakeholders, closing event in Brussels, reaching approx. 100 EU stakeholders opening words by Jan Truszczyński, Director-General for Education and Culture, European Commission Policy Paper & Education Resource has been distributed to around 5000 people worldwide, more than 100 (conference) appearances for the consortium members around the world, wide international media coverage, more than 20 publications.
Europe 2020 headline targets Among the five headline targets, educational theatre and drama has evidence based impact on these two: Raise the employment rate of the population aged 20-64 from the current 69% to at least 75% Reduce the share of early school leavers to 10% from the current 15% and increase the share of the population aged 30-34 having completed tertiary education from 31% to at least 40%. Educational theatre and drama fits into two flagship initiatives: Youth on the move An agenda for new skills and new jobs
Recommendations - overview (1) measuring all key competences Develop tools to assess all eight Key Competences (2) funding and administration Arts education / educational theatre and drama should be indicated as a priority in the related framework programmes (3) national curriculum All children should have regular access to educational theatre and drama in their schooling, mandated throughout the national curriculum, and taught by well-trained theatre and drama specialists. (4) tertiary education All teachers should have a basic knowledge of what educational theatre and drama is and how it can contribute to the enhancement of teaching and learning. It is very important to emphasise that educational theatre and drama cannot be taught without proper training.
Continuation Adapting the new complex methodology for researching competences to other fields (music, dance, arts, sports...) Detailed analysis of the DICE database (the database has the potential of 10-20 times more results than what we have now) Academic world Teachers Policy makers
Thank you for your attention! Ádám Cziboly cziboly.adam@insite-drama.eu +36 20 33 56 504 Skype: cziboly.adam www.dramanetwork.eu