Author Archives: Almiro Andrade

Thoughts on our Second Session (Micro-teaching) and Object-based learning – PGCert Theories, Policies and Practices / Part 2-3 Reflecting on educational approaches towards acting and storytelling contextual lessons

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While Meecham’s essay focuses on object-based learning and internationalisation of the curriculum, and Hobgood’s work centres on the mission of the theatre teacher, both texts share a common vision of transformative pedagogy. They highlight the importance of experiential learning, dialogue, collaboration, and cultural context in promoting empathy, critical consciousness, and intercultural competence among students. By integrating innovative pedagogical approaches, both authors offer valuable insights into the potential of education to foster meaningful engagement with diverse cultures and perspectives.

I shall now expand this conversation into a reflection between the Internationalisation of the Curriculum as described by Meecham (2015) and Brazilian Theatre practitioner and pedagogue Augusto Boal’s approach of Theatre of the Oppressed (1974). Here also, despite the apparent differences in their methodologies, there are several parallels that can be traced between their approaches:

  • Empowerment Through Participation:
    • Both Meecham’s approach and Boal’s techniques prioritise active participation in the learning process. Meecham emphasises engagement with objects as a means to stimulate dialogue and critical thinking, while Boal’s “Theatre of the Oppressed” encourages marginalised communities to actively participate in theatrical performances, thereby empowering them to voice their concerns and aspirations.
  • Critical Consciousness and Dialogue:
    • Both approaches aim to foster critical consciousness and dialogue among participants. Meecham suggests that engaging with objects can prompt reflection and dialogue, challenging preconceived notions and fostering intercultural understanding. Similarly, Boal’s techniques, such as Forum Theatre, encourage participants to critically examine social issues and engage in dialogue to explore potential solutions.
  • Cultural Sensitivity and Diversity:
    • Both Meecham and Boal emphasise the importance of cultural sensitivity and diversity in their approaches. Meecham’s concept of internationalisation of the curriculum promotes the integration of diverse cultural perspectives into educational practices. Similarly, Boal’s “Theatre of the Oppressed” recognizes the importance of incorporating the cultural context of participants into theatrical performances, allowing for authentic expression and representation.
  • Social Transformation:
    • Both approaches advocate for social transformation and empowerment. Meecham’s internationalisation of the curriculum seeks to broaden students’ perspectives and promote global citizenship, thereby contributing to positive social change. Similarly, Boal’s “Theatre of the Oppressed” aims to empower marginalised communities to identify and challenge systems of oppression, ultimately leading to social transformation.
  • Experiential Learning and Reflection:
    • Both Meecham and Boal emphasise the value of experiential learning and reflection in their approaches. Meecham suggests that engaging with objects can prompt experiential learning and stimulate reflection on complex issues. Similarly, Boal’s techniques encourage participants to actively engage in theatrical performances, allowing for experiential learning and reflection on real-world problems.
Augusto Boal

Pam Meecham’s concept of “Internationalisation of the Curriculum” through object-based learning and Augusto Boal’s approach with the “Theatre of the Oppressed” may seem distinct at first glance, however, they share several key parallels in their emphasis on empowerment, critical consciousness, cultural sensitivity, social transformation, and experiential learning. Both approaches offer fantastic insights into innovative pedagogical practices that aim to promote inclusive education and positive social change, which are paramount to any positive educational process to take place and are principles that guide my own approach to teaching on the BA Acting and Performance.

Encouraging students to explore their own unique voice and perspective through acting and storytelling fosters creativity and self-expression, while also promoting empathy and understanding of diverse perspectives. Furthermore, providing constructive feedback and opportunities for reflection allows students to refine their craft and grow as artists. Ultimately, a student-centered approach that values collaboration, experimentation, and intercultural theoretical and conceptual contexts, in my opinion, lays the foundation for a fulfilling and transformative learning experience in acting and storytelling for undergraduate students.

