ISTA's Scene Magazine - The Drama Journal: The breathings of your… - June 2022

The drama journal : ‘ the breathings of your heart ’

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Patron and Global Partner Schools

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Patron Professor Jonothan Neelands National Teaching Fellow, Chair of Drama and Theatre Education in the Institute of Education and Chair of Creative Education in the Warwick Business School (WBS) at the University of Warwick.

Global partners Atlanta International School, USA Artist Residency Thailand, Prem Dulwich College, Singapore International School of Phnom

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Penh, Cambodia ISTA Performing Arts Academy, Hong Kong Near West, China St Julians School, Portugal

Scene Editor Helen Abbott Artwork Melissa Carne © International Schools Theatre Association (ISTA) 2021-2022 ISTA and its editors accept no liability for the views, opinions and advice contained in this journal. The editors reserve the right to edit any materials submitted for publication.

ISTA contact information International Schools Theatre Association (ISTA), Lakeside Offices, The Old Cattle Market, Coronation Park, Helston, Cornwall TR13 0SR United Kingdom office@ista.co.uk

Contents 3 Editorial 5 7

The Adventures of Teaching the Theatre Journal

by Gretchen Nordleaf-Nelson 11

The Journal: Refuge, Receptacle and Play Space

by Dinos Aristidou 16

Radical Candor in Self-Reflections

by Lizzie Hodge 19

The Journal: Finding My Theatre Voice

by Aditi Soni 22

Journaling: Drama, Wellness and Finding Your Path

by Juliette O’Brien 25

Idea Generation, Modification and Development: The ISTA Journal

by Dr. Derek Pigrum 32

5 ways to make journals come alive!

by Keriann O'Rourke 34

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This is our story...

by Daphne Said

Biographies

Editorial ‘Fill your paper with the breathings of your heart.’

William Wordsworth

We are increasingly living in a heavily curated world. Much of what we see, online and in real life, has been chosen, designed and edited. We are frequently engaging with the best version of something or, in many cases, an unrealistic or entirely false projection. We are coaxed into working towards a final product - we delete, we edit, we cut, we sharpen. We attempt to create perfection and then hope that no one digs deeper or finds flaws in our product.

Where then, can we find space to be ourselves. Truly ourselves. With no judgement. A safe space to express our perfect imperfect selves....

For many, this space is a journal.

The art of journaling has been around for centuries. It is known to have a powerful effect, often helping to alleviate the symptoms of anxiety or stress but it can also be used as a tool to help us engage with our creative selves and reflect on our process and development.

For IB theatre, students ‘keep a theatre journal throughout the two-year theatre course which charts their development and their experiences of theatre as a creator, designer, director, performer and spectator.’ I’m sure for many students this is a welcome space to record their thoughts but for others, this may not come naturally at all. But, if given the tools and the right framing, the journal can become a trusted space and prove invaluable in a student’s journey.

This issue offers practical tips and advice on journaling, from starting early and weaving reflection into the primary years to returning to physical

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journals over digital with high school students. Dinos Aristidou shares reflections on his own journaling practice and exercises to help make the process more accessible and enjoyable for students. Lizzie Hodge introduces us to Radical Candour, an approach she uses to reflect on a creative process.

We have an article looking at benefits of wellness journaling and also the voice of a student, Aditi Soni from the International School of Geneva who shares her experience of reflective journaling.

This issue also takes a look back to an article written for Scene in 2006 where Dr Derek Pigrum emphasises the importance and urgency of developing ‘a more sophisticated understanding of journal keeping’.

As always, such a huge thank you to the contributors for this issue. We know that this time of year can be especially busy so really do appreciate the time taken to write for us!

‘Start writing, no matter what.

The water does not flow until the faucet is turned on.’

Louis L’Amour With thanks,

Helen Abbott

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This is our story...

By Daphne Said REFLECTION …isn’t it just for DP Theatre students?!

