The research took place while the author worked as a volunteer theatre practitioner with the Arts and Culture Group in Wesbank township near Kuils River, Cape Town, South Africa. This organisation was founded in 2002 and was the result of one woman's efforts to keep the children of Wesbank off the streets, by keeping them busy through dance, song and drama. This study investigated the impact of basic theatre training, working towards performance and the performative act itself on the psyche of the drama group participants. More specifically, the study investigated in what ways being involved in a performance can help children and young people in an underprivileged community of Wesbank to develop confidence, a sense of competence, self-reliance, creative thinking, responsibility and the ability to work as an ensemble. The research was to a great extent focused on cross-cultural communication. How could the &quot / Cape Coloured&quot / and Xhosa members of the group overcome cultural barriers and express their cultural uniqueness equally through taking part in multicultural theatre performance.

Magister Artium - MA / The research took place while the author worked as a volunteer theatre practitioner with the Arts and Culture Group in Wesbank township near Kuils River, Cape Town, South Africa. This organisation was founded in 2002 and was the result of one woman's efforts to keep the children of Wesbank off the streets, by keeping them busy through dance, song and drama. This study investigated the impact of basic theatre training, working towards performance and the performative act itself on the psyche of the drama group participants. More specifically, the study investigated in what ways being involved in a performance can help children and young people in an underprivileged community of Wesbank to develop confidence, a sense of competence, self-reliance, creative thinking, responsibility and the ability to work as an ensemble. The research was to a great extent focused on cross-cultural communication. How could the "Cape Coloured" and Xhosa members of the group overcome cultural barriers and express their cultural uniqueness equally through taking part in multicultural theatre performance. / South Africa

The introduction of outcomes based education (OBE) in the form of Curriculum 2005 (C2005), the National Curriculum Statement (NCS) and the Revised National Curriculum Statement (RNCS) in post-apartheid South Africa resulted in a shift from a content-centred to a learner-centred view on education. This transition took place rapidly as the new government wanted to introduce a democratic education system after the divisive Bantu education system from Apartheid. However, after the changes were implemented, education in South Africa was theoretically outcomes based but practically many educators were still teaching in a content-centred manner. The research puts forward the proposal that drama-in-education (D-i-E) is a useful means by which to align the practical and theoretical goals of OBE within the context of South Africa's current RNCS. This hypothesis drives the main research question: "Can D-i-E be an effective teaching methodology to realise the goals of the RNCS and generate OBE learning environments in a South African high school?" D-i-E is a learner-centred teaching methodology and in practise it meets many of the goals and Critical Cross-Field Outcomes (CCFOs) of OBE. Some of these include the fact that learners can: • Practice problem-solving skills; • Engage with critical and creative thinking; • Grow cultural and aesthetic sensitivity; • Work effectively in groups; and ii. • Learn in inclusive environments that cater for different learning styles and levels. The research examines the use of D-i-E as an outcomes based methodology by which the RNCS could be implemented in the classroom. This is explored through the use of qualitative research in the form of a case study investigation at a South African high school. The case study was conducted with Grade 11 and Grade 12 Dramatic Arts learners and involves an analysis of a D-i-E approach to learning. The conclusion that D-i-E is an effective outcomes based teaching methodology which could assist educators in realising the RNCS was largely reached through participant observation of D-i-E classes and by analysing the learners' journals in which they reflected on D-i-E experiences. The learners' feedback about the experience was generally positive and they reflected that they found D-i-E beneficial because of the fact that it engaged them experientially. They also reflected that D-i-E provided them with a more meaningful and exciting way of learning. These findings are however only generalisable to the type of context (Dramatic Arts learners from a well-resourced girls' high school) in which the research was conducted. The findings provide detailed insight into a specific case study and may be beneficial to educators in South Africa who aim to make use of the same or similar methodologies in their classroom practice. D-i-E also supports many of the underlying tenants of OBE such as learner-centredness, learner diversity and inclusive learning, and can effectively aid educators in implementing the RNCS in an outcomes based way.