To be continued…

Thoughts on our Second Session (Micro-teaching) and Object-based learning – PGCert Theories, Policies and Practices / Part 1-3 Contextual Conversation between Authors

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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…

Stock Image used to illustrate my Micro-teaching session

Thoughts on our First Session – PGCert Theories, Policies and Practices – On Transformative Approaches to Pedagogy

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“An A/r/tographic Métissage: Storying the Self as Pedagogic Practice” by Osler et al. and Paulo Freire’s “Pedagogy of the Oppressed” albeit being two distinct texts, can be seen as interconnected works that share a common thread in their commitment to transformative pedagogy. While Freire’s seminal work focuses on the liberation of oppressed individuals through guiding them on a path towards self-reflective and critical thinking, Osler’s essay explores the transformative potential of a/r/tography in the realm of education. Let’s delve into the comparison, shall we?

In “Pedagogy of the Oppressed,” Freire emphasises the importance of dialogue and participatory education. He states that “…[d]ialogue cannot exist without humility. How can I dialogue if I always project ignorance onto others and never perceive my own? It’s a rare person who is humble enough to listen to his peers; most of us are committed to winning.”

This echoes Osler’s approach to a/r/tography, where the authors engage in a reflective and dialogical process, opening up a space for self-interrogation and shared narratives, fostering humility and openness to diverse perspectives. Both works recognize the value of breaking hierarchical structures in education to create an environment conducive to mutual learning.

On one hand, Freire discusses the concept of conscientisation assuming that “…[c]onscientisation is indispensable to the pedagogy of the oppressed. It is an act of cognition, not transfer of information.” On the other hand, Osler emphasises self-discovery through non-linear networks of knowledge and exchange of practices. Through the thinking proposed by both studies, the process of storying the self then becomes a means of conscientisation, a journey towards self-awareness and critical reflection.

Moreover, Osler stresses the role of visual and artistic elements in education – “The visual provides an alternative language, one that can transcend the limitations of verbal expression alone.” This resonates with Freire’s acknowledgment of different modes of communication and the need to consider the cultural context in education. Both works advocate for a more inclusive and multimodal approach to pedagogy which should be every educator’s primordial concern. 

For example, our first session had the objective to enhance our collaborative and shared experiences, however, our session was set up in a auditorium-like room, where chairs could not be moved, and we were positioned to look at a small stage in front of us where we could see the projection prepared by our tutors Chris and Linda. In future, I would expect the accessibility and appropriateness of the room to be factored in for all interactive activities – yet, I completely understand that due to room availability and administrative bureaucracy, it is not always simple to marry all those concepts at once.

In conclusion, while Freire’s “Pedagogy of the Oppressed” lays the foundation for critical pedagogy and conscientization, Osler et al.’s extend this discourse by incorporating a/r/tography as a transformative pedagogic practice. Both works share a commitment to breaking oppressive structures in education, promoting dialogue, and recognising the diverse ways in which individuals can engage with and contribute to the learning process – something that should be the core of all teaching approaches.

Interesting words and parallels brought by the readings:

A/r/tographer – (Irwin, 2013 – Becoming A/r/tography) A/r/tography is a research methodology, a creative practice, and a performative pedagogy that lives in the rhizomatic practices of the in-between. Resisting the tendency for endless critique of past experience and bodies of knowledge, a/r/tography is concerned with the creative invention of concepts and mapping the intensities experienced in relational, rhizomatic, yet singular, events.

Métissage – miscegenation (french root) “We take métissage as a counternarrative to the grand narrative of our times, a site for writing and surviving in the interval between different cultures and languages, particularly in colonial contexts; a way of merging and blurring genres, texts, and identities; an active literary stance, political strategy, and pedagogical praxis…We braid strands of place and space, memory and history, ancestry and (mixed) race, language and literacy, familiar and strange, with strands of tradition, ambiguity, becoming, (re)creation, and renewal into a métissage.” (Hasebe-Ludt, Chambers, and Leggo 2009, 9 – Life Writing and Literary Métissage as an Ethos for Our Times,) 

Anthropophagy – as conceived by Brazilian Modernist Oswald de Andrade, it involves metaphorically “eating” or assimilating elements from other cultures. It suggests a process of cultural cannibalism where diverse influences are ingested and transformed into something uniquely Brazilian. Similar to Métissage, Anthropophagy rejects the idea of a hierarchical order among cultures. It challenges the dominance of European cultural traditions and advocates for a more egalitarian and inclusive approach to cultural expression. Anthropophagy encourages the creative transformation of external influences. Instead of passively adopting foreign elements, it promotes the reinterpretation and adaptation of these elements to suit the local context, contributing to the formation of a distinct cultural identity.

