After Class Thoughts | SHLE3652 Drama in Education

Today's class zoomed in on the core task: aligning the elements in the syllabus with applied drama to consolidate the teaching and learning process. It's all about bridging the gap between theory and practice, ensuring that the rich tapestry of drama smoothly integrates into the structured framework of Malaysian English language education. We used A Cool Like Me story as the teaching material, and we were given ample time to plan out the lesson and then demonstrate how the lesson would take place in a real classroom setting.

Observing how other groups attempted to align their activities with the syllabus, I noticed that sometimes the techniques became incompatible due to constraints in the implementation process. There seemed to be challenges such as time constraints, relevance to students' proficiency levels, and unclear instructions. This highlighted the fact that while certain methods may appear effective in theory, practical execution can present unexpected hurdles.

Take, for instance, the "role on the wall" technique. The teacher instructed students to draw a line of human figures and fill in information during a given time. However, when it came time to present, some students were still engrossed in drawing and not fully focused on the presentation. This unexpected outcome serves as a reminder that the practical execution of a technique may not always align with our initial expectations. This experience emphasizes the importance of not only planning activities theoretically but also considering their practical implications. It prompts us, as future educators, to be mindful of potential challenges and to adapt our strategies accordingly.

Reflecting on my 14-week journey through the drama class, it seems like there was an unseen roadmap guiding me to the top. It might sound a bit delusional, but bear with me. In the beginning, I was introduced to the nitty-gritty of acting—things like body movements, voice projection, breathing control, and stepping into character. It was the foundational phase that laid the groundwork for what was to come. 

As I moved into the middle of the course, drama techniques took centre stage. There were so many of them, each offering a taste of the possibilities within the world of drama. I felt like I was experiencing something unique, wearing multiple shoes at the same time, particularly the process drama aspect. It's not a road many treads, especially the people outside the realms of English education or literature and creative arts studies in Malaysia. I'll admit, even the term was foreign to me when I first heard it.

Then came the gradual shift towards the application of drama in language classrooms, harmonizing with the Malaysian English syllabus. As a future English teacher, it is important for me to know how to apply drama in the lessons appropriately so I can enhance the environment of the lessons and the learning outcomes of my students. It's not just about turning the lessons to be more fun, but also the teacher's responsibility to have a solid rationale behind everything taught and incorporated into the lessons. This ensures that the infusion of drama is purposeful, contributing not only to the enjoyment of the lessons but also to the overall educational growth of the students.

The syllabus, encompassing listening, speaking, reading, and writing, has its own set of objectives, focuses, student performance levels, content standards, and learning standards—a comprehensive guide that teachers need to fully comprehend. Everything the teacher plans must go hand in hand with the elements of the syllabus.

In today's class, I've come to realize that drama doesn't have to dominate an entire lesson; it can serve as a brief yet impactful element, even if it lasts just 10 minutes as a warm-up activity. I now understand that acting isn't necessary for every aspect of language teaching, and drama is not solely about crafting elaborate stories. It can be a dynamic tool to kickstart a lesson and help students loosen up.

One enlightening takeaway from this class was the exposure to three distinct warm-up techniques: the Traffic Light, and Statue in the Park, as well as the engaging Nasi Lemak activity.

The Traffic Light activity, for instance, proved to be a playful and effective vocabulary exercise. By associating colours with specific actions, we not only had fun but also learned how to introduce new words to students and expressions. What struck me was the potential to customize this activity to various language concepts. For instance, introducing prepositions by instructing students to sit when 'on' is called, freeze when 'under' is mentioned, and walk when 'in' is prompted adds a layer of versatility to this engaging vocabulary game. Similarly, exploring homonyms becomes an enjoyable challenge, making it an adaptable and effective tool for vocabulary enrichment.

Statue in the Park, a kinesthetic approach involving listening and speaking skills, fascinated me. This activity aligns with the concept of Total Physical Response, allowing learners to absorb language through movement. This methodology accelerates language learning by involving the body in the process, emphasizing genuine language acquisition without reliance on translation. This activity, in contrast to traditional lecture-style learning, encourages students to use movement to understand and internalize language concepts, making it an invaluable addition to my teaching toolkit.

