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The Tübingen theatre working groups: Results from two years of German-as-a-second-language grammar support for primary school children
No full textTheaterferiencamps zur Zweitsprachenförderung für sprachförderbedürftige Grundschulkinder gab es ab der Jahrtausendwende in Deutschland mehrere. Einige davon wurden evaluiert: zum Beispiel die Camps in Duisburg-Essen, Bremen, Hamburg und Tübingen (Boorsma/Moraitis, 2007; Stanat et al., 2005; Kinze, 2012; Batzel, Bohl, Bryant, 2013). Gezeigt werden konnte in den Evaluationen, dass diese Camps in den fokussierten Fördergebieten sprachförderlich wirken. Ebenfalls einheitlich wird eine Nachhaltigkeitsproblematik festgestellt (Oelschläger, 2008, S. 114 f.; Rösch, 2007, S. 288; Bryant, 2012, S. 28). Das heißt, die gefundenen Effekte verblassen über die nachfolgenden Monate hinweg (Oelschläger, 2008, S. 114 f.; Rösch, 2007, S. 288; Bryant, 2012, S. 28). In Tübingen und andernorts etablierte man als Nachhaltigkeitsmaßnahme deshalb im Anschluss Theater-Arbeitsgemeinschaften (AGs), um die in der Feriensprachförderung gewonnen, positiven Effekte beizubehalten und auszubauen (Bryant & Rummel, 2015). Nun liegen zu diesem Tübinger Nachhaltigkeitsprojekt Ergebnisse vor. Zwei Jahre lang konnten 82 Kinder am Projekt unter Einsatz derselben sogenannten dramagrammatischen Methode wie im von ihnen besuchten Theatercamp teilnehmen, in drei sprachhomogenen Interventions- und drei Kontrollgruppen (Sprachanfänger:innen, Sprachfortgeschrittene, mündlich Versierte). Die Beschreibungen des Vorgehens in insgesamt 192 AG-Doppelstunden ergeben zusammen mit Fragebogendaten sowie 490 standardisierten Sprachstandsdiagnostiken in der Grammatik, Textproduktion und Lesefähigkeit ein umfassendes, auch deskriptiv und inferenzstatistisch ausgewertetes Datenmaterial, das in der das Projekt evaluierenden Dissertationsschrift aufbereitet wurde. In diesem Artikel sollen die Ergebnisse der Anfänger:innen skizziert werden, die in allen getesteten Bereichen von der sogenannten dramagrammatischen Sprachförderung profitierten. Die dramagrammatische Methode eignet sich demnach zur Sprachförderung besonders für Sprachanfänger:innen, wobei sich auch die höheren Sprachniveaus – durch die Diagnostiken bestätigt – in vielen Bereichen verbessern konnten (Vogel, in Vorb.).Since the turn of the millennium, there have been several theatre camps during school holidays to support primary school children in need of German language support in Germany. Some of these have been evaluated: for example, the camps in Duisburg-Essen, Bremen, Hamburg and Tübingen (Boorsma/Moraitis, 2007; Stanat et al., 2005; Kinze, 2012; Batzel, Bohl, Bryant, 2013). The evaluations have shown that these camps have a language-promoting effect in the focused areas. A sustainability problem is also uniformly identified (Oelschläger, 2008, pp. 114-15; Rösch, 2007, p. 288; Bryant, 2012, p. 28). This means that the effects found fade over the following months (Oelschläger, 2008, p. 114 f.; Rösch, 2007, p. 288; Bryant, 2012, p. 28). In Tübingen and elsewhere, theatre working groups (WGs) were therefore subsequently established as a sustainability measure in order to maintain and expand the positive effects gained in the vacation language promotion (Bryant & Rummel, 2015). The results of this Tübingen sustainability project are now available. For two years, 82 children were able to participate in the project using the same so-called dramagrammatic method as in the theatre camp they attended, in three language-homogeneous intervention groups and three control groups (language beginners, advanced language learners, orally proficient). Together with questionnaire data and 490 standardised language diagnostics in grammar, text production and reading skills, the descriptions of the procedure in a total of 192 double lessons in the working group provide comprehensive data that was also evaluated descriptively and inferentially, which was processed in the doctoral thesis evaluating the project. This article will outline the results of the beginners, who benefited from the so-called drama grammar approach in all areas tested.The drama grammar is therefore particularly suitable for language support for language beginners, whereby the higher language levels - confirmed by the diagnostics - were also able to improve in many areas (Vogel, in prep.)
Soft skills or digital skills: Is This the Question? Genesis of a workshop
Get PDFDemand for skills building is increasing more than ever and it has only been accelerated by the COVID-19 pandemic. Digitalisation and globalisation are the driving factors, thus requiring not only digital skills but also soft skills. New and ever-changing contexts require new and flexible training approaches. Performative teaching and learning has proven to be instrumental in helping to develop emotional and social skills, but it is best suited for face-to-face pedagogical contexts, or is it? This article will describe the elements of a workshop that aimed to train soft skills. It was inspired by an online training module in which the teachers applied a performative approach to train digital skills. The module was an integral part of an innovative, interdisciplinary, and interactive workshop, Active Learning Lab (ALL-EM), organised at Ca’ Foscari University. An abridged and adapted version of this workshop was presented at the 8th Scenario Forum Sore back, square eyes? Going performative in digital teaching and learning spaces (18/19 June 2021, online)
Rezension von Dorner-Pau, M. (2021). Spielend (be)schreiben. Performative Verfahren zur Förderung deskriptiver Kompetenzen in sprachlich heterogenen Grundschulklassen. Walter de Gruyter.
