Reflection 10 (26/10/12)

Ahmad, Joanne, Carmen and I were talking over breakfast after the performance. Here is what each one of us were talking about.

- The performance in front of the entire secondary twos (2 NTs, 2 NAs, 1 express)

- The different approaches of each group. How they devise their play. How they work and re-strategise their plan according to factors such as schedule, time, absentees, props, etc. 

- How Drama as a learning tool not only in itself but also in other subjects such as English, Literature, History or even Math, which Cheryl is doing. Especially in this Speak Good English Movement.

- How we as facilitators are doing multiple roles (Facilitator, Friend, teacher, etc.) Which is the first priority? why?

- How our group act as a director while doing blocking, while still maintaining that freedom of expression and imagination. How they think or feel that their character should stand, position themselves, stance, actions, etc. 

- Very important to come as a group before performance and after performance. To brief and de-brief. To do warm-up exercises to prepare and release stress and tension in their bodies. 

The whole process of this Theater for Young People module is really difficult and tedious. Alot of troubleshooting, replanning, strategizing, coordination and teamwork. It is really what Osterman & Kottkamp (1993) describe 'experiential learning theory... learning is dialectic and cyclical process consisting of four stages: experience, observation and reflection, abstract reconceptualization and exprimentation' (as cited in koib, 1984, Pg 3) When we find out our problems and issues, do we just say it is because the students are not smart enough and therefore my theory is still faultless? Or do we go back to our theories to reconceptualise, replan, readjust in order to cater to their learning needs? How can we make the learning process more effective? Is this workable? Sometimes we may not find what we expect until we experiment them in class and it is totally fine because the teaching process is also a learning process for us teachers. When we go back to our strategies, we are not only relooking and developing them but also recapping our minds the subject and objectives.

But at the end of the day, our hardwork pays off. I really felt a workload off my shoulder and it felt really good because we see our results and they were successful! The feeling of watching students perform and having those smiling and victorious faces. I was glad that not only I benefitted from this but also my teammates, students and even for Dr Jane, Cheryl, Library and Miss Angela (literally everyone).

Our 'Job' and roles 
Because we do not come to school with a role of a teacher, our default role in this project is a facilitator.  I don't really like the sentence where 'we come in to offer something to the kids that could benefit their lives' I absolutely disagree with the fact that we come to offer something that we can gain material or fame selfishly. It is also not a 'take it or leave it' matter. However, I think that it is not accidental that we are placed in this project because we are here to impact their lives. It is because WE WANT TO and not because WE HAVE TO.  It must be our heart's desire that we want a life transformation in their lives and to have this desire in our hearts, we must have empathy in their life situation. It is our duty then to bring about revival in hope and faith to press on towards their dreams and goals in life. 

We play multiple roles according to the situations that the students are facing, not just being a facilitator. How we react and respond plays a huge part in their search of answers in life. First and foremost, we are their faciltators, where we encourage, motivate, guide and smoothen out their learning journey. We are their teachers because we teach, show and explain techniques and drama conventions. We are their counselor, quick to remind, warn, give alternatives and explanations to help them understand and make right decisions. We are their comforter because we provide a rest for them from all the conflicts in life. We also have the role of reviving their childhood experiences and memories, which may be dead or lost in their library of memories. 

Drama as a medium for teaching language

  How the Nian was constructed with his body gestures



We came up with two approaches in teaching language using drama.

Performative language
- Because they are kinesthetic learners, performance is not just textual but has the involvement of actions.
- Actions, body movements and positions help them to memorize their lines better. They are able to take cues better. Eg. When the Nian jumps, he will say 'I AM HERE!' or when the Old man stands up, all of us are suppose to stand up as well.
- We also use descriptions to help them with their movements. For example, 'Nian' is described as ferocious, how then can we make it ferocious with their gestures and facial expressions.
- Increase their performative vocabulary with words such as stage left/right/center. Audience and stage.
- We audify their actions by making 'overacting'. Each time they do an action, we make the action louder and bigger.

Instructional language
- When we do blocking and devising, we instruct them how to move, express their words and actions.
- They learn to take cues and listen to instructions.


Process = Product? 

















We suddenly came to a realisation that process is very much important to the product, which is the performance. Process and product are interdependent on each other. Though learning outcomes of both process and product are different on their own but they contribute to holistic learning. Without drama processes, the product would not be as good as it is, because it is only in the process that students gain skills, such as performance skills and drama skills, to be able to apply them on stage. We believe that they need to attain a certain level of skills to have an effective product. Through questioning and dialogue, we use reflective questions to probe and scaffold their thinking during the devising of our play. It then allows us students and also us to gauge their performance level and skills. For example, we would ask them 'Would it be better if we stand in a semi-circle or a line? Where should our homes be? It is only through process can they explore and experiment how effective their methods are.

In the process, we are also learning where there is the process of negotiation amongst facilitators. We constantly get together to discuss how to prepare ourselves before each rehearsals. We did blocking in three parts, where each one of us will take one part to do blocking with the students. We helped each other. Sometimes we intervene but it is all part of the collaboration process.

