Education (Scholarly Publications)Education (Scholarly Publications)http://hdl.handle.net/2262/1982024-03-28T11:45:07Z2024-03-28T11:45:07ZUsando el marco en educación dramática y teatralO'Sullivan, Carmelhttp://hdl.handle.net/2262/1077992024-03-25T18:02:12Z2022-01-01T00:00:00ZUsando el marco en educación dramática y teatral
O'Sullivan, Carmel
In everyday life, experiences are ‘framed’ or presented from
sociological, cultural, political, philosophical, communication,
historical, or psychological perspectives, and this has become increasingly
prevalent in our digital world dominated by social media. Frames shape
the way we interact with and make sense of events depending on how
they are presented or experienced by us. Shifting frame can result in
changing the viewpoint we hold about our circumstances and help us
to interpret and make sense of situations experienced.
The term ‘frame’ is widely used in drama in education (DiE) and is
usually traced to Goffman’s (1974) sociological conception of frame.
In DiE, frame is an important planning and organisational principle
and an effective approach to stimulate critical thinking, practice, and
evaluation. In this presentation, Prof Carmel O’Sullivan will identify
the key tenets of frame and explore how dramatic frame supports
participants to identify with a role, take on a point of view associated
with that role in a fictional setting, and deal with obstacles they are
confronted with (dramatic tension). She will discuss how frame can be
deepened to prevent mono-perspectivism and fulfil several functions,
such as placing participants in relationship to the dramatic event,
increasing affective involvement while also protecting participants
through frame distance, creating dramatic tension, and providing new
perspectives on issues (Davis, 2014; Eriksson, 2011; Heathcote, 1984).
PUBLISHED
2022-01-01T00:00:00ZCreative Youth: Evaluation GuidelinesO'Sullivan, Carmelhttp://hdl.handle.net/2262/1073412024-03-20T18:02:33Z2023-01-01T00:00:00ZCreative Youth: Evaluation Guidelines
O'Sullivan, Carmel
The Creative Ireland Programme was established in
2017 to support the mainstreaming of creativity in the
life of the nation. The Programme works in partnership
with local and national authorities, youth services,
community, cultural, enterprise, arts and heritage
organisations, creative industries, and schools to
nurture and enable the creative potential across the full
spectrum of Irish society.
Creative Youth was one of the five pillars which
supported the Creative Ireland Plan aiming to “give
every child practical access to tuition, experience and
participation in art, music, drama and coding by 2022”.
(Creative Ireland Programme, 2016a, p. 1).
The vision of the second Creative Youth Plan 2023-
2027 is “an Ireland where creativity is at the heart of
children and young people’s lives, where creativity
can contribute greatly to their happiness, wellbeing
and personal development and, in recognition of their
right to a voice in decision-making, children and young
people will be heard and will inform all aspects of this
work” (p. 2).
The Creative Youth Plan aims to increase opportunities
for activity and participation, and to influence public
policy around creativity in both formal education and
out-of-school settings.
2023-01-01T00:00:00ZRISING Strong: Sustainability through Art, Science, and Collective Community ActionRoche, JosephHurley, Mairéadhttp://hdl.handle.net/2262/1073102024-03-15T18:01:31Z2023-01-01T00:00:00ZRISING Strong: Sustainability through Art, Science, and Collective Community Action
Roche, Joseph; Hurley, Mairéad
The objective of this research is to offer a qualitative analysis of adult STEAM (science, technology, engineering, the arts and mathematics) learning in a community setting, with a focus on sustainability and climate action. To date, much research on STEAM learning has been directed towards youth and children in formal educational settings. Our qualitative study involving semi-structured interviews with community participants, artists, and scientists over the course of a six-month initiative in Ireland allowed us to develop a rich picture of a multi-faceted STEAM project that held space for both a social change agenda and a learning agenda. In our findings, we identified several contributing factors to transformative learning and changed feelings about climate change, including pride of place, the development of strong interpersonal relationships, and an emerging sense of collective agency through a shared emotional and affective journey. To design for meaningful, community-level climate action, we argue that learning may be supported in, with and through STEAM. Our study also showcases the value of the arts and aesthetic experiences to embrace dissensus when tackling a complex issue like climate change through STEAM education.
PUBLISHED
2023-01-01T00:00:00ZPerforming Yu?nf?n: An Exploration of Untranslatable Words in the Lacunae ProjectPiazzoli, Erikahttp://hdl.handle.net/2262/1073012024-03-14T18:00:41Z2024-01-01T00:00:00ZPerforming Yu?nf?n: An Exploration of Untranslatable Words in the Lacunae Project
Piazzoli, Erika
In this paper, we discuss a collaborative research project called Lacunae: Embodying the Untranslatable. The issue of untranslatability has been a much-discussed topic in translation studies, with recent debate linking it to performability. Although untranslatability has received some attention lately, the debate has been largely theoretical, confined to a textual conception of translation. In the study discussed in this article, we explored an applied approach to (un)translatability, working with/through the body in space, positing the body as the vehicle for deciphering the untranslatable. We draw on an embodied way of knowing as a phenomenological framework to construct knowledge as lived experience. The study aimed to investigate the lexical, intercultural, and aesthetic potential of performing untranslatability by exploring a series of untranslatable words through research-based theatre. The data generation process involved a retreat where nine researchers/artists/practitioners addressed the research question through practices like process drama, Butoh, physical theatre, improvisation, and visual arts on mixed media. In this paper, first, we introduce the theoretical framework and context of the study. Next, we illustrate the methodology, data analysis, and findings, with reference to one untranslatable word from the Chinese language, yuánfèn 缘分, loosely translated as ‘serendipity in relationships and life events’. We contemplate the practice in this workshop through a philosophical, pedagogical, and research-based lens. Finally, we contemplate future iterations of this project, reflecting on how performing yuánfèn could inform theatre-based research on migration and identity in education.
PUBLISHED
2024-01-01T00:00:00Z