Get PDFBetwixt and Between Work and Play: Liminality at the Festival OFF d’Avignon
No full textPrevious festival research based on Victor Turner’s concept of liminality essentially shows two tendencies: either festivals are interpreted as initiation rites of artists and artworks (Teissl, 2013; Valck, 2007), or they are described as carnivalesque inversions of the everyday in which participants temporarily engage in deviant behaviours and renegotiate social identities (Luckman, 2014; Pielichaty, 2015; Ravenscroft & Gilchrist, 2009). Yet, certain social divisions and behavioural patterns remain powerful even within liminal festival spaces (Van Heerden, 2011; Jaimangal-Jones et al., 2010).
This paper examines to what extent the Festival OFF d’Avignon in France unites carnivalesque exuberance with its status as a performing arts market and is thus situated ‘betwixt and between’ work and play. Today, the non-juried fringe festival constitutes a marketplace for the purchase and sale of theatre productions, mirrors neoliberal structures of modern-day society, and represents an initiation rite for artists and their creations. Amidst the market bustle, the festival’s revolutionary story of origin still resonates in the memory of its participants, when the provincial town is transformed into an in-between space every summer.
Conceptualised as a mixed methods research, this article draws on a combination of qualitative interviews, quantitative data evaluation, and secondary literature
Book Review – Routledge International Handbook of Irish Studies, edited by Renée Fox, Mike Cronin, Brian Ó Conchubhair
No full textMind needs body! Practicing positive psychology in English language teaching
Get PDFPositive emotions are recognised as important for successful foreign language learning. Learners develop a positive attitude towards a language, are motivated to learn, and experience enjoyment through regular, meaningful, and positive engagement. Little attention, however, has so far been paid to the links between Positive Psychology, one of the reasons for the growth of interest in emotions, and embodied cognition which advocates the importance of the body and positive sensations for successful learning. While methods such as Total Physical Response (TPR) can help to get learners moving in class, learning through drama seems to be particularly apt to facilitate embodied learning. Students physically engage with situations, characters, and feelings as they inhabit different spaces, often collaboratively. This paper first introduces embodied cognition. It then discusses the links between embodiment and Positive Psychology, taking Seligman\u27s PERMA MODEL as a point of reference. Following this, it shows how embodied learning can be integrated in the English as a foreign language classroom by using techniques from improvisational theatre
Anne Enright\u27s The Gathering: The Five Stages of Grief in a Liminal Space
No full textApplying Kübler-Ross’s theory of the Five Stages of Grief to a reading of Anne Enright’s 2007 novel The Gathering, this paper will trace the journey through grief and how it is a flexible entity which affords different reactions and experiences of grief within the liminal space. The Kübler-Ross theory defines the stages of grief within five parameters: Denial and Isolation; Anger; Bargaining; Depression; Acceptance. She notes how the immediate days after the death are filled with viewings, organising travel itineraries and funeral arrangements. These days are a blur of paperwork and shock and are often accompanied by loss of appetite, lack of sleep and a removal from reality. It is when the burial is complete, and the mourners have departed, that the process of grief can re-commence. Enright’s The Gathering focuses on the aftermath of the death of Liam Flaherty and the subsequent gathering of the Flaherty family for his wake and funeral. The Five Stages of Grief are applied in a non-linear form, enabling a more nuanced situational narrative within the liminal space. In The Gathering, we follow Veronica Hegarty’s stages of grief, following the suicide of her younger brother, and observe how she chooses – for the most part – to cope in isolation. The liminal space afforded to Veronica enables her to process her grief through the medium of memory and her composition of an (imagined) biography of her grandmother. Enright’s unreliable protagonist is creating a bio-fictional past whilst dealing with a stark present. Grief is a personal journey and closure is not always inevitable
Fantasy-Rollenspiele und Dramapädagogik. Eine kritische Analyse und Anwendungspotentiale
Get PDFFantasy-Rollenspiele können plausibel in Fremdsprachenlernszenarien integriert werden, benötigen jedoch didaktische Überlegungen vor deren Einsatz. Wenn das Ziel die Betonung dramatischer Aspekte des Spiels zur Verwendung im Fremdsprachenlerngeschehen ist, bietet sich der Bezug zur Dramapädagogik an. Nach einer Erörterung, inwieweit sich Fantasy-Rollenspiele dem dramapädagogischen Repertoire zuordnen lassen, werden anhand theoretischer Überlegungen, Beispielen aus Rollenspielsystemen, praktischer Erfahrungen aus einer Rollenspiel-AG und weiteren Projekten der Forschungsliteratur unterschiedliche Verwendungsmöglichkeiten aufgezeigt.
“I would like my students to feel like that too.” Reflections on engagement in drama-rich pedagogies with community/heritage languages teachers
Get PDFThis article explores engagement and group flow in drama-rich pedagogies with community languages (also known as heritage languages) teachers. Flow is usually examined in terms of an individual experience of creativity (Csikszentmihalyi, 1997, 2008, 2014), where autotelic or intrinsically rewarding experiences are associated with a state of flow. Group flow refers to a collective state where attention is equally put on the task and others, because the task requires continuous social interaction (Hackert et al., 2022; Sawyer, 2004, 2007). Teaching Artists working with drama-rich pedagogies must balance individual creative contributions, group dynamics and the demands of the narrative to sustain engagement and bring about the conditions for group flow. This research found that engagement for the purposes of teacher professional development broadened to encompass autotelic engagement. Data also indicated that a deepening sense of autotelic engagement served to extend and reinforce participants’ teacher professional learning goals