The increasing tendency of youth getting involved in crime, globally as well as in South Africa is an indication of the comprehensive problem and the duty that is resting upon professionals dealing with the youth. It is therefore important that in South Africa attention will be given to the young first offender. Various intervention methods such as drama-based intervention can be used as service delivery for the young first offender. Drama based intervention hold various therapeutic values for the young first offender. This program can make use of various methods for intervention such as, dance, movement and theatre. The objectives of the program, the need of the participants as well as the background of each individual participant are determining the choice of the intervention method. A drama-based intervention program was used for the study. The aim of this study was to examine the nature of a drama-based intervention for young first offenders. The aims were to: • Through an intensive literature study the various intervention methods was studied. The finding of the literature study was that the involvement of the first young offender within any creative activity has a lasting effect on the social development of the client resulting in a decrease in anti-social behaviour such as crime. Experimental exercises that is based on social learning-; role- and cognitive-behavioural theory are very effective in working with young people • To develop, implement and evaluate a drama-based intervention program through an intensive literature study and empirical research. This program needs to focus on the decreasing and prevention of recidivism with young first offenders. This goal was achieved as the program was developed according to guidelines of the GEESE theatre, which was adapted for South-African circumstances. The program was implemented and evaluated with a group of seven young first offenders. The research showed that the most effective intervention program for young first offenders should be more experimental and based upon creative arts, rather than a structured goal-oriented program, creating opportunities for in-depth exploration of the inner self. The program would then also help the respondent to develop resiliency by building on protective factors, identifying risk factors and developing skills to manage factors such as low self esteem, family relations, peer pressure and poverty. / Thesis (M.A. (MW))--North-West University, Potchefstroom Campus, 2005.

The increasing tendency of youth getting involved in crime, globally as well as in South Africa is an indication of the comprehensive problem and the duty that is resting upon professionals dealing with the youth. It is therefore important that in South Africa attention will be given to the young first offender. Various intervention methods such as drama-based intervention can be used as service delivery for the young first offender. Drama based intervention hold various therapeutic values for the young first offender. This program can make use of various methods for intervention such as, dance, movement and theatre. The objectives of the program, the need of the participants as well as the background of each individual participant are determining the choice of the intervention method. A drama-based intervention program was used for the study. The aim of this study was to examine the nature of a drama-based intervention for young first offenders. The aims were to: • Through an intensive literature study the various intervention methods was studied. The finding of the literature study was that the involvement of the first young offender within any creative activity has a lasting effect on the social development of the client resulting in a decrease in anti-social behaviour such as crime. Experimental exercises that is based on social learning-; role- and cognitive-behavioural theory are very effective in working with young people • To develop, implement and evaluate a drama-based intervention program through an intensive literature study and empirical research. This program needs to focus on the decreasing and prevention of recidivism with young first offenders. This goal was achieved as the program was developed according to guidelines of the GEESE theatre, which was adapted for South-African circumstances. The program was implemented and evaluated with a group of seven young first offenders. The research showed that the most effective intervention program for young first offenders should be more experimental and based upon creative arts, rather than a structured goal-oriented program, creating opportunities for in-depth exploration of the inner self. The program would then also help the respondent to develop resiliency by building on protective factors, identifying risk factors and developing skills to manage factors such as low self esteem, family relations, peer pressure and poverty. / Thesis (M.A. (MW))--North-West University, Potchefstroom Campus, 2005.

No / United Kingdom equalities legislation places general and specific legal duties upon higher education institutions to promote equality and diversity positively. This includes an increased emphasis on training and development, especially in the context of promoting and raising awareness of equality and diversity within an organizational setting. The authors evaluate the impact and effectiveness of drama as a means of delivering equality and diversity training. The legal, business, and moral case for diversity is explored, highlighting and investigating the important role of effective equality and diversity training. Drama‐based diversity training is considered within the context of a local university initiative aimed primarily at middle management. Within this initiative, professional actors explored the effects of discrimination in the workplace. The authors frame their findings in the evaluation model proposed by Kirkpatrick (1998). The authors argue that drama‐based training is an effective tool for delivering equality and diversity training and present evidence for such training as having a positive impact. In particular, drama‐based training increases the confidence and capacity of university middle managers to challenge inappropriate behavior in the workplace.

