1. How To Engage Reluctant And Resistant Students Into The VCE Ensemble
A discussion on types of students that can disrupt the classroom and strategies to ensure participation
Peter Anstee
Kiera Wise
Curtis Sanderson
Hello all. My name is Peter Anstee and I am a drama and media teacher at a school in the Northern suburbs. I would like to introduce two of my graduating year 12 students who both have different experiences in drama, one is a performer and the other is more interested in working back stage. Please welcome Kiera Wise and Curtis Sanderson.
I would like to preface this presentation by saying that it is not a complete answer and that it is a snapshot of what happens in many drama classrooms. This is not a theory based presentation using academic models and inferences, this is based on real experience and in gathering data from the participants in the Drama classroom.
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2. Definition What is reluctance? What is resistance?
Feeling or showing doubt about doing something : not willing or eager to do something
What is resistance?
So what is reluctance and what is resistance and why do they exist in an elective classroom, well hopefully we can answer that in the coming minutes
The refusal to accept or comply with something
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3. Identify 5 Types of students that can be resistant and/or reluctant
The Shadow
The Me
The Buddies
The Outcast
We have identified 5 types of student that can show signs of resistance and reluctance. I would like to point out that these are types and not specific students because a student can exhibit a number of these types throughout their time in class.
The Boss
We have avoided the shy, the overly self conscious or the bludger.
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4. The Shadow Key Characteristics Key Behavior Indicators Shy Withdrawn
Embarrasses easily
Key Behavior Indicators
Sits in the corner
Separates themselves from others
Tries to hide (never answers questions or volunteers information)
Never looks anybody in the eye
Find ways to get out of inclusive work
Hides in the shadows
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5. The Me Key Characteristics Key Behavior Indicators Overly confident
Seeks approval and affirmation constantly
Arrogant
Attention seeking
Key Behavior Indicators
Louder than anyone else
Always questions (even though they know the answer)
Belittles others
Always critiquing and not always constructive
Know it all
No friends
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6. The Buddies Key Characteristics Key Behavior Indicators
Disruptive (indirect talking)
Only confident when working with others
Provides a boost both positively and negatively with reactions
Key Behavior Indicators
Talking when others are working and when silence is required
Never paying attention (or need to constantly call for it)
Always laughing, jovial with others but can isolate themselves if no buddy is present
Will work only in pairs or groups sharing everything books, pens etc
Never socialises with class only with members of their group
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7. The Outcast Key Characteristics Key Behavior Indicators Opinionated
Needs to be right even if there is no argument
Needs praise –insecurity
Suffered from bullying
Bit of a victim
Key Behavior Indicators
Clinginess to people who show approval
Takes everything personally and cannot perform if under scrutiny
Too afraid to look stupid so sets themselves up to fail
Cannot take judgment even though they know it can be helpful
Never wants to be alone and always wants to know what his friends are doing
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8. The Boss Key Characteristics Key Behavior Indicators Patronising
See themselves as better than anyone else
Hypochondriac
Key Behavior Indicators
Always avoids work and has a variety of excuses (works harder to avoid than to participate)
Answers students questions that were specifically asked to the teacher
They choose whether to be in the spotlight or shadow regardless of instruction
Tells other students how to do everything
Never seems to be able to fit into a group
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9. How disruption manifests
Triggers
Teacher instruction
Group work
Interruption (outside forces)
Domino effect
Cause and effect – the spread
Traction – the spread
If you allow one type traction of misbehavior then it spreads to others
TEACHER INSTRUCTION - When teachers deliver an instruction that students must work on their own and trying to get students to think for themselves – this spreads the teachers focus and attention (more one on one) which allows students the space to drift and to not participate as they are no longer being observed. - Reward and contract- one way that I have found that works is that students when working on their own or in pairs can buy time. For instance if students can show that they have achieved the intention and outcome of that lesson on their own initiative then they may receive 5,10 minutes allowing them to leave earlier and so on.
GROUP WORK– If students form their own groups it can presents problems because certain types of students will seek likewise students and that has the potential to affirm any negative behaviours for instance when you have buddies and the shadow together no work will be accomplished. It is valid then for the teacher to create and determine the groups with an eye to maximise productivity.
INTERRUPTION – Drama is incredibly in the moment therefore it is easy to destabilize concentration, for instance a lengthy announcement over the PA, another student or teacher entering the classroom, delays in using technology and in setting up presentations. These things happen so what do you do – You need to reset the class. Find a game that can focus all students in a short period of time game should last no more than a minute or so for instance BANG or ZIP ZAP BOING run at triple speed.
