Where the Boys Are: the Experiences of Adolescent Boys and Their Female Teacher in Two Single Sex Drama Classrooms
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Where The Boys Are: The Experiences of Adolescent Boys and Their Female Teacher in Two Single Sex Drama Classrooms Author Sanders, Tracey Published 2003 Thesis Type Thesis (PhD Doctorate) School School of Vocational, Technology and Arts Education DOI https://doi.org/10.25904/1912/3199 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366368 Griffith Research Online https://research-repository.griffith.edu.au WHERE THE BOYS ARE: THE EXPERIENCES OF ADOLESCENT BOYS AND THEIR FEMALE TEACHER IN TWO SINGLE SEX DRAMA CLASSROOMS by Tracey Sanders Dip.Teach. (Mt.Gravatt Teacher’s College) B.Ed (Mt.Gravatt B.C.A.E.) B.Arts (Griff) M.Phil (Griff) Faculty of Education Griffith University Submitted in full requirement for the Doctor of Philosophy degree. February 2003. i ABSTRACT This qualitative case study explores the experiences of adolescent boys and their female teacher in two single sex drama classrooms over a two year period. It has been influenced by sociological and educational frames of knowledge with a specific emphasis on gender studies. Driven by the work of Biddulph (1995), Bly (1990), Pollack (1999), Hawkes (2001), Hartman (1999), Connell (1995,1996) and Kenway (1997), this research is ideologically grounded in theories that investigate the areas of masculinity, boys’ education and drama practice. It takes as its pivotal focus the notion that educationally, adolescent boys are facing complex and troubled times and that a reassessment of the way boys are taught in schools is crucial.Additionally, the role and influence of the female teacher in the single sex boys’ classroom was significant, providing an essential backdrop for investigating the classroom experiences of the boys. In the area of educational drama, research into adolescent boys and classroom drama is still unfolding.This thesis contributes to knowledge in this area and reveals the important benefits and potential that educational drama holds for empowering young males to explore their own masculine identities and understand their world with clarity and insight. Data collected during this research forms the basis of a narrative journey shared between the reader and the researcher. The research is heavily grounded in the ethnographic tradition of ‘telling stories’ from the field - stories which reveal the authentic lived experiences of the participants. Part of the greater story told here includes that of the researcher and documents some of the more notable challenges and highlights of working in the field over an extended time frame. ii Specifically, the research addresses the following questions: • What benefits do adolescent boys perceive they gain from doing drama? • How do adolescent boys communicate with each other in the drama classroom? • How do adolescent boys approach drama work in their classroom? • How do they perceive their own experiences and relationships in a single-sex drama classroom? • What role does their female teacher play in their experiences in the drama classroom? The research revealed a number of important considerations for the fields of sociology, gender studies and education.Amongst some of the major findings was the potential of drama to break down stereotypical notions associated with masculinity and boys’ abilities to excel in area such as the Arts.The enjoyment and fulfillment that the boys felt they gained from participating in drama resulted in a heathlier classroom environment characterised by a greater tolerance and understanding of each boy’s individual masculinity. It was also revealed that the presence of a female drama teacher was considered an advantage,granting the boys access to a field of knowledge and feeling that was different to their ‘male ways of knowing.’Additionally,for the field of drama, the research revealed that the value of solid planning, a defined understanding of contemporary drama practice and implementing learning experiences carefully and thoughtfully grounded in the lives of the students, cannot be underestimated as essential components of effective drama teaching. iii ACKNOWLEDGMENTS There are many people who have taken this research journey with me. Without them,the journey would never have been made.Without them at times,I would not have had the impetus to move forward. Firstly,I dedicate this work to my late father Maurice William Lee whose dream was to one day read this with me. His enduring memory gave me the strength to keep going when I felt exhaustion would defeat me. To my mother, Rita Lee, my sincere thanks, love and appreciation for believing I could do it. To my sister, Nicole McIntosh, an extraordinary teacher in her own right, thank you for giving me your support when I needed it.To my husband Aaron who designed the layout of the thesis and endured my computer illiteracy with patience and tolerance, thank you.To my daughter Alexandra Elizabeth, thank you for reminding me that our children are the most precious thing we have. Educating them well is paramount. Additionally, my sincere appreciation and gratitude go to the following people whose support, vision and mentorship was invaluable: Dr. Philip Taylor (Principal Supervisor 1999-2001) Professor John O’Toole (Associate Supervisor 1999-2001 & Principal Supervisor 2002) iv Dr. Penny Bundy (Associate Supervisor 2002) D.W. For helping me learn that my own journey is important. Judy Fromhyr, Kerry Christensen, Dr. Lindsay Farrell and Dr. Jeffery Dorman: For collegial support and friendship throughout my academic life at the Australian Catholic University, Queensland. To those talented and inspirational women who have made the academic journey with me: Dr. Joanne O’Mara, Dr. Julie Dunn, Dr. Lucy Voss Price, Dr. Janinka Greenwood, Morag Morrison. and To Sal and the boys who made this research possible, my heartfelt thanks for your generosity of spirit and your enduring good will throughout my time in your classroom. You have taught me so much and I am a better drama practitioner because of you. v STATEMENT OF AUTHENTICITY This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Signed:............................................................. Date:................................ vi TABLE OF CONTENTS CHAPTER ONE BEGINNINGS Introduction ..............................................................................................................1 Contextualising the Research ...................................................................................5 Positioning the Research.........................................................................................11 A Research Relationship .........................................................................................16 Purpose of the Research .........................................................................................18 CHAPTER TWO FOUNDATIONS PART ONE Introduction ............................................................................................................23 Constructing Masculinity:The Men’s Movement ....................................................30 The Wild Boy Within:The Nature Argument ...........................................................31 Beyond the Wild Man:The Nurture Argument........................................................33 Wanna Be In My Gang? The Power of Hegemonic Masculinity..............................36 Rituals of Masculinity..............................................................................................39 Pre-Adolescent and Adolescent Boys: Playing the Game ........................................42 Boys Don’t Cry: Friendship, Communication and Intimacy....................................45 Boys’Talk:The Language of the Masculine..............................................................48 PART TWO Educating Boys: Issues and Implications.................................................................51 Creating Safe Spaces: Strategies for Teaching Boys in Single Sex Classrooms ........59 Balancing the Gender Scales: Female Teachers in Boys’ Classrooms ......................62 An Aesthetic Male Space:The Drama Classroom ....................................................67 Possibilities and Encounters:What Drama Can Do.................................................69 Aligning Drama Practice, Research and Gender .....................................................72 Towards an Effective Aesthetic Space: Practice and Planning ................................76 Summary .................................................................................................................81 vii Table of Contents CHAPTER THREE ESTABLISHING A FRAMEWORK Identifying an Epistemology ...................................................................................82 A Workable Paradigm ..............................................................................................84 Defining the Case Study..........................................................................................89 Case Study as Reflective Practice............................................................................90 The Case Study as Ethnography..............................................................................92 Players in the Field: Defining the Group.................................................................93