This study engages with the domains of second language teaching and learning (L2TL), drama-based teaching and learning (DBTL) and embodied cognition in order to establish how the effective implementation of DBTL may contribute to the efficacy of L2TL practices. There are shortfalls in second language (L2) classrooms and there is a need for a L2 teaching approach, which promotes social interaction in varied sociocultural contexts wherein learners are encouraged to make meaning in order to convey their message. The L2 learning processes created by this approach could overcome the shortfalls of L2TL and offer what is required by Second Language Acquisition (SLA) to acquire a L2. This study proposes that the use of the Common European Framework of Reference for Languages: Learning, teaching, assessment (CEFR) could overcome these shortfalls. However, CEFR can only be effective if the approach that is utilised in its implementation aligns with CEFR’s principles. This study argues that a drama-based teaching approach could adhere to CEFR and address the shortfalls of L2TL. This study explores drama as a facilitation tool and uses elements of process drama to create an approach to DBTL that could create learning experiences which may enhance the efficacy of L2TL and adhere to CEFR. This study argues that for a DBTL approach to be effective in L2TL, it has to foreground embodied cognition. Embodied cognition theories state that in order to create optimal learning opportunities, social, affective learning experiences should be created wherein learners interact with other humans and their environment in order to make and convey meaning. By critically engaging with embodied cognition theories, this study establishes which components of embodied cognition should be considered for DBTL to be effectively implemented in L2 classrooms. Subsequently, this knowledge ensures that the proposed approach to drama-based second language teaching and learning (DBL2TL) could allow for effective implementation. This study argues that a hypothetical DBL2TL programme based on this DBL2TL approach, which is steered by embodied cognition and adheres to CEFR, could overcome the shortfalls of L2TL. Furthermore, the programme could offer insight into how DBTL could effectively be implemented in L2TL, which in turn could enhance the effectual implementation of DBTL in L2 classrooms. Therefore, the hypothetical DBL2TL programme could enhance the efficacy of L2TL. / Dissertation (MA)--University of Pretoria 2020. / Drama / MA / Unrestricted

Educational Psychology / Built from a diverse background of theatre-based education and social change theories, drama-based instruction (DBI) employs active, kinesthetic learning strategies to engage students in classroom activities. Much of DBI is grounded in scaffolding students through a Describe, Analyze, and Relate (DAR) thinking process. DAR requires students to consider information in a systematic way, leading them through the steps of Bloom’s Taxonomy and moving from lower-order to higher-order thinking skills. Examining information at this deeper level is a process similar to the automatic thought-stopping mechanism of Cognitive-Behavioral Therapy (CBT). As in CBT, rather than making hasty assumptions, students are guided through steps that allow them to analyze details and to examine stimuli thoroughly. Yet the context of DBI is different from many CBT therapeutic settings because DBI is situated in a classroom environment. DAR is delivered as a whole-class intervention with peer interaction occurring throughout the thinking and questioning process. Social perspective-taking involves one individual’s efforts to discern the thoughts and feelings of another individual, a skill that has been linked to more effective problem solving. When teachers offer structured exposure to thought-stopping and perspective-taking processes, students gain practice with social perspective-taking and problem-solving skills. The current study proposed a multiple baseline, single-case design to explore how practice using the Describe, Analyze, Relate (DAR) questioning technique affects students’ capacity to engage in social perspective-taking and social problem-solving. The school in this study participated in a year-long, campus-wide initiative to train teachers in how to use DAR across subjects and grade levels. Two fourth grade teachers, one fifth grade teacher, and one visual arts teacher were identified as demonstrating proficiency in the DAR technique. In each of the three core teachers’ classes, a letter was sent home explaining the project and requesting opt-in from interested parents. From those who responded, students with special education placements were removed, then two students were randomly selected per class. The researcher met individually with the selected participants to conduct repeated measures of the Interpersonal Negotiating Strategies Interview for baseline, intervention, and follow-up phases of the study over the course of the 2012-2013 school year. Additionally, participants’ teachers were asked to complete the Social Skills subscale of the Behavior Assessment System for Children for each phase of data collection. Post-intervention interviews were conducted with the teachers to assess for their perceptions of the DAR strategy and DBI-based pedagogy in general. Visual analysis was used to assess the effectiveness of the treatment on student social perspective-taking and problem-solving. Overall, the quantitative results of the current study did not conclusively link DAR with social perspective-taking and problem-solving. However, the qualitative data from teacher interviews yielded positive feedback related to the utility of DAR questioning on improving higher-order thinking in their students. Further research is necessary to clarify and deepen understanding of this effect. / text

