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This book explores the complexity of teaching artistry through the lens of a participatory drama project with adults from culturally and linguistically diverse backgrounds. Interweaving theory with practice-based research, Hogan considers how themes of flow, affect, care, and thirdspace illuminate participants experiences. This timely exploration adds to a growing discourse in drama-in-education and applied theatre that moves away from positivist jargon and grandiose claims in favour of research methods informed by social justice and the centring of the intrinsic value of arts-rich experiences. Weaving, unweaving, and reweaving is a central metaphor throughout the book, considering how arts-based research constitutes an iterative process of learning, unlearning, revisiting, and reconceiving preconceived notions and ideas.
Sommario
Chapter 1: Strands of Teaching Artistry.- Chapter 2: Teaching Artistry.- Chapter 3: Teaching Artist as Researcher.- Chapter 4: Teaching Artist as Ethical Researcher.- Chapter 5: Language learning and the Teaching Artist.- Chapter 6: A Drip of Ink and Then Woah : Engagement and Flow.- Chapter 7: This is Leading to a Divorce! : Constellations of Affect.- Chapter 8: Okay, I kill you : Care and artful care.- Chapter 9: You ve integrated our thoughts : Careful art.- Chapter 10: She s the Queen of the Antarctic : Drama-in-Education as thirdspace.- Chapter 11: They say I cannot speak : Real life echoes.- Chapter 12: The artefacts: Weaving a new story.
Info autore
Zoe Hogan
is a Teaching Artist, writer and researcher. She is currently a Postdoctoral Research Fellow at the Sydney Centre for Healthy Societies at The University of Sydney, Australia.
Riassunto
This book explores the complexity of teaching artistry through the lens of a participatory drama project with adults from culturally and linguistically diverse backgrounds. Interweaving theory with practice-based research, Hogan considers how themes of flow, affect, care, and thirdspace illuminate participants’ experiences. This timely exploration adds to a growing discourse in drama-in-education and applied theatre that moves away from positivist jargon and grandiose claims in favour of research methods informed by social justice and the centring of the intrinsic value of arts-rich experiences. Weaving, unweaving, and reweaving is a central metaphor throughout the book, considering how arts-based research constitutes an iterative process of learning, unlearning, revisiting, and reconceiving preconceived notions and ideas.
