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Setting the scene for liminality: Non-francophone French Second Language teachers‟ experience of Process Drama by Krystyna A. Baranowski Department of Integrated Studies in Education Faculty of Education McGill University April 2010 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy Krystyna A. Baranowski, 2010 ii Abstract Non-francophone teachers of French as a second or additional language (FSL) often struggle with overwhelming oral anxiety, consequent low self-confidence, and workplace marginalisation. Core French or Basic French teachers, in particular, and their subjects have been undervalued (Carr, 2007; Lapkin, McFarlane, & Vandergrift, 2006; Richards, 2002). Moreover, recent national FSL research points to challenges in the areas of teacher attrition, lack of methodological and /or linguistic preparation, and lack of professional development opportunities in the FSL context (Karsenti, 2008; Salvatori, 2007). In this dissertation, I present the findings of my qualitative research study, which examined the conditions and experiences of non-francophone FSL teachers in Manitoba. To do so, I looked at the teachers‟ relationship with French and how French oral competency and oral language communicative confidence are intertwined to foster the teachers‟ sense of agency. The theoretical orientations underpinning this study draw from socio-constructivism (Bruner, 1985, 1990; Vygotsky, 1978), Feminist Standpoint theory (De Vault, 1999; Lather, 1991), Bakhtinian dialogism (Vitanova, 2005), and Institutional Ethnography (Smith, 1987, 2005). The lens I used to understand and interpret the voices and self-perceptions of the teachers is Process Drama, delivered in the form of professional development workshops. Process Drama (Heathcote, 1991) consists of thematically based improvisations, which are used to explore a topic and, at the same time, to invite self-exploration. It possesses unique characteristics, and has been successfully used in the second and foreign iii language classroom (Dicks & Le Blanc, 2009; Kao & O‟Neill, 1998; Liu, 2002; Marshke, 2005). My particular focus, however, was on the Manitoba FSL teacher as a student, rather than as a teacher of language. Findings from this study indicate reduced oral anxiety as related to French language competency, reduced “performance” anxiety, and increased agency in terms of voice, identity, and self-understanding. For some participants, engaging with the liminal experience of Process Drama led to self-transformation. iv Résumé Les enseignantes et enseignants non-francophones du français langue seconde et additionnelle (FL2) se trouvent parfois aux prises avec l‟anxiété orale, le manque d‟estime de soi et la marginalisation au travail. En particulier, les enseignants du Français de base sont souvent sous-valorisés par rapport à la matière enseignée (Richards, 2002 ; Lapkin, McFarlane & Vandergrift, 2006 ; Carr, 2007). Des sondages et des études récentes à l‟échelle nationale indiquent des défis dans le domaine de l‟attrition professionnelle, du manque de préparation méthodologique et/ou linguistique, et de la pénurie d‟occasions de perfectionnement professionnel dans le contexte du FL2 (Salvatori, 2007 ; Karsenti, 2008). Ce mémoire de thèse présente les résultats de mon étude qualitative où j‟ai examiné les conditions et les expériences des enseignants non-francophones du FL2 au Manitoba. Je me suis concentrée sur la relation entre l‟enseignant et la langue française et comment la compétence orale et la confiance communicative se combinent pour construire l‟identité linguistique et l‟agentivité1 du locuteur non-natif. À la base de cette étude, mes orientations théoriques proviennent du socio-constructivisme (Vygotsky, 1978 ; Bruner, 1985, 1990), de la théorie de « Feminist Standpoint » (De Vault, 1999; Lather, 1991), du dialogisme bakhtinien (Vitanova, 2005) et de l‟ethnographie institutionnelle (Smith, 1987, 2005). Les voix et les perceptions des enseignants-participants de cette étude sont interprétées sous l‟optique du Process Drama. Le Process Drama (Heathcote, 1991) consiste en épisodes thématiques improvisés où les participants explorent un sujet et 1 La traduction de l‟anglais “agent” est plutôt problématique. Je l‟emploie dans cette étude dans le sens de l‟autodétermination ou dans le sens sociologique d’agentivité. v s‟explorent parallèlement. Le Process Drama possède des caractéristiques uniques qui font l‟objet de recherche dans des classes de langue seconde et de langue étrangère (Dicks & Le Blanc, 2009 ; Kao & O‟Neill, 1998 ; Liu, 2002; Marshke, 2005 ). Mon intérêt, cependant, porte sur l‟enseignant du Français langue seconde comme étudiant dans le cadre d‟un atelier de Process Drama. Les résultats de cette étude suggèrent une réduction