Of course we, as artists and educators, all know why we carry out a specific warm-up, why we lead an ensemble through a series of exercises to guide them into the discovery phase and at the end of class or a workshop we undoubtedly find that moment of silence. We look back and question why certain moments were special, why

and she finds different ways for the students

some seemed rather flat and we take some ‘notes

to communicate that. Using the emoji stick or

to self’ on how we would run it differently next

colouring sheet or images they are already familiar

time. At this point we also make some interesting

with gives them the confidence to get involved.

discoveries about the group we are working with…

They have the opportunity to pass a comment

Basically we constantly reflect about our work and

verbally or in

we do this because we are perpetual learners with

written form,

a desire to grow, improve and discover new ways of

thus playing

approaching a task.

between the impulsive

But why do some or most of our students find it

reaction after

difficult, especially at the start of the year to apply

a task and

this technique? They look at us with incredulous

the more

faces when we ask them excitedly, to write their

thoughtful one that comes with writing. A

thoughts in their journal, to reflect about this

technique that is being used all the way from

exercise, to highlight their discoveries. Every year I

Grade 2 to Grade 8 is creating one guiding question

used to start with small tasks with my DP 1 theatre

for the students to answer at the end of the class.

class to guide them in their reflections and every

With the older grades, our secondary drama

year I faced a brick wall that tended to dampen the

teacher, Sara, also introduced statements for them

energy rather than, as I envisaged, spark further

to react to and this has been a great way to prepare

explorations and ignite small flames that developed

them for the high school drama classes. It has

into creative work.

encouraged students to respond to stimuli and share their responses and in the process make new

So, as a department we decided to put our heads

connections within the class.

together and start this process earlier! It was being done but in a haphazard way and there were gaps that we needed to address. This is our story: One that we are still developing and fine-tuning but a story that is already leaving a positive impact on our students.

In elementary, as early as PK1, Martina, our highly energetic and creative Drama teacher took on this challenge and implemented a moment of reflection in all her classes! In the earlier years the focus is about how the task ‘Makes You Feel’

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Needless to say, as an ISTA member, I had to invest in the Dinos’ REFLECTION card pack. Though I must confess that I had not made enough use of them until as a team we really committed ourselves to develop these skills within our students. Now, using these cards in so many different ways has become an integral part of the thinking process at so many different moments of the courses we teach. The students are also quick to throw words out to get the group to think about the direction of the piece. I might even dare to say that the cards have become obsolete with the veterans of our classes which to me means that they have Overall this has been an effective way of getting

been highly effective - it is that moment when the

the class to stop and think about what they have

student stops the class and poses a question for

worked on. The trick for this to succeed was

the rest to think about or when you ask the class

consistency. As the year progressed the responses

if they would like to jot down their thoughts and

became deeper and more varied and the students

it just happens… that stillness, that energetic

also gained the confidence to share their thoughts

silence. When you look around and feel that the

and leave their post-it for all to see!

group is truly connected with their work, it gives you great pleasure!

‘I find all of those ways really useful as the kids reflect about their work and the teacher can understand what they think about themselves and know them better.’

M. Pittaro (PK-5 Drama Teacher at VIS) In middle school, this was also useful in getting feedback and has given students the opportunity to recognize what they need to improve on and how they can improve. A great moment this year was when Grade 6 was exploring Comedy. They all thought that this would be an easy unit, that we can all be funny. Through their reflections, the class ended up analysing what is funny and what isn't funny. The conclusion they came to at the end of the unit was that comedy is HARD!

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‘It is that moment when the student stops the class and poses a question for the rest to think about…’

The Adventures of Teaching the Theatre Journal

By Gretchen Nordleaf-Nelson Seven years ago, when I began teaching IB theatre,

Initially, their digital journals were empty. So I soon

I required students to make a personal website

realised I needed to assign journal writing and

as a digital journal. I had my students follow the

carve out time for my students to write. After five

guidelines laid out in the curriculum:

years I thought I had mastered the theatre journal!

The truth was that I truly did not understand or

‘From the beginning of the course, and at regular

appreciate the impact the theatre journal can have

intervals, students at both SL and HL are required to

on a student’s experience in the drama classroom.

maintain a theatre journal. This is the students’ own

My journey in teaching the theatre journal was

record of their two years of study and should

actually just beginning.

be used to record: The adventure begins . . .