Nasi Lemak, a lively and physical activity, stood out for its ability to quickly involve everyone. It challenges participants to experience and express emotions physically, promoting a deeper understanding of emotional vocabulary. I envision adapting this activity to explore different cuisines like spaghetti or tom yam, adding a cultural and creative twist to the language learning experience. This adaptability showcases the versatility of drama in fostering a holistic understanding of language that extends beyond mere verbal expression.

The key lesson I gleaned from today's class is the importance of not shying away from incorporating drama into language learning. I now understand that it's not about staging an entire dramatic production; a mere glimpse of it can be profoundly impactful. Previously, I was unsure about integrating drama into any language skills-focused lessons, assuming it was primarily suited for literature classes. However, I've learned that with thoughtful implementation, drama can enhance various lessons, catering to specific learning objectives. This newfound understanding opens up exciting possibilities for injecting creativity into my future language-teaching endeavours.

Well, another week of learning with a new term thrown into the mix—staging the textbook. One thing that always keeps me hooked in this class is the thrill of discovering something completely fresh. This time around, the focus was on staging the textbook.

First, we all went through a textbook used in secondary school for Form 1 students. As I examined the textbook closely, I noticed that each chapter was meticulously organized sequentially. I think it was designed that way so that concepts introduced in earlier chapters served as building blocks, leading to a gradual increase in complexity and depth of understanding as the students advanced through the material. Typically, in the traditional classroom setup, teachers proceed through activities in the textbook without utilizing additional resources, indicating a rigidity in the structure of lesson implementation. This approach may limit students' opportunities to thoroughly analyze, evaluate, and synthesize information.

On the other hand, the idea of "staging the textbook" introduces a more dynamic approach. By adding a dramatic layer to textbook activities, the learning experience becomes lively and engaging, transforming it from a typical language exercise into an immersive journey. The aim is to enhance the learning process, making it more interesting and contextually rich. This approach involves carefully choosing and simplifying key elements like language, skills, vocabulary, and themes for teaching.

Personally, this method connects well with the idea of differentiated instruction, where we acknowledge and adapt to the various ways students learn. It's like tailoring the approach to fit each student's unique needs, making the learning environment more inclusive and supportive. What I found interesting about staging the textbook is how it encourages creativity and innovation. It pushes both teachers and students to come up with fresh ideas for teaching and learning. This not only keeps education interesting but also helps students develop critical thinking skills and a genuine interest in the subject. Another thing that caught my attention is how adaptable staging the textbook is to different learning environments. Whether it's a regular classroom, online learning, or a mix of both, this approach can be a useful tool for teachers dealing with different challenges. Its flexibility means it can work well in various situations, making learning accessible and effective.

Today’s class was a continuation of a process drama and the name of the village now was Purnama Seroja River. It was because the class was combined with the next section. So we united and became one village. One thing I can express now is connecting with the story and characters on a profound level (again) was an experience like no other. I can't help but think how different it would have been if the story were confined to the pages of a textbook. We'd probably be stuck in a monotonous reading-out-loud session, doing character analyses without truly feeling the essence of the plot like how we did in the class.

Learning through process drama sparked creative ideas in us. It wasn't just about going through the motions; it was about bringing the story alive and forging a deep connection with it. Emotions became the threads that wove our understanding of not only feelings but also language. Expressing our emotions and feelings through language became a powerful tool, a bridge that connected us not only to the characters but to everything around us.

At the same time, it's fascinating how this could go beyond just our brains and synapses – it's about making connections. The more connections we have, the more we learn and retain. Let me simply put this here, learning through process drama is like putting the pedal to the metal; it accelerates our understanding and makes the entire learning experience richer.