DOMINO EFFECT – This can reveal itself in a number of ways one of the most common is when a student pulls out a phone and is not challenged straight away and then others follow suit – If you miss the student that initially pulls out the phone there are a number of strategies to remedy this, the use of silence can work as students then will police the class but this only really works if your students feel they are respected and valued another strategy is to weave the aberrant behavior ( the using of a phone etc) into an activity for instance the student(s) that use the phone have to create a small impro scene – this has the effect of making the students realise they could be singled out and identified and would have to do further work.
CAUSE and EFFECT – The ME overly confident and seeking affirmation acts out to draw attention to themselves so they can feel better about themselves, validation. The me often distracts the Buddies who in general can lack a focus, they are already not focused but become drawn in by the Me’s actions and as they are bolstered by being in a pair or a group also fight for attention sometimes positively and sometimes negatively this has a knock on effect as the shadow does not know where to look so turns to the Me who is acting out and becomes distracted because they don’t know what to do of course by now the outcasts who are already opinionated form and respond to the Me and the general disruption further adding to the mayhem then the boss tries to bring every one together but of course they often use language and gestures that can impact on other students further reinforcing the disruption and now the entire class is of track and no one is talking about drama anymore. The ensemble is a complex beast and you cannot afford to waste precious time and if this behaviour becomes a pattern then you and your students will be struggling to fulfill any outcome. – So nip it in the bud, if different types start clashing, call silence, and change the energy, play dead fish or statue or some game or activity that requires students to be silent.
TRACTION – basically If you allow one type of disruptive behaviour then you have the possibility that misbehavior can spread. A lot of aberrant behaviour is almost viral in its tendency and has the potential to infect others to the point where you can lose a class. It is important to ensure that any behaviour that you deem disruptive is confronted as soon as possible.
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10. CASE STUDY MIKE Primary response (first few weeks of class)
Secondary response (four weeks in)
Tertiary response (seven weeks in)
Quatemary response (ten weeks in)
Quinary response (twelve weeks in)
Mike is a student that showed a range of characteristics across different types at different times over the semester.
He first presented with a number of characteristics for instance constantly laughing, referring to external events not relevant to the class, would only associate with one or two others in the class, drifted away from being on track and was easily distracted he was a BUDDY and then due to certain factors was alienated from his support group and became an OUTCAST this meant that he withdrew, became isolated and because his identity was challenged he became hostile and aggressive which was not a reflection of him. this lasted a short while because the reaction to him from the others isolated him further turning him into the SHADOW he then totally closed himself off, never laughed, avoided class, sat in corner alone always had an excuse to not participate or contribute to the ensemble group. Again This did not last long as it was affecting his efficacy and both teacher and other students were not allowing him to hide or not work so he transformed into the ME this meant he started demanded attention whether it was directly related to the ensemble work or not, he was arrogant always talking over others and was able to manipulate conversations so he would receive attention but all the time he remained in control this did have one positive effect and that is that Mike came to realize (with input from teacher and classmates) that being an active and responsible member of the group. Factors that worked to engage and get Mike on track to be a committed member of the ensemble group was due to recognition of the stages that Mike was in at various times and providing the right kind of support during those times, it could be positive reinforcement, stern conversations, one on one discussions, constant and in-depth feedback and constructive criticisms pointing out both positive and negative aspects of his work and behaviour that lets him know that he is being observed and is part of the class. The AITSL standard know your students is key to this,
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11. Overview of inclusive strategies
Familiarity
Things that students recognise
Games that they know
Written task
Efficacy
Secret letter
Progress timeline
Scaffolded physical development
So now we talk to some strategies that can help in dealing with the problems and negative characteristics of students that will support you in managing reluctance and resistance.
Efficacy Secret letter – have the students write a letter to themselves at the start asking them to put in their fears and doubts and what they want to achieve during the semester – hand them back after the ensemble performance.
Focus on what they have achieved, have key moments when you stop and address the class as a whole about what has been achieved.
Physical development – spend time on physical development, breathing exercises, vocal skills, use of body, gestures etc – this allows students to actually see their progress and can apply it to their work
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12. Overview of inclusive strategies
Always on drama
Hand over responsibility
Allocate roles with fixed outcomes
Always start with a game
FOCUS
Ensure that you are always on drama during classtime, do not allow yourself to be distracted and consequently ensure your students stay on topic
- Don’t be afraid to hand over responsibility have students run a game or a workshop get them to research a style of drama/theatre and get them to present and run the class
Don’t allow students the space to drift allocate roles and make sure there is some work to be completed so you can measure what they do
Games are important to get energy flowing, reset the class,
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13. Overview of non-inclusive strategies
Recognition and Understanding
Always remember that your students are human
Safe place/supportive environment
Time out space
Talking on a deeper level
Recognition
There are always external things at play with students that you have no idea.
