rolling role for creative collaborative learning
DESCRIPTION
This presentation outlines the background and key concepts of the Rolling Role model and was presented at the Drama Australia conference in Hobart 2014. For more information on Rolling Role see http://www.rollingrole.netTRANSCRIPT
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Susan Davis
CQUniversity,
Australias . d av i s@ c q u . ed u . a u
Drama Australia Conference 2014, Hobart
ROLLING ROLE: REVISIONING HEATHCOTE’S MODEL FOR
CREATIVE COLLABORATIVE AND LEARNING
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Heathcote quoting Machiavelli in 1513
“There is nothing more dif ficult to carry out nor more doubtful
of success nor more dangerous to handle than to initiate a new
order of things. For the reformer has enemies in all who profit
by the old order and only luke-warm defenders in all those who
would profit by the new order. This luke-warmness arises partly
from fear of their adversaries who have law in their favour and
partly from the incredulity of mankind who do not truly believe
in anything new until they have actual experience of it”
Rolling Role Tape 1
“drama is a social art dealing with the affairs of mankind”
ROLLING ROLE AS REVOLUTIONARY
PRACTICE
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Voracious reader
Early interest in l i terature , h istory, geography and theatre
Strong personal presence –inspirat ional teacher
Per formance experience and professional act ing tra in ing
Great memory
Didn’t t ra in as a teacher but had greatest impact in educat ion
Inte l l igent , many regard her as a genius
HEATHCOTE 1926-2011
Davis, S. (2013) “Dramatic shape-shifter and
innovative teacher - the creative life and legacy of
Dorothy Heathcote” NJ (Drama Australia Journal),
Vol 37, No 1
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HEATHCOTE ARCHIVES
MANCHESTER
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Mantle of the expert pioneered by Heathcote in the 1960s
Involves the creation of a fict ional world or frame where students assume the role of exper ts in a designated field
I t acts as the means for students to investigate, acquire knowledge and problem solve, with them having a real purpose for learning and discovering
The processes she used might include working in role and introducing students to a ‘commission’ (such as a museum engaging an archaeological team)
Processes might involve mimed activit ies, improvised interactions, interviewing characters in role, writ ing letters, creating ar tefacts, engaging in research
The teacher’s role is to guide the process and the drama, stepping in and out of role as appropriate to st imulate, question, motivate and reflect.
( ‘Mantle of the Expert’ Heathcote & Bolton, 1995
The Treatment of Dr Lister – video with John Carroll)
BUILDS ON MANTLE OF THE EXPERT &
DRAMA INQUIRY PROCESSES
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ROLLING ROLE HISTORY
1980s – Developed concept with New Zealand teachers Don McAra & Sally Pearse – overcome tyranny of multiple classes of short duration, potential to connect learning across the curriculum (McAra 2D article)
1980s-90s – Rolling Role projects with post graduate students and workshops (The Jarrow three, Masters research - Claire Armstrong Mills, Joan Kerley)
1990s – Rolling Role tapes – 16 tapes – at time of National Curriculum in England
2002 – Heathcote paper ‘Contexts for Active Learning’ Rolling Role one of four main methods described
2012 – Pam Bowell proposes revisioning Rolling Role for the Heathcote Reconsidered Conference
2013 – The Water Reckoning Project – www.water-reckoning.net
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The concept of Rolling Role is to involve dif ferent groups or classes in building a community that then faces some kind of change. The initiators create a common context and agree to the key features, af fairs and concerns of the community. The students/children are then involved in building the community, the lives, events and artefacts of it and add to developments.
Work is often left incomplete so another group can take it forward and continue the drama.
Work produced by classes is publicly open and available to stimulate other work.
Heathcote suggested this work lends it self to sharing through something like a website.
ROLLING ROLL – INTEGRATING MODEL
(Heathcote, D. (2002) ‘Contexts for active learning: four models’
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FINDING THE DRAMATIC CONTEXT
A context must be found that is appropriately rich and complex enough to allow for a number of classes to work on it at the same time, with potential for them to be engaged in dif ferent subjects
in most cases three dif ferent communities/perspectives and timeframes are identified as being connected to a specific problem and point of tension (past, present and future . Mills, 1989-90)
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ROLLING ROLE TAPES 1993
Tape 1 – Sett ing the contex t
Tape 2 – Shif t ing the approach
Tape 3 – Framing and key ing
Tape 4 – Fashioning the non -negot iab le mater ia ls
Tape 5 – Putt ing the d imensions into the work
Tape 6 – But is i t real ly drama you’ re doing?
Tape 7 – Engaging people to become interes ted
Tape 8 – Keeping your cognit i ve/af fect ive head together
Tape 9 – Making school fee l real
Tape 10 – Recycl ing for investment
Tape 11 – Firming up the non -negot iab le e lements
Tape 12 – The team meets
Tape 13 – See the energy begin
Tape 14 – Planning for detai ls in teach ing
Tape 15 – Putt ing in the d imension e lements
Tape 16 – Outcomes
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FRAMING AND KEYING (BEYOND PRE-
TEXT) TAPE 3
In Roll ing Role work a teacher generates material out of the domain of possibil it ies and fabricates it with the degree and sophistication of tension the class social health needs. So framing and keying related with tension are what makes ideas work and create the knowledge we want to impart .