But let's move on from the drama and onto some ideas I've been brewing in my mind. If I were to recreate this play with my future students, I'd want to develop certain parts further. The activities we engaged in were interconnected, and I'd love to emphasize the language-learning aspect. Towards the end, the chief village received a letter from the government instructing evacuation, then I'd encourage my students to write a protest letter expressing their critical thinking against the decision (writing skills). Or perhaps, a debate between the government and villagers and setting up a real parliament, which could spice things up (speaking skills). And maybe throw in a hot seating activity where characters share their points of view by taking on different roles, including government officials justifying the evacuation. Also, a representative from the village to explore the emotional and practical aspects of their perspective.

All in all, the story we enacted served as a base, but the beauty of it is that we can adopt any story to make our English classroom more engaging for students, honing their language skills in the process. It only takes one’s creativity to pull it off.

And honestly, the possibilities for language learning through drama are endless

Today's class introduced me to the intriguing concept of Process Drama, a term I hadn't encountered before. It brought a whole new layer to my understanding of acting and storytelling. Being both the actor and a participant in the unfolding narrative provided a unique and immersive experience, one that allowed me to delve into the characters and their emotions on a profound level.

In our little play, Dr. Abdullah orchestrated a tale where we were villagers living our peaceful lives until chaos struck. No more clean water, no more food – and suddenly, we were on a journey to find a new home. It was such an emotional rollercoaster. As we moved through the drama, we hit a pause button – a freeze frame, to be precise. It was like capturing a snapshot of the villagers' lives and emotions during their perilous journey. Some gave up halfway – frustration etched on their faces, others were kidnapped and thrown into slavery, and heartbreaking as it is, one of them even chose to end his own life which was ME! But I survived somehow and was able to continue my life as a fishmonger in our new peaceful village named Seroja River. 

Through this process drama, I gleaned a crucial lesson about the significance of character immersion. The more I invested myself in my role, the more authentic the crafted world became. It served as a reminder that genuine emotions and reactions contribute significantly to the depth of any narrative, even in a fictional context. Furthermore, the notion of co-creation emerged as a central theme in process drama. The collaborative nature of the exercise highlighted the importance of shared imagination and creativity. Everyone in the class brought a unique perspective to the table, shaping the narrative and characters collectively. This collaborative effort not only enriched the storytelling experience but also emphasised the power of teamwork in constructing a compelling and believable narrative.

On the language front, this was a linguistic playground. We weren't just throwing lines from our heads; we were living them. The desperation in our voices, the urgency in our pleas – it was a crash course in expressing emotions through language. Engaging in the narrative demanded effective communication and articulating thoughts and emotions in the target language. Immersing ourselves in the roles compelled us to use the language authentically, enhancing our ability to express intricate ideas and emotions. This hands-on approach to language learning turned out to be both enjoyable and effective, offering a practical application of linguistic skills in a real-world context.

In conclusion, today's exploration of process drama not only provided a fresh perspective on acting but also offered insightful lessons on co-creation, emotional investment, and language learning. The experience has left me enthusiastic about further delving into this innovative approach to storytelling and its potential for personal and linguistic growth.

Today's session focused on bridging the gap between theory and practice in drama teaching. While we had delved into various techniques during the asynchronous phase, it was time to experience firsthand how these methods should be implemented, identifying their suitability for language learning and understanding the rationale behind each.

The class aimed to demonstrate how drama techniques can seamlessly integrate into language classrooms, either as standalone experiences or interconnected learning activities alongside traditional teaching methods. The practical application of these techniques aimed to provide a tangible understanding of their implementation.

During the session, we engaged in hands-on practice with several techniques, including hot seating, freeze frames, thought tracking, decision alley, and soundscape. This interactive approach allowed us to grasp each technique and how it could be effectively employed in language learning scenarios. It was a valuable opportunity to witness the real-world application of the theoretical knowledge acquired during the last couple of weeks.

As we went through these drama techniques, their potential for enhancing language skills became evident. From the spontaneity of freeze frames to the immersive nature of soundscape, each technique offered a unique avenue for language learners to explore and apply their linguistic abilities in creative and dynamic ways.

The class served as a reminder that the incorporation of drama techniques in language teaching extends beyond theory; it involves a practical understanding of how to seamlessly integrate these methods into the fabric of language education. This hands-on experience not only made the concepts more tangible but also paved the way for a richer and more engaging language learning experience.