Safe place – needs structure and policy it is not a hang out place rules must be adhered too
Have an area where students can retire too when they are emotional effected whether by work in class or from external variables
Deeper level – find a way 1on1 to connect on a deeper level, emotional recognition, don’t punish but converse
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14. Games BANG PARTY GAME HONEY I LOVE YOU FOLLOW THE LEADER
Games are a personal preference but it is important to connect them with content and to have a specified goal. At the start of the year the teacher runs games and then asks us why we did that particular game and how is it linked to development of our outcome whether that is working as a group or developing a skill and so on. We have identified four traditional games that can support critical aspects of ensemble development.
BANG – This is a focus game that requires students to not only be aware of themselves but of others. It can be used to reset the class when the class is going off topic and of course can be loud and fun. One of the limitations is that people can opt out so it is important to run this game at speed and to do it just once.
PARTY GAME – You have a host of a party and everyone is outside and given a stereotype they then enter the party and must perform key elements of that stereotype – this game is great because you can build layers into it, giving students an emotional focus, you can create barriers that they must overcome and so on. It is inclusive and no-one can hide. The teacher can then call a freeze and highlight one or two students to help convey to the others what is considered best practice.
HONEY I LOVE YOU WHY DON’T’ YOU GIVE ME A SMILE – A favourite in the classroom again very inclusive and has a contagion effect as once students, especially the resistance and reluctant one see how it works, they tend to join in without having to prompt them. Also good way to reset the class if they have moved off track. You can run this for as long or short as needed.
FOLLOW THE LEADER – a game where one student stands in the centre of a circle to guess who the initiator of the circles movements are, is purely about concentration. Students have no time to think of other non related things as they all play an important part, the initiator must make subtle changes to each movement, the ‘detective’ has to focus hard on guessing whilst the rest of the ‘followers’ have to keep an eye on both. This makes students feel important, work together as a team and feel apart of the class.
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15. Activities HOTSEATING PICK UP CARDS PASS THE PARCEL KEEPSY UPPY
HOT SEATING- This helps the students to identify key characteristics and background information about their subscribed character whilst other students fire questions out much like an interviewer/reporter would.
PICKING UP CARDS – This involves a number of coloured cards on the floor, (with words written underneath) students pick one colour that is a stereotype and work at being able to convey that stereotype through freeze frames then they pick a different colour which is an instruction now you can layer the performance with sound and movement and then they select a card attributing an emotion or a problem being drunk etc and you build in a certain number of words. You can keep this going so students are slowly building and devising character. Picking up cards is an activity in which students can practice improvisation. This also helps students to recognise certain gestures and physical skills.
PASS THE PARCEL –, is an activity where a group of students stand in a circle and pass along back and forth a certain object behind their back whilst the student in the centre has to guess where the object is. This requires students to keep a straight face, or for strategy sake, they can deceive the student in the centre by laughing, smiling and playing coy…etc. This helps students understand their classmates whilst they work as a team.
KEEPSY UPPY- Keeping the ball up is very familiar to most students as they would have played it, perhaps with a balloon, beforehand. The goal is to not let the ball touch the ground and studnets must call out the number each time it is touched. You can set goals that students must reach, 50 touches, 100 touches etc. This simple activity involves team work and focus. It has an aspect of competitive nature but it essentially helps to understand and distinguish the types of students.
BAMBOO STICK - The bamboo stick activity involves the class lowering a piece of bamboo with only one finger. This requires the class to work together and understanding the responsibility of teamwork in order to complete the task.
BAMBOO STICK
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16. Conclusion Student self-efficacy Feedback Physical Development
Brainstorming, researching and working with stimulus development
We have identified 4 key factors that will support students into the ensemble practice
Student self-efficacy – Students need to believe in their own ability to complete tasks, work collaboratively and to reach goals so positive reinforcement and creating a safe learning area. Don’t give up on them or they will give up on themselves if they know you are pushing and caring they will strife to achieve.
Feedback – It is essential that students know where they are on a continuum and know what they need to do to progress – so critical feedback is necessary. Drill down to what is seen and what is needed keep it on skills and not on effort.
Physical development – make sure you teach a lot of physical skills, breathing, how to project voice, how to use the body, hand gestures, exaggerated movement. Make the students understand the visceral approach to performanc erather than the intellectual one so using mime, pantomime, commedia and dance Barrault’s total theatre can support development in these areas.
Brainstorming – It is not effective to just give students stimulus material herd them into groups and just let them get into it. You need to scaffold how brainstorming works and what it can achieve, you need to ensure students know how to research and how to edit what they need to create a working piece of work. And they also need guidance in working with stimulus, how to break things down into component parts to recognise what is valid and what is not. The goal is to create students with a high degree of emotional intelligence so that they can become explicit in the ensemble process and they can work within a group to effectively devise an ensemble piece.
Emotional intelligence - the capacity to be aware of, control, and express one's emotions, and to handle interpersonal relationships judiciously and empathetically.
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17. Questions
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