Two years ago, while waiting to make copies in • challenges and achievements

our faculty workroom, I picked up an issue of the IB Review and read the article Improving your

• creative ideas

reflection by Dinos Aristidou. The focus of the article was to teach students to think about writing

• critical analysis and experience of live

reflections from different perspectives for different

theatre productions as a spectator

areas of the IBDP program including CAS, the EE and TOK. What I discovered while reading the

• detailed evaluations

article is that reflective writing was actually the type of journaling I wanted my students to

• experiences as a creator, designer,

incorporate into their theatre journals.

director, and performer Preparing for the journey . . .

• feedback I felt I had just been handed a new map for • reflections

teaching the theatre journal but I had no idea how to get from point A (students having ideas,

• research

thoughts, and feelings about their work and experiences in theatre), to point B (students

• responses to work seen

writing authentically in a reflective mode on their ideas, thoughts, and feelings about their work

• responses to diverse starting points

and experiences in theatre). Just like any traveller preparing for a new journey I had to unpack the

• skills acquisition and development’ 1

trunk I’d been using to make room for new ideas and new practices. Through unpacking that trunk I discovered that the journals my students were

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writing were really diaries of their work. They were

who do not want to take that journey. Realising this,

not actually journaling about their work. So, what

it was apparent that I needed to learn new skills to

is the difference between a diary and a journal

be able to teach my students the craft of reflective

you might ask? The Merriam-Webster dictionary

writing and how it would impact their learning.

defines a diary as a record of events, transactions, or observations kept daily or at frequent intervals. It

Learning new techniques to pack in my trunk . . .

defines a journal as a record of experiences, ideas or reflections kept regularly for private use. This was an

I literally did a deep dive into learning more about

‘ah-ha moment’ in my journey.

the concept of reflection and metacognition and what role they play in one’s learning. Through my

The drama journal is truly a reflection journal

research, the workshop on The Art of Reflection

written by the student on their experiences,

with Dinos Aristidou and talking with Jane Fisher on

processes, ideas, and contemplations

teaching reflection in the classroom, I learned:

about theatre.

1) a deeper understanding of reflection and the Let’s talk about student writing for a minute . . .

different types of reflections a student can use to learn.

I’ve been teaching for over 30 years and teaching students to write is an adventure for both teacher

2) strategies for meaningful reflection on learning.

and student. Over the course of the adventure you will have students who truly love to write - these

3) activities on using reflection in an arts practice. 2

are the students who will write about anything and have fun doing it. Then you have the students

Ultimately, when it was explained that reflection

who tell you, ‘writing isn’t really my thing’ and it

is ‘…the bridge between external experiences and

is like pulling teeth to get them to put down two

their internal impact is key to our development as

sentences. Then there are the students who write to

learners and as active global citizens,’ 3 the objective

get the assignment done and check the box. There

of the drama journal for my students became clear.

are other varieties of writers in our classrooms but

So my next step was to design an environment and

those three types make up the largest groups in

communication climate for students to become

my classroom. Yet, when we ask students to write

willing risk-takers to look within themselves, to look

in a drama/theatre journal we want them to be

at their work and then write authentically about

authentic and be willing to disclose their personal

their experiences in the classroom. The days of the

thoughts. Whew, that is a tall order for any teenager

diary entries masquerading as journal entries in my

in today’s post-pandemic world. There are many

class were over.

‘I felt I had just been handed a new map for teaching the theatre journal.’

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So with my new trunk of skills and techniques what does the drama journal look like in my classroom now . . .

• I made the transition at the beginning of

• Students are more comfortable and

the school year to the practice of reflective

more willing to write when provided with

journaling for all. This means that in ALL

a prompt. This way, when a reflection is

my classes (all levels of drama and all

assigned, they learn how to direct their

Language and Lit classes) students write

writing.

reflections.

• I use Jane Fisher’s Journal Teaching Reflection as a regular teaching resource.

• The digital online version of the original form of my class drama journal is in

• I use Making Thinking Visible reflection

limited use.

prompts as a regular practice.