Framing of class is paramount - I f you want to do tasks with an af fective perspective, you need to give them a point of view from which to enter that situation.
You need to ‘key’ the frame – endow them with now time – key them into what their power is in the situation. Most teachers begin with instructions. (Not ‘what we are going to do today’ but keying is in ‘now’ t ime. You are in the circumstances and empowering them to enter)
Now ‘keying’ is a matter of learning to combine a variety of signs and clues in combination – i t can be RISKY
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IT WON’T WORK IF …
No requirement of investment
No commitment to outcomes
No recognizable valuable purpose for the ‘worker’
No immediate relationship with their real l ife
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WATER RECKONING PROJECT –
HEATHCOTE RECONSIDERED CONFERENCE
COLLABORATION
What local and contemporary
experiences can we draw on to inform
our drama?
How do people cope in times of water
crisis?
Why is water so important to our lives
and cultures?
What are the major issues facilng
humanity involving water?
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Context 1 –Inhabitants of
Ardus Unda before the disaster
Context 3 –Emissaries, survivors &
descendants of Ardus Unda
Context 2 –Researchers
who are researching the history of Ardus
Unda
Point of change/tension – Should the
original site become open to tourism. If
possible, should the original inhabitants
be unfrozen?
The Water Reckoning – Rolling Role Project
www.water-reckoning.net
Jason deCaires
Taylor imagery
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WAY IN - STIMULUS RESPONSE –
PHYSICAL, DRAMATIC, WRITTEN
Example of written response -Little boy
Dear Diary, I 'm confused and lost... everyone's gone into hiding, leaving many to suffer and fend for themsleves. The 'unknown' is coming to sweep terror across our homes but we have no way of stopping death from coming to us all. I ' l l stick it out til l the end. I have sat here for days now, engulfed in my own thoughts. Perhaps there is something out there that would save us all.. .
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DIFFERENT CONVENTIONS
Second hand account
A written account or report
A story told about another
A letter in the voice of the writer
Action as if from a fi lm
Creation or re -creation of painting or photograph
Finding or drawing up plans
Drawing or map
Rules or instructions
Clothes or ar tefacts of a character, t ime or place
Enacted Role
Effigies
Portraits
Identikit creation of role
Life sized model
A conversation overheard
A reported conversation
Finding a cryptic message
Rituals & ceremonies
Formal demonstrations, meetings, briefings
p. 166-
167
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PIVOTAL EXPERIENCE – TUVALU VIDEO, WATER
SHARING EXPERIENCE – REAL
WORLD/DRAMATIC WORLD
Student writing afterwards….
I realize what a struggle our mother went
through to enable our survival, what she
sacrificed.
I was an orphan amongst the chaos. I
longed to go back but there was nothing to
go back to. So I grew up here in this land.
Although not fully accepted, we have
learned to live, survive, celebrate and
commemorate our losses and gains.
The world still does not know, or want to
know what really happened at Ardus Unda.
Now we need to speak the truth, to tell our
story so that justice can be done.
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KEY ROLE OF PUBLISHING
The way the project actual ly ‘rol ls’ is that work is of ten lef t incomplete, but publ ished and shared, so other groups can use it and take it forward to continue the drama
Embodiment and crystal l isation of ideas and emotions
This helps val idate the work created, and extends the community of practice and col laboration
Shared ownership and negotiation of the creative outcomes that can be shared with the world
Artefacts can be endowed with new meaning
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Original pre-
text
Queensland beach
photo shoot &
response
Queensland
beach shoot
– character &
symbolic
clothing
Greek follow on
Visual examples of work ‘rolling’
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At the beach – I s tar ted understanding what i t was a l l about, feel ing i t
Watching the v ideo af terwards, the way i t was put together helped to make sense
When people did di f ferent scenes, for example the one where one group did a water r i tual
The cup of water act iv i ty – feel ing what i t might be l ike
Per forming and having other watch, watching others present
Choosing what to do with our cup of water, had to th ink about the issues
In the v i l lage, l in ing up and wait ing for water, i t helped me appreciate how i t might be in developing countr ies
Having the pr int out of di f ferent scenes we could choose from
Watching the v ideo of Tuvalu, real iz ing th ings l ike th is actual ly happen, the s i tuat ion isn’ t tota l ly unreal ist ic
When we got one l i t re of water and had to decide how to use i t
IMPORTANT LEARNINGS FOR STUDENTS
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Flexibil ity of the model (options for application, one teacher multiple classes, multiple teachers one school, multiple teachers across different schools)
Learning that matters – context connecting past, present and future
Importance of team planning and communication throughout
Importance of aesthetically charged mediating tools, framing and keying in
High selectivity in artefacts, signing and pivots
Power of teacher who empowers
Rules of collaboration – using the work of others
Publication of work that is then used for meaning making
Facil itating learning that translates across boundaries
LEARNINGS FROM PROJECT
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Rolling Role – There is not a lot written on it
yet. it is so radical, but we will create a
dif ferent way of thinking. We are on the cusp
of something.
(Heathcote Tape 16)