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This initial edition of NJ for 2017 foregrounds the role of drama as critical, quality pedagogy across the educational continuum. This theme is of central importance at a time when drama educators are concerned about the reductive and narrow curriculum offerings undermining all sectors of education. Each article in this issue provides evidence and strong counter-arguments for rich and creative pedagogies that enable deep understanding, the exploration of complex ethical issues and opportunities for the development of empathy and compassion.
The scope of this issue spans a broad range of educational contexts from early childhood settings to primary and secondary schooling to institutions of higher education. All of the articles provide concrete and practical models for drama educators who hope to extend and enhance their own professional practices.
Early childhood educator Una McCabe writes of drama as a methodology used to engage vulnerable or at risk children in rich socio-dramatic play. In her study, she demonstrates that children will not always learn through playing alone, and therefore discusses the importance of the educator’s role in enabling children to access dramatic worlds in a deeper way.
Carolyn Swanson gives an example of the use of ‘mantle of the expert’ as a support for exploring ethical tensions when learning in science. She discusses the effects of role, status and purpose of her primary participants’ understandings as they emerged and developed. They were able to appreciate the complexity of ethical dilemmas as they considered alternative points of view.
Claire Coleman unpacks two contrasting interpretations of Cecily O’Neill’s renowned Seal Wife drama as they were applied in secondary language contexts. In particular, she demonstrates the facilitators’ challenges in providing access to meaning without dictating a particular interpretation. To partner this article we asked Cecily O’Neill to reflect on the original Seal Wife drama and she has kindly done so. Pleased that the drama still has currency, she was surprised to see its application in teaching languages.
Hala Mreiwed draws on a study in tertiary teacher education contexts to explore the role drama education may play in fostering community amongst pre-service teachers. She proposes that ‘community as a relational experience’ raises questions about what might be considered normal or familiar modes of instruction in higher education.
We are delighted to provide Barking Gecko’s Artistic Director Matt Edgerton’s inspiring keynote from Drama Australia’s New Ground Rising conference in Perth in February, 2017. He chose to discuss ‘the spirit of the new’ as ‘a vital part of what drives us as theatre artists’.
Newly retired international drama leader and educator Stig Eriksson has kindly permitted us to reprint his 1995 article ‘The violence workshop’ which uses Shakespeare’s Titus Andronicus to frame learning employing a wide range of drama conventions. Stig has also provided us with his reflections. When looking back on this 20-year old article he believes it is still relevant and stimulating for twenty-first century living. He hopes readers new to this text will feel inspired and welcomes their comments.
Finally, Tiina Moore reviews Carole Miller and Juliana Saxton’s long awaited Into the Story 2: More Stories! More Drama! She commends this book to both new and experienced teachers who wish to partner quality literature with educational drama.
We hope that readers will find these informative articles useful and inspiring as well as taking these models of practice into their own context, adapting as modifying as necessary. We welcome your feedback and responses to the papers in this edition and look forward to hearing from you all.
Happy reading, happy teaching,
*In this edition, we warmly welcome Professor Robyn Ewing to the editorial team. Robyn’s extensive experience and expertise will be great assets to the journal as we move forward into the next phase of production.
Editors
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