Hybridity and Transformation:

  • Both Métissage and Anthropophagy celebrate hybridity and transformation. They view cultural exchange as a dynamic process that leads to the creation of new and unique forms rather than mere imitation or assimilation.

Rejection of Cultural Purity:

  • Both concepts challenge the notion of cultural purity. They embrace the idea that cultures are inherently interconnected, and richness arises from the interplay of diverse influences.

Inclusive Cultural Identity:

  • Métissage and Anthropophagy advocate for an inclusive cultural identity that transcends narrow definitions. They encourage a broader, more open-minded perspective that values contributions from various cultural sources.

Um Terrível Acidente!

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Tem um copo na beirada da mesa.

Tem um copo cheio de vinho tinto na beirada da mesa.

Tem um copo cheio de vinho tinto na beirada da mesa, logo acima de um tapete branco.

Tem um copo cheio de vinho tinto na beirada da mesa, logo acima de um tapete branco – caro, precioso, uma verdadeira relíquia familiar.

Tem um copo cheio de vinho tinto na beirada da mesa – essa mesma mesa que está balançando, sem calço – , logo acima de um tapete branco – caro, precioso, uma verdadeira relíquia familiar.

Tem um copo cheio de vinho tinto na beirada da mesa – essa mesma mesa que está balançando, sem calço -, logo acima de um tapete branco – caro, precioso, uma verdadeira relíquia familiar; e você está falando, se movimentando perto do copo, sem prestar atenção.

Tem um copo cheio de vinho tinto na beirada da mesa – essa mesma mesa que está balançando, sem calço -, logo acima de um tapete branco – caro, precioso, uma verdadeira relíquia familiar; e você está falando, se movimentando perto do copo, sem prestar atenção. PRESTA ATENÇÃO!

Tem um copo cheio de vinho tinto na beirada da mesa – essa mesma mesa que está balançando, sem calço -, logo acima de um tapete branco – caro, precioso, uma verdadeira relíquia familiar; e você está falando, se movimentando perto do copo, sem prestar atenção. PÁRA DE SE MOVIMENTAR OU TIRA O COPO DA MESA!

O copo tombou em cima da mesa – essa mesma mesa que estava balançando, sem calço. O vinho escorreu pelo tapete branco – caro, precioso, uma verdadeira relíquia familiar; e você não está mais falando, ou se movimentando perto do copo; agora você presta atenção.

Olhando o estrago que o vinho tinto fez no tapete branco, você, constrangido, olha ao redor e retruca: desculpa, foi um acidente. Um terrível acidente.

Onwards and Upwards!

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ALMIRO ANDRADE is a Black Queer Latinx actor, director, playwright, dramaturg, educationist and theatre translator. Their approach sees all stages of theatre-making as acts of translation and their practice champions the production of international pieces in the most diverse settings across the globe.

Lecturer in Contemporary Acting and Associate Lecturer in Dramaturgy and Performance for Film and Television at UAL, their latest works include: the R&D project for the first English translation of Namibia, Não! by Aldri Anunciação in partnership with King’s College London and Soho Theatre; The Trial – from iconic 800-page Jorge Amado’s novel Tieta to a breaking-form theatre event as dramaturg and assistant director to Franko Figueiredo from StoneCrabs Theatre; a gender-bending adaptation of The Blind One and The Mad One by Cláudia Barral (IntiPress) produced by Foreign Affairs Theatre; the translation of Brazilian canonical playwright Nelson Rodrigues:Selected Plays (Bloomsbury/Oberon); dramaturgy and translation of Royal Court’s production of Black Horses Are Massive from the Brazilian playwright Barbara Esmenia Rae.

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