A journey in metaxis explores the facilitation of drama workshops using an adaptation of Theatre of the Oppressed, a participatory drama process used with high school students, teachers and others in the community. New possibilities of engagement open up as knowing emerges through a variety o f forms of dramatic action which are simultaneously the medium, subject and re-presentation of research. As a theatre pedagogue I explore how knowing and meaning emerge through theatre and in the interplay between my life and my work. Writing, then reading, narratives of my practice engages me in a conversation that helps me draw attention to my practice. Diverse roles and points of view of the drama facilitator begin to become apparent as these narratives speak through a spiralling process of shared experiences. Commentaries on these experiences lead to discussions of the implications of this inquiry for other forms of reflective leadership practice in drama and in education. Particular attention is placed on the role of the body and mind (bodymind) of facilitator and participants as they journey into an increasing awareness of senses, histories, the landscapes worked in, and the relationships that intertwine through the constant ebb and flow of the drama workshop. Using a framework that parallels the drama workshop I facilitate, I play with forms of texts, languages and styles to enter into the text(ure) of the worlds of facilitation so that we may come face to face with kinaesthetic and discursive experiences remembered and reconsidered. Writing my body into this exploration enables me to become mindfully aware of, and extends and transforms, my practice. I re-awaken the memory of my senses and re-connect with them in the moments of "performing" my teaching. Such poetic and expressive writing enables an evocation of the world of drama. Writing from and through a sensing body means that reflection on practice becomes not merely reporting experiences, but also celebrating and expressing the multi-vocal, multi-layered events that develop drama facilitation skills. Writing, then reading, about this process of coming to know my identity-in-process as a drama facilitator enables the interpretation, interrogation and transformation of how one becomes facilitator, "making the way as we go," (re)writing/performing our presence.

A journey in metaxis explores the facilitation of drama workshops using an adaptation of Theatre of the Oppressed, a participatory drama process used with high school students, teachers and others in the community. New possibilities of engagement open up as knowing emerges through a variety o f forms of dramatic action which are simultaneously the medium, subject and re-presentation of research. As a theatre pedagogue I explore how knowing and meaning emerge through theatre and in the interplay between my life and my work. Writing, then reading, narratives of my practice engages me in a conversation that helps me draw attention to my practice. Diverse roles and points of view of the drama facilitator begin to become apparent as these narratives speak through a spiralling process of shared experiences. Commentaries on these experiences lead to discussions of the implications of this inquiry for other forms of reflective leadership practice in drama and in education. Particular attention is placed on the role of the body and mind (bodymind) of facilitator and participants as they journey into an increasing awareness of senses, histories, the landscapes worked in, and the relationships that intertwine through the constant ebb and flow of the drama workshop. Using a framework that parallels the drama workshop I facilitate, I play with forms of texts, languages and styles to enter into the text(ure) of the worlds of facilitation so that we may come face to face with kinaesthetic and discursive experiences remembered and reconsidered. Writing my body into this exploration enables me to become mindfully aware of, and extends and transforms, my practice. I re-awaken the memory of my senses and re-connect with them in the moments of "performing" my teaching. Such poetic and expressive writing enables an evocation of the world of drama. Writing from and through a sensing body means that reflection on practice becomes not merely reporting experiences, but also celebrating and expressing the multi-vocal, multi-layered events that develop drama facilitation skills. Writing, then reading, about this process of coming to know my identity-in-process as a drama facilitator enables the interpretation, interrogation and transformation of how one becomes facilitator, "making the way as we go," (re)writing/performing our presence. / Education, Faculty of / Language and Literacy Education (LLED), Department of / Graduate

Educational Studies / D. Ed. (Comparative Education)

Educational Studies / D. Ed. (Comparative Education)