d‟anxiété orale, une réduction de l‟anxiété « performative » et une augmentation d‟agentivité chez l‟enseignant. Pour certains participants aux ateliers, l‟expérience « liminale » du Process Drama a engendré une transformation sur le plan personnel et professionnel. vi Acknowledgments It is with a sense of wonder and deep gratitude that I try to acknowledge all the generous and enthusiastic people – family, friends, and scholars, who have made this thesis possible. When I think back to my parents, I remember my mother who envisioned an academic future for me, even though she did not live to see me embark on this doctoral quest. I remember my father, whose love of languages and abiding respect for scholarship shaped my future. As a new immigrant to Canada at the end of World War II, he did not enjoy the privilege of higher education but he taught me that everything was possible in Canada. I smile also at the good-natured teasing of my brothers, “Aren‟t you finished, yet?” and of my family in England who lit candles and e-mailed their unfailing belief in me. But I especially wish to recognize my husband, Ross, whose enormous patience and loving support made my long distance PhD studies possible, and my daughter, Britt, who helped me settle in Montreal and whose love and genuine interest have sustained me. There are friends from Winnipeg, Montreal, Toronto and Ottawa who invited me into their homes, listened to my dreams, and nourished me physically and emotionally. There are also friends and colleagues from the English campus at the University of Manitoba and the French campus at Collège universitaire de St-Boniface (CUSB) who never failed to ask how I was and selflessly served as sounding boards for my ideas. In particular, I would like to thank Dr. Pat Sadowy who shared with me her own thesis journey and “kick-started” me on my research questions. I must also mention my serendipitous conversation with Lynette Chartier, who was, at the time, the coordinator at vii the DREF (Direction des ressources éducatives françaises). I needed to be able to attract teachers to my workshop on a practical level. Lynette, together with the team at the DREF, invited me to borrow their as yet uncatalogued collection of La vie avec le bison and to use it as a starting point, a “Pre-text” for the drama workshops. That I could even consider studying at McGill was initially made possible by my former dean of Education at CUSB, Dr. Raymond Théberge. That I could continue my studies while returning to work full-time was due to the understanding and whole-hearted support of my present dean, Dr. Len Rivard. I am grateful to the members of my doctoral committee at McGill, Dr. David Dillon and Dr. Mela Sarkar. Dr. Dillon allowed me to invite myself into his undergraduate drama course, which sparked the fire of Process Drama. Dr. Sarkar never failed in her enthusiasm for my project. Both professors provided timely feedback on my comprehensive exams, my dissertation draft, and both made time for me, by telephone, email or in person, which was invaluable encouragement. My indebtedness to my thesis advisor, Dr. Lise Winer, is incalculable. Academically, she guided me through countless hours of the PhD process with intelligence and humour. Her openness to my ideas, her generous accessibility, and her acceptance of no less than my best sustained me through the lonely hours of thinking and writing. Emotionally, Lise understood the cost of leaving one‟s home to pursue a doctorate. She knew implicitly that in order to thrive, one needs a sense of community. Lise introduced me to friends and family. She arranged for me to meet Dr. Lucy Cumyn, who was at that time a doctoral candidate, and who as a keen competitive rider, helped me to cope with a year without my horse. Lise was there for all the stages of this doctoral pursuit, graciously opening her home to me whenever I managed to fly to Montreal. Lise, viii thank you for believing in me, and for being a role model, a mentor, and a most precious friend. Finally, I wish to acknowledge the Manitoba French second language teachers who are at the heart of this study. These teachers were generous with their time and insights. Their passion for French motivated me to understand their stories and in a true sense, to reaffirm my own passion for teaching in this beautiful language. ix Table of Contents Abstract ............................................................................................................................... ii Résumé ................................................................................................................................ iv Table of Contents ...............................................................................................................
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