GIRL POWER by Jane Polley
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Summer 2016 Volume 22.2 Volume Summer 2016 GIRL POWER by Jane Polley PLUS How Qualifications Are Developed ‘Let’s Meet the Red Lady of Paviland’ How Physical Theatre Can Influence Teaching Methodology New Writing in Schools Using Research Partnerships to Understand Why Young People Participate in Drama Drama Notes From a High Country Campus ‘I Love You Mum, I Promise I Won’t Die’ Drama_22.2.indd 1 05/07/2016 14:30 Summer 2016 Volume 22.2 Drama One Forum - Many Voices 22.2 Volume Summer 2016 Drama is the journal of professional practice of National Drama GIRL POWER Drama enables Drama educators and by Jane Polley practitioners nationally and internationally to share theory and practice, debate key issues, engage in critical analysis and express personal opinions Drama is committed to the promotion, support and development of new writers PLUS Drama is an equal opportunities publication in How Qualifications Are Developed ‘Let’s Meet the Red Lady of Paviland’ line with National Drama policy How Physical Theatre Can Influence Teaching Methodology New Writing in Schools Using Research Partnerships to Understand Why Young People Participate in Drama Drama Notes From a High Country Campus ‘I Love You Mum, I Promise I Won’t Die’ Editor for this issue Chris Lawrence Editorial Team Viv Kerridge, Amanda Kipling, Chris Lawrence and Nicky Toneri Reviews Editor Andy Kempe Design Victoria Osborne Email: [email protected] Advertising Jacqueline Bristow [email protected] Contact Details The National Drama website National Drama Publications contains news items, publications, events, 76 Kimberley Avenue opportunities and resources Nunhead Peckham You can join National Drama from there, or London SE15 3XH access pages for free, download information, Telephone: 020 7732 9336 record an audioboo, post on the ND Twitter and Email: [email protected] Facebook accounts, and link to other related ISSN 0967-4454 internet sites including Drama Magazine Front cover image: Alistair Bett The views expressed in Drama are those of the writers and do not necessarily express ND policy © All material in Drama may be photocopied for personal, education and training purposes. Please credit Drama Printed in UK by Evonprint Ltd, 80-83 Mackley Ind Est, Henfield Road, Small Dole, West Sussex BN5 9XE Drama_22.2.indd 2 05/07/2016 14:31 Summer 2016 Editorial InsideDrama s I write this there has never been such political turmoil in the United Kingdom. By a relatively small Amajority the public has voted to leave the European Union; the Prime Minister has resigned; the erstwhile favourite to be his successor, Boris Johnson, has withdrawn 17 his application for the job; the former Education Secretary, Michael Gove, whose ‘skills’ in people management teachers know only too well, has precipitated that 4 Reflections from the Chair withdrawal by stabbing his friend in the back and is lining Áine Lark reflects on the work of himself up to run the whole country; the leader of the National Drama Labour Party has just lost a vote of no confidence within the Parliamentary Labour Party; the Scottish National Party is gearing up to run another referendum on 5 The View from the Gods Scottish Independence; the value of the pound has plummeted; the police inform Holly Barradell brings the latest Drama us that reports of racist and xenophobic attacks have gone up by 500% in the week news since the country voted ‘Leave’; and next week Parliament debates the proposals for the EBacc which does not include any arts subjects. Turmoil indeed! 6 How Qualifications Are Developed The last of these may seem like small beer when compared with the other Karen Latto describes how the new OCR events but I believe it is significantly connected and relevant to our divided nation. spec. was developed The Vote Leave campaign undoubtedly stirred up fear and hatred of ‘the other’ during their campaign, the expression of which appears to have increased since 9‘Let’s Meet the Red Lady of their victory. The arts, especially Drama, directly contradict this mindset: by Paviland’ excluding the arts from the EBacc the Government is failing in its responsibility Konstantina Kalogirou et al outline a to equip young people with the means whereby such backwardness can be partnership with a museum addressed. This makes it all the more important for us Drama teachers to continue doing 17 How Contemporary Theatre what we do. Fortunately, this issue of Drama magazine gives plenty of evidence of Practice Can Influence Teaching this. In her article Girl Power: a Transformative Act (p 23-29) Jane Polley puts Methodology it precisely: Keith Burt evaluates the work of physical Theatre is a crucible of cultural inspection: it can be a tool to deconstruct, to investigate theatre companies and to navigate the behaviour, psychology and experience of being human. If ever such a tool and such a transformation was needed now is surely the time. 23 Girl Power: A Transformative Act The research project to understand why young people participated in Drama Jane Polley argues for the value of girls’ organised by Kristina Toma et al (pp 35-39) likewise bears witness to the capacity education in Drama of Drama for personal transformation: ‘..So in Drama . you have all these characters that you can be, or sometimes even 31 New Writing in Schools you’re being, you’re playing yourself but you change yourself a little bit.’ Adrienne Ferguson champions new writing (Venera, aged 12) in schools Inter-disciplinary collaborations are also a source of new knowledge and understandings. Keith Burt’s article How Contemporary Theatre Practice Can 35 Using Research Partnerships Influence Teaching Methodology (pp 17-21) describes the work of physical theatre Kristina Toma et al describe a research companies like Complicite, Frantic Assembly and DV8; while the collaboration of project in Canada Konstantina Kalogirou et al with the Museum of Wales sought to integrate arts teaching with learning about prehistory in ‘Let’s Meet the Red Lady of Paviland’ 40 Notes From a High Country (pp 9-15.) Campus Also in this issue Karen Latto describes how a Drama exam specification is put Phil Duchene outlines teaching life together (pp 6-8); Adrienne Ferguson encourages us to seek out new playwrights in Canada and new plays (pp31-34); and Holly Barradell reviews one such new play: Mark Wheeller’s I Love You Mum, I Promise I Won’t Die (p 43). 43 Theatre Review Finally, the laid back atmosphere of Phil Duchene’s Drama Notes from a Holly Barradell reviews I Love You Mum, High Country Campus, about teaching Drama in the Rockie Mountains in Canada, I Promise I Won’t Die by Mark Wheeller seems a most attractive proposition compared with current life in the UK. Anyone for emigration? 45 Book Reviews Chris Lawrence Summer 2016 Drama Magazine 3 Drama_22.2.indd 3 05/07/2016 14:18 REFLECTIONS FROM THE CHAIRS! …in conversation with Geoff Readman, Jan Macdonald and Patrice Baldwin Áine Lark is the Chair of National Drama; Former Secretary and Membership Officer of National Drama; Advanced Skills Teacher of Drama; PGCE Drama (11-18); BA (Hons) Drama and Theatre Studies ational Drama proudly Publications were established to Geoff recognised reached its 25th Anniversary ‘facilitate research, share ideas, ‘the empowerment that drama was Nthis year, so it seemed debate Government policy and provide offering the children, both in performance appropriate to reflect with some a critical forum for responding to and through more immersive experiences’, of our former Chairs on their innovation and change’. tipping his hat to both Heathcote experiences, challenges and The organisation also assisted and Bolton. Likewise, Patrice’s first achievements whilst in post. Leading and promoted the establishment of experiences of drama were through the organisation in the early days, International Drama/ Theatre and performing in school plays and having and still an extraordinarily active Education Association which Patrice membership of an experimental youth practitioner of drama and theatre, Baldwin, during her time as ND Chair, theatre. When she started training to Geoff Readman began by providing was elected to lead as the President, teach, she was undertaking a degree the backdrop to how ND came into carrying out both roles simultaneously, in English and Drama, through which being and his priorities as the first globally and effectively. As our she was introduced to the practice of Chairman. Primary specialist, Patrice also worked Heathcote. Patrice became hooked on ‘The main priority was to provide as the Drama Editorial Expert on the Drama for Learning, describing it as effective leadership for the new Executive, ill-fated Primary National Curriculum, a ‘game-changer’. Since passing the establishing working procedures and which was produced and presented baton of Chair to me, Patrice seems strategic priorities. We also needed by Sir Jim Rose. This was possibly the busier than ever delivering school- to identify individual and collective best document we had given primary based ‘Drama for Learning’ projects, responsibilities. The establishment of the schools for Drama, and Parliament INSET, demonstration lessons and new roles of Elected Officers was seen would have been wise to pass it, rather much more, both home and abroad. to be an essential priority, the detail of than push it aside. ND has been led and supported which needed to be communicated to the Speaking of their best memories for 25 years by people who really care membership. This structure was viewed as of being involved with National about drama, theatre and education. an essential element to ND’s democratic Drama, there was a shared sense As a national body, we take our process; primary, secondary, HE, theatre that the friendships and camaraderie responsibilities seriously, keeping the officers and advisory colleagues.