The aim of the study is to investigate the effect of creative drama- based instruction on 7th grade students&rsquo / achievement in probability concept and their attitude toward mathematics. Another purpose of the study is to investigate the gender differences regarding mathematics achievement and attitude. The study was conducted with two 7th grade classes from a public school in the 2010-2011 academic year, lasting 17 lesson hours (six weeks). Twenty-two of the participants received Creative Drama Based Instruction (CDBI), and twenty-one received Regular Instruction (RI). Experimental design was used in which two different learning environments / creative drama based instruction and regular instruction was compared. In order to measure students&rsquo / mathematics achievement Probability Achievement Test (PAT) was used. The participants were given Mathematics Attitude Scale (MAS), in order to quantify the levels of attitude towards mathematics. These instruments were implemented before and after the treatment as pre-test and post-test. Independent samples t-test was performed on gain scores of PAT and MAS. Moreover, two way ANOVA was performed to examine the data. Two way ANOVA results yielded that there was a statistically significant difference between the mean scores of Experimental Group and Control Group in terms of achievement in favor of Experimental Group. Moreover, female students had significantly higher mathematics achievement scores than males. The results of mathematics attitude scale showed that the seventh grade students&rsquo / attitudes towards mathematics were not significantly different with respect to teaching method. Also, it could be stated that gender difference regarding of mean attitude scores was not statistically significant.

The aim of the study is to investigate the effect of creative drama- based instruction on 7th grade students&rsquo / achievement in probability concept and their attitude toward mathematics. Another purpose of the study is to investigate the gender differences regarding mathematics achievement and attitude. The study was conducted with two 7th grade classes from a public school in the 2010-2011 academic year, lasting 17 lesson hours (six weeks). Twenty-two of the participants received Creative Drama Based Instruction (CDBI), and twenty-one received Regular Instruction (RI). Experimental design was used in which two different learning environments / creative drama based instruction and regular instruction was compared. In order to measure students&rsquo / mathematics achievement Probability Achievement Test (PAT) was used. The participants were given Mathematics Attitude Scale (MAS), in order to quantify the levels of attitude towards mathematics. These instruments were implemented before and after the treatment as pre-test and post-test. Independent samples t-test was performed on gain scores of PAT and MAS. Moreover, two way ANOVA was performed to examine the data. Two way ANOVA results yielded that there was a statistically significant difference between the mean scores of Experimental Group and Control Group in terms of achievement in favor of Experimental Group. Moreover, female students had significantly higher mathematics achievement scores than males. The results of mathematics attitude scale showed that the seventh grade students&rsquo / attitudes towards mathematics were not significantly different with respect to teaching method. Also, it could be stated that gender difference regarding of mean attitude scores was not statistically significant.

