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Policy Paper - Drama Improves Lisbon Key Competences in Education

Policy Paper - Drama Improves Lisbon Key Competences in Education

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as an important curriculum area varies from country to country. In the present project we<br />

have put our work under the scientific microscope. The results show <strong>in</strong> a significant way<br />

that educational theatre and drama improves the <strong>Lisbon</strong> key competences of – and more.<br />

Now it is the turn of educational and cultural leaders and policy-makers to make use of<br />

the resource that educational theatre and drama represents.<br />

Europe 2020, Europe’s current lead<strong>in</strong>g long-term strategy also specifies what national<br />

governments need to do to strengthen fields such as educational theatre and drama,<br />

under the responsibilities of the Member States:<br />

Flagship Initiative: “Youth on the move”<br />

Brief recommendations follow, first for all actors <strong>in</strong> educational and cultural policy, then<br />

specifically for EU-level leaders and national / local leaders.<br />

C.1. General recommendations for national and<br />

local authorities<br />

At national level, Member States will need:<br />

• To ensure efficient <strong>in</strong>vestment <strong>in</strong> education and tra<strong>in</strong><strong>in</strong>g systems at all levels<br />

(pre-school to tertiary);<br />

• To improve educational outcomes, address<strong>in</strong>g each segment (pre-school,<br />

primary, secondary, vocational and tertiary) with<strong>in</strong> an <strong>in</strong>tegrated approach,<br />

encompass<strong>in</strong>g key competences and aim<strong>in</strong>g at reduc<strong>in</strong>g early school leav<strong>in</strong>g;<br />

Flagship Initiative: “An agenda for new skills and new jobs”<br />

“<br />

I know it’s a bit naïve, but I still <strong>in</strong>tend to<br />

create a better world by means of drama<br />

and theatre.<br />

Ines Škuflić-Horvat,<br />

drama teacher, Croatia<br />

At national level, Member States will need:<br />

• To ensure that the competences required to engage <strong>in</strong> further learn<strong>in</strong>g and the<br />

labour market are acquired and recognised throughout general, vocational,<br />

higher and adult education, <strong>in</strong>clud<strong>in</strong>g non formal and <strong>in</strong>formal learn<strong>in</strong>g;<br />

Recommendations<br />

Objective: to develop a conscious strategy<br />

on the application of educational theatre<br />

and drama. To support the expansion and<br />

improvement of educational theatre and<br />

drama by legal and f<strong>in</strong>ancial means.<br />

Descriptive statistics (chapter B.0.) showed<br />

that 84 % of the measured programmes were<br />

organised for students of public schools, whereas<br />

educational theatre and drama is part of the curriculum <strong>in</strong> only<br />

19 % of all cases. This means that 65 % of the measured 111 educational theatre and<br />

drama programmes have been tak<strong>in</strong>g place <strong>in</strong> public schools, but as an extra-curricular<br />

activity, a result of the enthusiasm of educational theatre and drama experts, teachers<br />

and external grants <strong>in</strong> most cases.<br />

Today, the benefits of educational theatre and drama are not exploited consciously <strong>in</strong><br />

most European countries. It is the responsibility of the national and local m<strong>in</strong>istries to<br />

<strong>in</strong>troduce educational theatre and drama <strong>in</strong>to the school curricula and tertiary education,<br />

and to provide all the necessary legal and f<strong>in</strong>ancial support for its expansion and<br />

improvement.<br />

Our recommendations for national / local authorities cover three areas: the school<br />

system, tertiary education and fund<strong>in</strong>g & legislation.<br />

“<br />

“<br />

I am a pupil at Kjøkkelvik school and we are tak<strong>in</strong>g part <strong>in</strong> a project called<br />

”DICE”. One hour a week, we are us<strong>in</strong>g other methods of learn<strong>in</strong>g, and<br />

<strong>in</strong>stead of hav<strong>in</strong>g so much theory, we work with stuff orally, so that we learn<br />

how to express ourselves. We learn more because it is more fun than sitt<strong>in</strong>g<br />

beh<strong>in</strong>d a desk and writ<strong>in</strong>g. Perhaps we could have it like this permanently,<br />

once a week?<br />

Cel<strong>in</strong>e Eriksen, Norwegian student, 14 years old - Letter to the editor,<br />

Bergens Tidende, Monday February 15 th , 2010<br />

I th<strong>in</strong>k the project significantly contributed to pupils’ openness, helped them<br />

to improve their self-expression skills (not just the verbal, but the non-verbal<br />

communication too). In comparison with the pupils from other classes, the<br />

participants of the project easily dist<strong>in</strong>guish themselves because of the<br />

eas<strong>in</strong>ess of communication (with other pupils, with the teachers), because<br />

of their assertiveness and <strong>in</strong>itiative regard<strong>in</strong>g extra-curricular projects.<br />

Introduc<strong>in</strong>g a drama course <strong>in</strong>to the national curriculum would be beneficial.<br />

Liliana Zaschievici, Head teacher, Bucharest, Romania<br />

Recommendations<br />

98<br />

99

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