Thesis (MDram (Drama))--Stellenbosch University, 2008. / Theatre for young people (TYP) is the umbrella term for all theatre created by professional actors for the age group 2 to 25. Within this term there is a form or genre that creates theatre for the ages 13 – 18 with the specific purpose of entertaining these audiences rather than educating them through other forms such as Theatre-In-Education. The aims of this study are to firstly establish to what extent this phenomenon exist within the Western Cape and secondly, if it is found lacking to look at the challenges and opportunities that can arise when introducing this form into the market. There are three reasons why this form should be introduced into the Western Cape’s TYP market. Firstly, theatre is more than just an educational tool for younger audiences and young people deserve the same cultural rights as adults. Secondly, many industries already approach young people as a separate market and theatre needs to adopt the same approach. Lastly, theatre for the age group 13 – 18 is an important part of audience development and should be pursued if theatre wants to expand its market base. To establish what the current strengths and weaknesses of the TYP industry in the Western Cape are, an international frame of reference must be created. The government policy and TYP industry structure of four countries, namely Australia, Denmark, England and The Netherlands are used to create a broad framework from which specific TYP companies and festivals within these countries are discussed. Some general challenges facing TYP in these countries are also highlighted and these elements then form the framework for comparison. The same elements within the TYP industry of the Western Cape – government policy, the TYP industry, companies and festivals – are also discussed and then a comparison between the countries and the Western Cape is made. Based on this it becomes clear that the age group 13 – 18 is grossly neglected when it comes to theatre as form of entertainment as TYP companies in the Western Cape focus mainly on children and educational theatre. From this the challenges that face creators of TYP as entertainment within the larger South African society are highlighted and also made applicable to the Western Cape. The definition of theatre in a multicultural society, the economic situation of the country, the general attitude of society towards theatre, the problematic nature of the youth market and funding structures are identified as possible challenges for TYP in the Western Cape. There are, however, also opportunities for TYP as entertainment within the industry. By using the concept of branding and existing structures in the youth market it is possible to raise the presence of TYP as entertainment form. Youth theatre, educational institutes and the current adult festival circuit of the Western Cape are all possible platforms through which the brand of TYP as entertainment can be introduced and work in symbiosss with the current theatre industry.

This phenomenological study discusses the problem of whether the agents or actors who design strategies take full account of the concepts that their plans are designed to change. Therefore, I critically assess DramAidE's methodology in order to show how efficient it is in the light of Freirean pedagogy. In that, the study investigates whether there is an analytically bulletproof communication form that necessarily achieves behaviour change, as has occasionally been attributed to Freire. The theoretical framework of this study includes development communication theories along with the Entertainment-Education approach (EE) used in health communication. More specifically, the study is informed by Freirean critical pedagogy and behaviour change theories. On the other hand, the Social Learning Theory (Bandura, 1977), the Fixation of Belief Model (Peirce, 1877) and the concepts of intimate and social realms (Arendt, 1958) are also used to explain the realities observed in DramAidE's programmes. The methodologies used, in addition to the literature review, consisted of semistructured in-depth interviews along with focus group discussions with DramAidE's staff, schoolchildren, teachers and caregivers. Among the results established by this study, it is worth mentioning the growing interest displayed by beneficiaries towards DramAidE's programmes. Life-skills claimed by learners included aspects such as self-confidence, assertiveness, decision making skills, informed sexuality, and improved communication. However, serious discrepancies were noticed between these life-skills, how well they were mastered and how effectively the learners put them into practice. Reasons for that proved to be rooted chiefly in peer pressures and cultural stumbling blocks, for example gender inequality and violence against females. This means that peer educators needed a more supportive environment to extend DramAidE's action. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2004.

The South African school curriculum recognises the vital importance of life skills acquisition through the learning area, Life Orientation (referred to in the primary school as Life Skills). The Curriculum Assessment Policy Statement (CAPS) Life Skills (Creative Arts) for the Intermediate Phase promotes drama-based instruction in life skills learning. The curriculum links to Forum Theatre techniques which are aimed at the learner’s holistic development through, among others, social game playing, improvised role-play and devising and performing a problem play which includes audience participation mediated by a ‘Joker,’ a facilitator role usually filled by an experienced and trained teacher. Children learn about the self, their peers and society through reality-based exploration and the conflicts that arise due to socialisation and power-based problems. Cognitive behavioural, existential and experiential learning theories and the theatrical theory and practice of Augusto Boal, who invented Forum Theatre as part of the Theatre of the Oppressed, formed the framework for this performative case study inquiry conducted in a South African primary school. A researcher-designed Forum Theatre intervention was implemented by the Grade 6 (Creative Arts) teacher with four Grade 6 classes over eight weeks in Life Skills (Creative Arts) classes, culminating in Forum Theatre performances by the four classes, respectively. Data were gathered through classroom observation in which the researcher assumed the role of observer-participant, conducted individual and focus group interviews with Grade 6 teachers, did interviews with Grade 6 learners, took video recordings of learners’ classroom activities, recorded the Forum Theatre performances, and collected the learners’ written reflections. The findings indicated: the process adjustments required to facilitate Forum Theatre activities in a primary school setting; effectiveness of experiential learning of life skills through game-playing and discovery; performative pedagogy fostered life skill acquisition; performative pedagogy harnessed nonverbal, embodied learning to build social insight; and describes the teacher experience in implementing a Forum Theatre intervention. Recommendations for practice include teacher training for experiential, explorative, and performance-based teaching in line with the CAPS document, which provides for a range of performative teaching and learning activities to promote effective life skills acquisition in primary school learners. / Educational Studies / Ph. D. (Education)

Educational Studies / D. Ed. (Comparative Education)

Educational Studies / D. Ed. (Comparative Education)