This study aimed to determine the effects of drama based learning on seventh grade students&rsquo / achievement (angles and polygons, circle and cylinder), attitudes and thinking levels in geometry compared to the cooperative learning. The study was conducted on four seventh grade classes from two public elementary schools in the same district in the 2006-2007 academic year, lasting seven and a half week (30 lesson hours). The data were collected through angles and polygons (APA) / and circle and cylinder achievement (CCA) tests, the van Hiele geometric thinking level test (POSTVHL), geometry attitude scale (PRE-POSTGAS). The quantitative analyses were carried out by using Multivariate Analysis of Variance (MANOVA). The results showed that drama based learning had a significant effect on students&rsquo / angles and polygons achievement, circle and cylinder achievement, van Hiele geometric thinking level compared to the cooperative learning. However, attitude findings regarding the attitudes revealed that there is not a significant difference according to the geometry attitudes of drama group and cooperative group after treatment. Both the two instructional methods supported active participation, created cooperative working environment, included daily life examples and gave the chance to classroom communication. On the other hand, drama group students&rsquo / significantly better performance was attributable to the make belief plays and improvisations of daily life examples included in drama activities.

The purpose of this study is to investigate the contribution of cognitive style and prior knowledge on 6th grade students&#039 / knowledge acquisition in polygons in drama based learning environment. The sample of the study was composed of 112 sixth grade students from a public school in Altindag district of Ankara. There were 9 drama based lesson plans lasting 16 lesson hours in the study. The data was collected through Group Embedded Figure Test (GEFT), and three types of knowledge tests: Declarative Knowledge Test (DecKT), Conditional Knowledge Test (ConKT), and Procedural Knowledge Test (ProKT). GEFT developed by Witkin, Oltman, Raskin and Karp (1971) was used to determine cognitive styles of the students as field dependent (FD), field independent (FI), and field mix (FM). Three types of knowledge tests developed by Erdogan (2007) were used as pretests and posttests. The quantative analysis was carried out by using standard multiple regression analysis. The results revealed that students&rsquo / cognitive style was the most predictive variable in explaining students&rsquo / declarative, conditional and procedural knowledge Moreover, students&rsquo / prior declarative knowledge explained statistically significant amount of variance in students&rsquo / declarative and procedural knowledge acquisition, while students&rsquo / prior conditional knowledge explained statistically significant amount of variance in students&rsquo / declarative, conditional, and procedural knowledge acquisition. On the other hand, students&rsquo / prior procedural knowledge failed to explain declarative, conditional, and procedural knowledge acquisition of students.

The main purpose of this study was to investigate the effect of creative drama based instruction on seventh grade students&rsquo / achievement in ratio and proportion concepts and their attitudes toward mathematics. Another purpose of this study was to investigate students&rsquo / self-reported views related to creative drama based instruction. The study was conducted in a public school in K&ouml / rfez-Kocaeli with a total of 58 seventh grade students, lasting 12 lesson hours (three weeks). Thirty of the participants received Creative Drama Based Instruction (CDBI), and twenty-eight received Traditional Instruction (TI). The data were collected through Ratio and Proportion Achievement Test (RPAT), Mathematics Attitude Scale (MAS), and interviews. The RPAT and MAS were administered as both pretest and posttest. In addition, interviews were conducted with the ten randomly selected students. The quantitative analyses were carried out by using One-Way Analysis of Covariance (ANCOVA) with covariate preRPAT and dependent variable postRPAT at the significance level 0.05. Moreover, independent samples t-test was performed on gain scores of MAS. The results of the study indicated that there was a statistically significant mean difference between the students who received creative drama based instruction and traditional instruction in terms of achievement in ratio and proportion concepts and in terms of gain scores of attitudes toward mathematics, in favor of CDBI. Furthermore, according to the interview responses of the experimental group students, significantly better performance of the experimental group students was attributable to the potential of the creative drama based instruction to provide actively involvement, work with friends and collaboratively and providing selfawareness.