This volume of NJ (both issues) holds a particular place in the history of drama education in Australia. In 1976, 40 years ago, the national association for drama education professionals in Australia was formed. NADIE, as it was then called, was an association of associations, with every State and Territory running their own association to meet the needs of each particular educational context that varies so much from location to location. One of the central tenets of the formation of NADIE (now Drama Australia) was the establishment of a professional journal to provide a strong theoretical foundation and research-informed practice for our ground-breaking educators. Now, Drama Australia is 40 years old, and NJ (which became a fully refereed professional journal in 1993) is up to Volume 40. The journal continues to inform and support the practice of reflective and critical drama educators in Australia and beyond. The articles published in NJ share, and critically examine, theory, research and practice from all over the world, and there is a deliberate attempt to avoid parochialism. Having said that, this issue has a particularly local focus and presents some of the historical and current concerns that have been part of the consciousness of drama educators in Australia.
I remember my excitement at reading Joe Winston’s Tom Tiver, Tom Tiver Met Yallery Brown when it was first published in 1998. At that time, I was teaching the full range of secondary school students and was delighted to find an example of practice like this in NJ. It is such strong drama work, and easily adaptable to a range of age and ability levels. Later I read, cover to cover, Joe’s (2005) book Drama, Narrative and Moral Education: Exploring Traditional Tales in the Primary Years which remains one of my go-to texts, as can be seen by the highlighting and dog-eared pages. When Robyn Shenfield, an Australian drama educator now living and studying in Canada, submitted her article, I was keen to partner it with Joe’s earlier thoughts on moral education. Robyn interrogates the moral education opportunities afforded by Carol Miller and Juliana Saxton’s story drama I’m Too Old for a Trike Now. She proposes that open forms within drama pedagogy and practice are fertile and desirable grounds for exploring moral ambiguity. Next, Saunders and Stinson discuss advocacy processes that have contributed to the inclusion of drama in the Australian National Curriculum: the Arts. They illustrate the value of alliances and identify influences which have had demonstrated impact on this national agenda.
Three keynotes are included in this issue. The first, Julie Dunn’s December presentation to Drama Victoria, provides a singular clarity and deep understanding of the term process drama. Mary Ann Hunter’s keynote for the Looking Forward, Looking Back Drama Australia Symposium in September in Adelaide, explores the necessary potential of drama to ‘humanise, politicise and disrupt’. Kate Donelan, Val Johnson and John O’Toole, three vintage drama educators, lead us through a humorous and engaging brief history of the association. They identify significant influences and events that have shaped Drama Australia throughout the last 40 years.
The last two articles also look back and look forward. The first is a published report from drama education conference held in Australia and was an insert in NADIE Journal 1.1. It is fascinating to read this text today in light of current issues. The final article offers the material presented as part of the Presidents’ Panel at the September symposium, where each state association shared the issues and concerns that are current in their respective contexts.
Our book review in this issue is of Martha Eddy’s Mindful Movement: The Evolution of the Somatic Arts and Conscious Action. Sincere thanks to Sue Mullane who contributed the review, and to Jo Raphael, our reviews editor, for her contributions to this important section of the journal.
Other thanks are due to Julie Dunn who recently advised she has decided to step down from the role as co-editor of NJ due to work commitments. This is an unfortunate but absolutely understandable position and I am sure we all sympathise with ever-increasing work pressures. On a professional note, I have so appreciated Julie’s collaboration and support with NJ during the 3 years she has worked alongside me. Her astute, incisive, thorough and insightful advice has been invaluable. And, as you will know, Julie is a passionate supporter of quality drama work and quality drama research, underpinned by a deep and sincere valuing of teachers in schools. On a personal note, I have appreciated the many ‘corridor-conversations’ and discussions in our respective cars (hands-free of course!) as we tried to make decisions supporting authors, struggled with deadlines, or dealt with the unexpected (LOTS of the last!). Julie’s capacity for work is astonishing and her unfailing good humour has helped me through many a crisis moment.
So – to Julie – from all of us: thank you so much for the outstanding contribution you have made to NJ during your period of co-editorship. Drama Australia has been immeasurably enhanced by the contribution you have made.
The news is not all bad, however, and I am very happy to share the information that Robyn Ewing will be taking up the co-editorship role from 2017. Robyn is a hugely respected drama academic with extensive experience in publishing. I have been involved in writing and publishing with Robyn in the past, and know her exceptional capacity in this regard. I look forward to working with her on NJ.
Thanks, also, to our subscribers, authors, reviewers and readers. NJ continues to go from strength to strength. We look forward to producing Volume 41 in 2017.
Griffith University
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