After the considerations from our first session and how well it worked to put authors from different contexts in conversation, I have decided this in this post to bring together the subject of our first case study and micro-teaching sessions, Object-Based Learning, and my teaching subject, Drama and Performance Studies, to converse and perhaps shed light in my targets for our upcoming tutor and peer teaching observations. This will be split in three parts – 1) Meecham’s and Hobgood’s contextual conversation, 2) Reflecting on Meecham’s and Boal’s educational approaches towards acting and storytelling contextual lessons, 3) My 20min Micro-teaching session account.
Pam Meecham’s essay “Talking about things: Internationalisation of the Curriculum through Object-Based Learning” and Hobgood’s “The Mission of the Theatre Teacher” both offer insightful perspectives on innovative pedagogical approaches, despite being from different disciplinary contexts. Meecham explores the internationalisation of the curriculum through object-based learning, while Hobgood delves into the transformative mission of the theatre teacher, through mostly an American perspective. Despite their diverse subject matter, both authors share a common commitment to engaging students in meaningful learning experiences that extend beyond traditional classroom boundaries.
For example, Meecham’s text emphasises the importance of object-based learning in fostering cross-cultural understanding and critical thinking skills. She argues, “Objects are not just inert artefacts, they are active agents that can provoke dialogue, challenge assumptions, and stimulate reflection” (Meecham, 2015). This resonates with Hobgood’s assertion that theatre serves as a vehicle for social change – similar to teachings of Paulo Freire’s disciple and theatre practitioner, Augusto Boal, but I digress. He states, “Theatre can challenge, question, and provoke; it can encourage empathy and understanding” (Hobgood, 1987). Both authors recognize the potential of experiential learning to cultivate empathy, critical consciousness, and intercultural competence among students.
Meecham also highlights the role of dialogue and collaboration in object-based learning, stating, “By talking about things, students learn to listen, negotiate meanings, and engage in respectful exchanges” (Meecham, 2015). Similarly, Hobgood emphasises the importance of collaboration and community building in theatre education by saying that “[t]heatre is inherently collaborative, requiring students to work together towards a common goal” (Hobgood, 1987). Both authors underscore the transformative power of dialogue and collaboration in promoting inclusive learning environments and fostering intercultural competence, which is at the core of my approach as a teacher and as a theatre practitioner.
In my micro-teaching session, I decided to explore the theme of Micro-fiction (developed by James Thomas-1992 , and popularised by Hemingway’s six-word story “For sale: Baby shoes, Never worn”) in order to open a practical workshop in storytelling and narrative which I call “Whose story is it anyway?”. Exploring this, I introduced to my class the aforementioned baby shoes and the structure that the six-word story provided – albeit in such a few words. After analysis of the structure, in pairs, students had a go at writing themselves a six-word story, taking as an initial source of inspiration a wooden Zebra. The collaborative nature of the practical task and the built knowledge of the structure they could rely on or subvert produced enticing short stories, as you can see in the images below. It allowed me to marry my expertise in drama teaching and as a storyteller to the object-based learning techniques explored in our first case study.
Finally, Meecham discusses the significance of cultural context in object-based learning, stating, “Objects carry cultural meanings and histories that can deepen students’ understanding of diverse perspectives” (Meecham, 2015). This parallels Hobgood’s assertion that theatre provides a platform for exploring diverse cultural narratives. He states, “Theatre allows students to explore different cultures, histories, and perspectives through performance” (Hobgood, 1987). Both authors advocate for a curriculum that reflects and celebrates cultural diversity, promoting a more inclusive and globally minded approach to education, which I will attempt to bring further onto my on pedagogical practice.
To be continued…
