Elaine Browne.pdf - Nelson Mandela Metropolitan University

and satisfaction, and unconditional acceptance in a supportive environment (Van Papendorp &
Friedman 1997, 8). In essence, a competent dance teacher will enable the learners to unite
their mind, body, emotions and spirit during dance activities.
Fleming (1997, 3), an expert in drama education, highlights the multifaceted nature of drama
teaching, arguing that “the term ’competence’ might be more appropriate to embrace the
complex forms of knowledge and understanding which are needed in making and responding to
drama”. Fleming holds that drama education for younger children should not be regarded
merely as ‘child play’. The teacher also fulfils the role of a ‘playwright’, who orchestrates the
work and intervenes when necessary (1997, 4).
Nicholson (2000, 9) argues that a competent drama teacher will see drama activities as learning
opportunities. Hence, this teacher will facilitate creative, critical and lively engagement with
ideas and practices. Nicholson (2000, 19) believes that when learners enter the drama
classroom, they must be “lured into the drama world”. Drama education requires teachers and
learners to work together with “craft and skill” (Nicholson 2000, 19). According to Baldwin
(2008, 5, 20) and Nicholson (2000, 160) a competent drama teacher will be able to use drama
activities to promote the learners’ learning, confidence, self‐esteem, and creative and critical
thinking. In order to do so, this teacher will know how to use drama crafts and conventions
such as role‐play, hot‐seating, miming, acting, one‐act plays and so forth. Ultimately, the
competent drama teacher will utilise drama activities in the classroom to help learners to
assume their social and cultural role in society in relation to others. Teamwork, critical and
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