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is worthwhile utilising (auto)biographical texts, photographs and pictures, research reports, novels or short stories, and existing films and videos. 19 The story (the pretext) functions as a starting point to a process that the teacher activates together with the students. When inventing the story, the teacher should remember that drama always needs tension. This means being aware of the need to create tensions; otherwise challenging episodes, even chaos, might follow. 20 The role of the teacher in a drama process is to operate as initiator and facilitator; to guide the whole learning process and to construct the settings, including the provision of appropriate materials and objects that will inspire students (pretexts, documents, archival materials and symbols). Planning a process drama is time-consuming, more so than planning lecture-orientated teaching. After each period or scene, there should be an opportunity to discuss what has been experienced. The process must be evaluated with the students; this is the only means of getting a drama to work and of developing it. In the course of the evaluation, the discussion about gender may well turn to the present day, examining what has been achieved in learning about gender. An example of a process drama: “Anna, a female pioneer in social work (in the 1930s)” • Target group: Social work students • Size of the group: 15–20 persons • Theme: Gender in social work, history of social work • Possible thematic questions: What does gender mean in social work? How has gender become a factor in social work? What are the historical meaning and processes of gender in social work? • Material: Various materials of female pioneers (fictive or nonfictive) of social work, including pictures, photographs, scraps, chapters of books, articles, statistics and archival material. One should also consider whether materials, symbols or objects are needed in staging and defining the space. 19 Tips for searching stimuli for conducting drama, for example, Rob Hardy, “Doing Good and Winning Love: Social Work and Fictional Autobiographies by Charles Dickens and John Stroud.” British Journal of Social Work 35, no. 2, (2005): 207−220, and Colin C. Irvine, ed. Teaching the Novel Across the Curriculum: A Handbook for Educators. (Westport: Greenwood Press, 2008), and Jenifer Jasinski Schneider et al., ed., Process Drama and Multiple Literacies. Addressing Social, Cultural, and Ethical Issues (Portsmouth: Heinemann, 2006). 20 Bowell, Heap 2001. 52
• Orientatation, warming up Episode 1 Discussion in small groups: Starting with questions concerning the present day: In small groups, students should discuss one of the following: “Today, we live in a gender-equal world in social work” OR “Today, we do not live in a genderequal world in social work”. Episode 2 Still images: Based on the discussion and in the same small groups, students should create still images that represent their opinions in the discussion. The images are then presented, giving rise to thoughts and new questions. • An introduction to the theme Episode 3 Drama contract (always needed): Create the contract together with the group. The working principles are discussed and agreed upon, it is necessary to explore what the group regards as essential and important in the working process. Creating and sustaining a safe and inclusive atmosphere is essential throughout the working process. A short introduction to process drama (if the working method is unknown to students) Episode 4 Reading of historical material related to the female pioneers of social work, in small groups: biographical material, articles, photographs and research. Episode 5 Mantle of the expert. Working in the same small groups, students become reporters, whose task is to reconstruct a short profile of the social work pioneer (based on the material provided). Profiles should be presented as a poster or a feature story. Media reports: The teacher holds a press conference, where posters or stories are presented to participants. • Exploring the conflict and intensifying it Episode 6 Small-group play-making (improvisation): One of the created profiles is chosen, which means that the main character is now invented. We use the name “Anna” for her. Working in small groups, students are asked to create short improvisational 53
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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 and 52: their ability to empathise. All thi
Page 53: fictive or non-fictive materials, i
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
Page 105 and 106:
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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