In the process, games are the best to relate to because through games, students are in their freest form to explore and experiment without fear. It helps students understand the dramatic elements portrayed with the use of the body, facial expressions and gestures. For example, constructing Nian's body similar to Hen and Chicken game, where all the chicks line up behind the chicken.



Product is important because it is where their spirit, teamwork and confidence level is being tested. We all have a common goal to work towards. We learn to support each other, give and take cues from one another, rely and work with one another. They also learn to perform to the audience and not only to themselves.

Therefore, we believe in our group that product is the reflection of our process.

Difficulties that we face

The group dynamics are different compared to the Arts group. No doubt we have drama major students to our advantage but it was quite difficult to work together because they are independent learners. I really admire and am inspired by the work that they do because there are so much that I can learn from them. They opened up my perspectives of having ideas and doing drama in classrooms. Ahmad really helped me and Joanne in group work because he constantly gave us questions that will help us in our essays and also in teaching 2T2.

However, it was quite difficult to come to an agreement at times because some are not willing to compromise. We then have to empathise with each other and understand what each of the group member is going through. We have to compromise and give in what we can do. What I learn is if I have to do the extra work, so be it because I gain something out of it and I treat it as doing something for the students.

Bibliography

Osterman, K. & Kottkamp, R. (1993) Reflective Practice for Educators: Improving Schooling Through Professional Development. Newbury Park, California: Corwin Press

Reflection journal 9 (18/10/12)

Rehearsal 2 (17/10/12)

During the two weeks which we did not get to meet them, they did not practice their lines and movements. It could be exams and we do not want to put false blames or falsely point fingers but we, as facilitators, need to re-plan, re-devise, re-strategise our plan. Because terms change and we need to re-plan according rather than giving up on the students and the performance. We shortened the scripts, gave them less props, shorten their lines. Syahiran also did not come for rehearsals so we decided to take him out of the script.

1st rehearsal Joanne and I could not attend because of lessons at NIE. Ahmad did blocking with them for the first half of the rehearsal.

The 2nd rehearsal we decided that each one of us (Joanne, Ahmad and I) will do blocking sections by sections so that the work is spilt equally and each of us get a chance to do directing and blocking with them.

Performance Day (18/10/12)

Students were all present on that day! Unfortunately, Syahiran did not come for the two rehearsals, so we did not assign him a role in the play but we did assign him to be our cameraman. Even though he could not take part (apparently, we could see he regretted it), the little role of a cameraman gave him a sense of ownership that makes him feel that he is still part of the team. He has to learn the hard way of not coming for rehearsals because if we allow him to be involved in the play, it is not fair to the rest, who really practiced very hard for their play.

The students were really confident and there was a sense of team bonding. Whenever their friends forget their lines, they will encourage. They even know which movements are the next! I was really thrilled when they were engaged in the play and how they worked so hard to memorise lines, be focused, know their cues, etc. Everyone, especially the Nian, was acting so well in their characters. We did taught them characterization, imagining how their characters will be like. We did help them with their actions by modeling it for them, like how the Nian should swing his tail, or how the old man should walk. Modeling enables them to visualize better by forming the characters in their minds. The students were so nervous and afraid because of their lines and actions, but it was heartwarming to know that they do feel a sense of nervousness instead of being reluctant in doing this project because these students were quite reluctant during the first few lessons of drama.

Today’s performance was a breaking point for everyone, both facilitators and students because we are all tested and our strengths and weaknesses are exposed. I was satisfied with working with Joanne and Ahmad because we were able to negotiate well and compromise with one another. We help one another understand and plan. However, when it comes to working with the other group, it was quite difficult because some times we cannot come to a consensus and there are many misunderstandings. One matter we faced for example was who should bring the props up from the art room? Should our group help to take their props up? Should we bring the kids back to school after the performance? What if some of us cannot make it during that time? How do we compromise each other?

Compromise needs to have the openness of heart and mind.

For first timers (Ju Ying students) of performning a play, I feel that the performances were very successful. Make up was good and I think it was necessary because it makes them feel part of the performance. It makes them feel real and look good on stage. Very pleased with the outcome though at first we were worried about the time frame and how they are working with it. Venue for performance was good because glass door enabled the people walking outside to look in and sets the curiosity of the onlookers. It attracts the on-lookers. But within the glass door, it is our world of fairytales, where we are in character and we have the responsibility of creating this fairytale for the 45 minutes for the audience. It was a magical experience and it was every student's individual job to make that dream or magic happen.

Collaborating with the students is a totally different experience. When I am sharing my experience of performing on stage with the students, I are also collaborating with them. Hence I become a partner or co-actor with them. We do blocking together and also I realise our presence and participation cause them to feel more energized and confident. The energy level is there because we are part of it as well. Our responsibility in the play is equally distributed. It is no longer a teacher or director-led play. According to Govan, Nicholson& Normington (2007), they stated that 'devised performance emphasises participatory working methods, it has often been regarded as an effective and flexible way to move from the individualism of autobiographical narratives to more collective forms of community participation and social identification.' (Pg 73). This social identification is very important to these students because they want to be recognised in society. Society has already placed a label on them base on their academic level. But then how can the society despise them because of their academic level? They may be excellent in other areas such as the aesthetics. Drama can help them identify their responsibilities and participation in community building. This devised performance, 'Nian', is a great way to build up their confidence because they have a stake or a part to play. They then begin to realise their importance in building and performing this play. They shift their thinking of 'unworthiness' to 'I am valuable in this "naming" of the world' (as what Freire mentioned, 1970, Pg 70)  When they succeed, they feel a sense of achievement and success and begin to look back and appreciate their hard work. Therefore, they shift from their own personal life and invest their talents in community building.

