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The aim is to alternate between the fictive and the real world and, by means of reflection, to find new meanings and resonance around the theme under examination. Distancing promotes critical reflection during and after the working session. 16 The following general phases have been defined in a drama process, but they are not obligatory; 17 1. The first phase: the start (orientation and warming up, animating participants); 2. The second phase: an introduction to the theme under examination (learning about the background); 3. The third phase: exploring the conflict and intensifying it (the main problem related to the theme is explored and intensified); 4. The fourth phase: deepening (empathising with and inquiring into the background and different perspectives of the theme under examination); 5. The fifth phase: closing a plot level (the narrative level of the theme is closed in order to move on to a more general and abstract level); 6. The sixth phase: abstracting (processing the theme at a symbolic and /or artistic level); 7. The seventh phase: reflection and feedback (processing feelings, thoughts and new ideas). Although process drama does not require a manuscript, it usually needs pretexts or some other stimulus (photographs or films, for instance), which help people to focus on the topic and provide a particular point of departure for the working session. The main function of the pretext is to stimulate and offer a framework for the whole working process. The pretext can be, for example, a short story written by the teacher or by students, or a text copied from existing 16 Barbara Bowell and Brian S. Heap, Planning Process Drama. (London: David Fulton, 2001), and Hannu Heikkinen and Tuija Leena Viirret, Draamakasvatuksen teillä: tutkimus TIE (Theatre-In-Education) -projektista. (Jyväskylä: Jyväskylän yliopisto, 2003) and O’Neill, 1995. 17 Pirjo Kanerva and Viivi Viranko, Aplodeja etsijöille. Näkökulmia draamaan sekä taidekasvatuksena että opetusmenetelmänä. (Helsinki: Laatusana, Äidinkielen opettajain liitto, 1997), 144−5. 50
fictive or non-fictive materials, including (auto)biographical texts, real stories, scraps, novels and short stories, fairytales, or play scripts. The teacher, who is responsible for navigating the process, should decide whether to adhere strictly to the pretext or use it mainly as a stimulus at the outset. Jonothan Neelands 18 divides the drama conventions (or working methods) into four categories. The first is the context-building action, which means finding and making contexts (time, place and people), symbols and themes for the work. Some examples are role-on-the-wall, collective drawing, and the use of diaries and letters or other fictive or non-fictive material, journals and magazines and still images. The second convention is narrative action, which introduces or develops a plot and allows learners to test out their assumptions and speculations about the narrative through dramatic involvement. Some examples are mantle of the expert, meetings, hot-seating and teacher-in-role. The third convention is poetic action, which refers to conventions that are helpful in bringing a fresh perspective to work in opening up an alternative channel of communication that functions at the level of symbolic interpretation, and in increasing emotional involvement. Some examples are small group play-making (improvisation), forum-theatre, rituals, ceremony, mimed activity and caption-making. The final convention is reflective action; this consists of reviewing and reflecting meanings and issues that have arisen during the process and commenting on actions experienced collectively. Some examples are marking the moment, moment of truth and voices in the head. An Example of a Process Drama Examining Gender in Social Work History After reading the selected writing on gender and becoming conscious of historical research, the teacher can begin to create a fictive or real story about a female pioneer social worker. In our case, the story could relate to an upperclass philanthropic activist, a poor house manager at the end of the nineteenth century or a young female social worker in a male-dominated social welfare organization in the 1930s (just to give a few examples). As an inspiration it 18 Neelands, 1990. 51
Page 1: Teaching Gender in Social Work Teac
Page 4 and 5: © Alice Salomon Archive der ASFH B
Page 6 and 7: Visual intervention: research for s
Page 8 and 9: LIST OF TABLES Gender division at m
Page 11 and 12: Introduction Vesna Leskošek The bo
Page 13 and 14: • Working with the poor and peopl
Page 15: especially valuable when seeking to
Page 18 and 19: le is aimed mostly at educators, es
Page 20 and 21: ween’ reflect the majority view w
Page 22 and 23: with each perspective in order to a
Page 24 and 25: 6. Do you think there was a need to
Page 26 and 27: provide another way in which to bro
Page 28 and 29: wherein the majority of students an
Page 30 and 31: mothers, but she definitely believe
Page 32 and 33: c) from a history of the present pe
Page 34 and 35: alongside, and not above or below,
Page 37 and 38: The Roots of the Social Work Profes
Page 39 and 40: Our aim is to make history and the
Page 41 and 42: for teaching gender from a historic
Page 43 and 44: loyalty and duty, the new one requi
Page 45 and 46: The Feminisation of Poor Relief At
Page 47 and 48: and mother. Even the ever well-info
Page 49 and 50: As an example of what it meant for