Last and this week, the classes happened asynchronously. Dr Abdullah provided some tasks on e-learning, I explored drama techniques and found them really interesting. There are so many techniques available for language teachers to incorporate into their lessons and these techniques can be helpful to non-native speakers to get better at a second language (L2). 

Amongst all the techniques I learned, five drama techniques are suitable and align with specific language skills. For example, the integration of Role on the Wall effectively enhances reading and speaking skills by promoting vocabulary acquisition and collaborative expression. Thought Tracking emerges as a powerful tool for developing speaking and listening abilities through the articulation of emotions and continuous verbalization. 

Furthermore, the Hot Seating not only fosters speaking skills but also enhances listening as students engage in character exploration. Conscience Alley, when applied to creative writing, aligns with writing and speaking skills, encouraging nuanced exploration and effective communication. Lastly, Improvisation, through spontaneous storytelling, addresses speaking, listening, reading, and writing skills, showcasing its comprehensive impact on language development. The author's insightful analysis underscores the adaptability of drama techniques to cater to the diverse language needs of learners in the English classroom.

I've come to appreciate that each drama technique carries its own set of merits, requiring teachers to navigate them skillfully based on their intended purposes and learning objectives. Teachers need to know how to discern what students can ultimately gain from a lesson, as well as identify the language skills that align with specific techniques. This understanding directly impacts the effectiveness of language learning, providing students with a more engaging and enjoyable experience.

By reflecting on the desired outcomes after a lesson and aligning them with targeted language skills, teachers can harness the full potential of drama techniques. These methods instil vibrancy into the learning environment, turning what might otherwise be a dull teaching and learning process into something dynamic and lively. It's as if infusing colourful souls into the lessons, making them not only informative but also captivating.

I firmly believe that integrating drama techniques into language learning settings has the transformative power to make the experience more interesting and engaging for students. These methods encourage active participation, foster collaboration, and provide opportunities for socialization among peers. In essence, learning through drama techniques creates an environment where students not only absorb language skills but also actively apply them in more enjoyable and interactive ways.

Last week, we delved into voice projection, learning how to amplify our voices using diaphragmatic breathing to ensure our messages are heard loud and clear. Today's class took a closer look at two key areas of the human body: the head and the torso, arms, and hands.

We started on the head, with a particular focus on the eyes. In a fascinating activity, Dr. Abdullah had us observe our partner's eyes while he read aloud two different scenarios. The first scenario involved meeting someone we adored, and the second, meeting someone we despised. As I experienced the first scenario, witnessing the transformation in my partner's eyes was intriguing. The size seemed to expand gradually, shining with a brightness that made the eyelashes resemble blossoming flowers. It was as if their eyes were radiating warmth and joy, mirroring the positive emotions tied to meeting someone they adored. 

Contrastingly, in the second scenario, where the meeting was with someone we harboured strong negative feelings for, the eyes told a different story. They began to narrow, almost squinting, as if attempting to shield themselves from the discomfort of the encounter. The shift was remarkable, and the eyes seemed to engulf themselves in the intensity of negative emotions. This activity provided a unique insight into the expressive power of our eyes. It made me realize how non-verbal cues, like changes in eye size, can communicate emotions more vividly than words alone. This newfound awareness can be a valuable tool not only in personal interactions

Exploring the head was interesting, and then we moved on to the torso, arms, and hands. We did a simple exercise where we crossed our arms to understand open and closed body language. In the first round of the exercise, I stood facing my partner with our arms relaxed by our sides, confidently uttering the phrase, "Trust me, I know what I am doing." The open body language emphasized a sense of assurance and sincerity. On the other hand, in the second round, my partner crossed her arms while I repeated the same line. This change in body language created a noticeable contrast. Crossing arms in the second round conveyed a certain level of defensiveness or skepticism, despite the repeated assurance.