Old Man (Vernon)

The Princess (Qian Qian)

Old Woman (Eng Nie)

During the performance I was also involved in doing makeup for the students. I am really privilege to be able to put makeup for them because it was an intimate time where I am so close up to their face. At first it was quite awkward to be so upfront in their face but I enjoyed it because I get to talk and joke to them without any barrier between us.

Collaboration between JYSS and us

Terms and conditions for us to set – Should Mr Chen be allowed into the room? Because it may interrupt the funness that we have in class. We may feel the space violated. When I was the cameraman for week 3, Bryan was feeling uneasy that I was taking photos of them. What more of a human being's presence there in the class? Mr Chen may want to come in at some point of time to check on the class. Probably one of the facilitators could contact and update Mr Chen on the status of the class after each session. Otherwise, the presence of a teacher may just cause a hindrance in their learning.

Their expectations of us, Vice versa. Do they expect us to do something for them? Probably, we are expected to do a very grand and ornamented performance such as having alot of props, having very nice music background etc. However, drama performance is not just about these elements. These elements are there to create effects and are not must-haves in a performance. I find that our 'Nian' were the most simple play out of the three but our play is as strong as the rest and very tight even though we did not use any fancy props or background music. We definitely do expect them to do things that they should do. For example, shuttering buses from school to Jurong West Regional Library or providing food, etc. One thing that we expected them to do but rather quite absentmindedly did not do was to book venues for us to rehearse. They are quite late in their booking of rooms and timing.

We need to set terms and conditions so that we can follow the guidelines without stepping onto each other's toes. We also know what to expect from each other through the conditions. However, what are the parameters to student's learning? Will these terms and conditions build a parameter to the students' learning? Probably we can set certain rules and conditions such as simple housekeeping rules. Some other matters we can always negotiate it out.

Bibliography

  Freire, P. (1970) The Pedagogy of the Oppressed. England: Penguin group

  Govan, E., Nicholson, H. & Normington, K. (2007) Making a Performance: Devising Histories and Contemporary Practices. London & New York: Routledge.

Reflection Journal 8 (14/10/12)

Lesson 8

We gathered on the 12/10/12 to discuss on the schedule, timings, goods claims, performance dates, logistics, props and whether we are meeting next Friday. The reason for meeting is to get the stuff settled and finalize everything. It is important because we meet face to face to discuss, so there will be no miscommunication. It is also faster that we discuss it face to face in a group rather than relying on messages or texts to relay the messages. If we did not come together, there might be confusion because it has been two weeks since we have seen the kids and the performance for the library is just a week away.

Roles

I volunteered for my group to be the one who will collect the receipts and pass them to Miss Angela. Though it is a minor role, but I feel that all minor roles are important as we work as a group. Every role is important, no matter big or small, so that it can be successful. Take the human body as an analogy; if we were to take away the small intestines, the human body cannot function because the minerals and vitamins are not absorbed into the body, the body will become weak.

Even in the Christian setting, the bible says in 1 Corinthians 12:12:

12 The body is a unit, though it is made up of many parts; and though all its parts are many, they form one body. So it is with Christ.

So no matter big or small, we all play a part.

It is the same for the analogy of roles in student’s performances. Some students may feel that their parts or verses are short, so they feel unimportant. And when they feel that way, they do not take it seriously. We, as facilitators, must then emphasize the importance of minor roles and explain it to them, using the ‘What if’’.Eg. what if the villagers are not there? It helps them to think the consequences, the cause and effect, instead of dismissing themselves as unimportant. That is why we had every student in our script to say a few lines. There were equal lines distributed among the students and so that the students have the chance to explore and experience the ‘limelight’ when it comes to their turn to speak.

Use of Props?

For the props wise, we feel that we do not need much props because it might distract the audience. We want to keep it simple also for the kids because it is their first time doing a real drama performance with live audience. We decided that simplicity is the basis so that they don’t have to think what to wear or what to do next with their costumes and props. Sometimes props and costumes may cause us to feel confused too. But we do still use simple props such as sword for the warrior, etc. Ahmad, Joanne and I decided how our performance was raw and it was good. We decide our performance to be raw is also because our students were weak in memorizing their lines and doing too much prop acting. Therefore, we emphasized on Theatrical, dramatic movements that requires alot of our bodies, movements and gestures to be in character.

Next week is a very hectic week for performances and practices with the kids. The practices are set according to how they are doing. Two practices before the performance is a must because we need to finish up the last part of the script and have a dry run of the performance. A dry run builds faith, confidence and encouragement as they go through the sequence and process.

props: Umbrella, kompang, chopsticks, pots and pans, walking stick, iron man mask