Page 51: their ability to empathise. All thi
Page 55 and 56: • Orientatation, warming up Episo
Page 57 and 58: Conscience alley /teacher-in-role:
Page 59 and 60: 3. Ask your students to visit a loc
Page 61 and 62: Visual Sources in Teaching History
Page 63 and 64: In addition to this, the interpreta
Page 65 and 66: We have used these ideas in classes
Page 67 and 68: Visualisation of concepts: • Stud
Page 69 and 70: students express their expectations
Page 71 and 72: We have used the mapping technique
Page 73 and 74: Some authors employ visual particip
Page 75 and 76: Social work educators may develop t
Page 77 and 78: Visual methods for social reforms:
Page 79 and 80: One of the few women among the famo
Page 81 and 82: We were inspired by this idea and r
Page 83 and 84: Jo Spence (1934 - 1992) was a Briti
Page 85 and 86: The most effective application of t
Page 87 and 88: Huss, Ephrat, and Julie Cwikel. “
Page 89 and 90: PART II - TEACHING WITH HISTORY: US
Page 91 and 92: Wave of Feminism. Reclaiming the po
Page 93 and 94: Toleration of domestic violence was
Page 95 and 96: • Can they share stories from the
Page 97 and 98: When speaking of mass deaths in Slo
Page 99 and 100: girls were exposed in many ways to
Page 101 and 102: public sphere. Those belonging to t
Page 103 and 104:
Many services and professions are c
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of various nations or ethnic groups
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Scott, Wallach Joan. Gender and the
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Teaching Gender Through Diagnosis i
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other organs 3 and later as an illn
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Instructions for a case study Altho
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In addition, Savnik draws attention
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in Europe was a “family wage”,
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Many documents report a high number
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a “health police” in Lombardy a
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control, while the latter can be cu
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narration. Women’s stories were p
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Vari, Sandor. The case study of Ilm
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From Visiting Ladies Towards Munici
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the modernization process and inclu
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tions. These were the generations t
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to bring sick people to hospitals o
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As we can see, the aim of Bojana Ch
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In the 1930s female teachers and ad
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must save them from getting enraged
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Questions for students: 1. What was
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We conclude with a final set of que
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Human Reproduction Issues in Social
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that reproductive decisions are of
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ate. Natalist policies may be intro
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was that a child, due to one or bot
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and retrieval of egg or sperm, fert
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citizens have achieved so much, the
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Case Study Two: Cultural Difference
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Spektorowski, Alaberto, and Elisabe
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PART III - TEACHING MATERIAL A Phot
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The album consists of two parts, th
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On the following page we see a phot
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Figure 1. Photo album of Alice Salo
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Figure 4. Alice Salomon, 1899, Phot
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Figure 9. Margarete Treuge and Lili
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Figure 21. The Soziale Frauenschule
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Part 2: Ausbildungsstätten - Insti
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Figure 31. Die Wohlfahrtsstelle des
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Figure 36. Service for mentally han
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The second part of the album is hea
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Römer-Gobbin, who wrote about the
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This may be a starting point for di
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Salomon and Beatrice Webb, for exam
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References Addams, Jane. Twenty yea
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NOTES ON CONTRIBUTORS Dr. Adriane F
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Teaching with Gender How can educat
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