The first round, with our relaxed arms, projected an open and receptive demeanour. It suggested a willingness to engage and an approachable attitude. In contrast, the second round, with crossed arms, introduced a subtle barrier. The closed body language in this scenario implied a defensive posture, potentially hindering the message of trust and confidence conveyed through the words. The shift from open to closed body language showcased the impact of non-verbal cues on the perceived message. While the verbal content remained constant, the visual element of crossed arms significantly altered the overall impression. This demonstrated how body language can influence the interpretation of spoken words, underlining the importance of aligning both verbal and non-verbal communication for effective and accurate expression.

Learning about the head and the torso, arms, and hands revealed to me the connection between verbal and non-verbal communication. While the eyes offered a window into emotions during scenarios, the activity with crossed arms underscored the significance of open and closed body language. Together, these exercises highlighted how subtle gestures can profoundly impact the message we convey, emphasizing the importance of aligning our words with our physical expressions for effective communication.

Today’s class was a bit lighter. I think it was all about loosening yourself up more. Step out of your comfort zone. 

As we walked around the classroom, we found ourselves embodying different characters – from a fearless warrior in shining armour to a wise 100-year-old man. Somehow we ended up taking the roles of a clucking chicken and a lumbering zombie. Each character was brought to life not just through physical gestures but also through the words we spoke. For example, the warrior spoke with a confident and resolute tone, exuding courage with a hint of snobbishness. On the other hand, a 100-year-old voice was reflective, contemplative, and filled with the wisdom that comes with a century of life experience. There were moments of shakiness and vulnerability, adding a touch of authenticity to the portrayal.

I think this is what we call a voice projection practice in which the activities we did were centred around it. In the context of our drama voice is a crucial aspect for any actor. Dr. Abdullah emphasized the significance of developing our voices for effective communication, especially in educational settings where teaching requires a strong and clear presence.

Understanding that individuals vary in stature and personality, each possessing a unique vocal volume, we delved into the importance of projecting our voices to be heard by others. To enhance our voice projection skills, we explored the technique of diaphragmatic breathing. The focus was on allowing the abdomen to expand as we inhaled, as opposed to the chest. This method ensures the lungs fill with air, and the diaphragm acts as a natural amplifier, enriching the quality and volume of our voices.

In my own future classes, I plan to integrate voice projection exercises, similar to what we practiced today. Creating a space where students can explore different tones and styles of communication could foster a more inclusive and dynamic learning environment. Additionally, I aim to incorporate elements of playfulness and creativity, as today's experience showed me how effective it can be in breaking down barriers and encouraging active participation.

Before heading to class, I had this notion that it was going to be a bit of a drag. I mean, come on, it's called "Drama" – the name alone hinted at active movements, acting, creative thinking, and things that surround it that I don’t typically keen into. I'd had a taste of drama during my foundation programme, and while it was enjoyable, it did not reach my interest. 

So this first class of drama, as usual, we went through the routine introduction of the course details – from the nitty-gritty of learning content to the impending assignments. And of course, it wouldn't be the first day if the lecturer didn't inquire about our expectations for the course. We were tasked with brainstorming three expectations in groups and presenting them later. However, the twist was, that we weren't just talking about our expectations – we were acting them out. We needed to make our expectations alive. It was ridiculously funny and sort of fun, seeing my classmates being clowns and everyone was simply on board with it. 

Reflecting on it, I reckon Dr Abdullah had this acting exercise because, first, by incorporating an element of physicality, he wanted to break away from the stereotypical image of a stagnant classroom, demonstrating that learning could be dynamic and engaging. Secondly, the act of embodying our expectations through performance added an interactive and memorable moment to the class. It wasn't just about listening and note-taking; it was about living the experience. Moreover, I think he aimed to create a comfortable and inclusive atmosphere. The shared laughter formed during these light-hearted activities helped to dissolve any initial apprehensions or reservations we might have had about the subject. The class felt more like a community coming together to explore and express themselves rather than a traditional academic setting.

In this class, we're not just expected to learn – we're encouraged to express our emotions, let our creativity run wild, and holistically experience the subject matter. And, honestly, it's shaping up to be more fun and rewarding than I initially thought.