• Journals in my classroom are now called Theatre Reflection Journals.

• Students purchased a physical journal or

So, now it is Spring . . .

I provided them with one.

What is the result of repacking my trunk with • They were given the assignment to make

new skills and teaching practices? The result has

the journal their own by creating a cover

been incredible! My students over the past year

collage or adding original artwork.

began their own journey of learning through their reflections. They are beginning to understand that

• Students handwrite or type or draw their

thinking about their work, how they work, how

reflections. If they need to submit their

they feel about their work and why they make the

journal via Google classroom they write

choices they do in their process are important and

their reflection in their journal, take a photo

should be acknowledged by themselves and by the

and then submit it to Google classroom.

teacher. And, yes, I still have students who write a novella for a five-minute reflection prompt. I have

• I assure students that the only person

students who write two sentences for a reflection

reading their journals is me, the teacher.

at the end of a major project. I have students who

This has created a safe space so students

are dealing with post-pandemic anxiety and the

are willing to be authentic and disclose

fear of not reflecting the right way. Yet, they are

their personal thoughts and revelations.

all reflecting, in some manner, shape or form. This new theatre journal is making a difference in my

• Reflections are written at the beginning of a project, midway through the project, and

students’ experience as learners and with their experience in making theatre.

at the conclusion of the project.

• I have students write reflections at the beginning of class to get them focused on

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IB Theatre Guide - first assessment 2017

Legacy Curriculum

the work of the day.

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• I have students write reflections at the end

Dinos Artistidous - ISTA Workshop

The Art of Reflection Workshop

of class to remember what worked well and what did not.

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Dinos Artistidous - ISTA Workshop

The Art of Reflection Workshop

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The Journal: Refuge, Receptacle and Play Space

By Dinos Aristidou Being reflective is something we do naturally all the

b) Gather materials or memorabilia that will

time-whenever we have a major decision to make,

prompt reflections or evoke memories at

whenever something significant has happened,

a later date

when we encounter the unfamiliar, when we face a major change or need to try to make sense of

A journal for me is, therefore, both a space to go to

something. Though we all naturally reflect, we don’t

and a place to put things in.

always document or record our reflections. Our thought processes, our responses to our experiences

Journals and learning

and our insights remain locked away within us.

As a tool for learning, the recording of reflection What is journaling?

gives educators access to the learner’s thinking, learning and development. The journal makes a

Journaling is an attempt to capture both our

learner’s processes visible–the way they think, the

insights and the processes that have given rise to

impact something has had on them, the way they

them. Like the workings out of a maths problem,

solve problems and approach their work.

journaling unlocks us, leads us to a conclusion and shows us how we got there. Through the process

For the learner, journals also operate as a memory

of journaling, we reach understandings that help to

prompt. The recording of reflection ensures that

guide us while also providing us with markings that

thoughts, feelings, experiences and insights are

we can return to, should we lose our way.

not lost or forgotten. It provides a record of past learning and experience that the learner can return

I’ve been keeping journals since I was about 13 and

to and refer to. This can help to inform future

though these have changed in nature and format

learning and problem solving. A learner’s reflections

over time, they still provide me with the solace, the

in a journal also offer the educator great starting

insights and the refuge that they offered me then.

points for conversations and tutorials.

They are all records of my project of becoming. They transport me back to past moments, show me how

As a tool for creativity, journaling gives young

some of my ideas were developed and capture the

theatre makers a platform to try out new ideas

workings of my complicated mind. They are both

within the privacy of a journal’s pages, away from

a map showing me how I got here and a record of

the prying eyes of an audience. It’s also a sandbox

who I was and am and might be.

where the artist can play, create, try ideas out and solve creative challenges.

A journal, whether digital or hard copy, provides us with a space where we can:

One of journals greatest assets is that it provides us with distance. The records of our experiences, of

a) Record our reflections to give shape and form to them

our learning, of our play give us the chance to look at ourselves and our experiences objectively. When we’re in the heart of an experience we often can’t

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see it or reflect on it. We’re too close. By recording

reach conclusions. It often involves research, notes

reflections and then returning to these reflections

and inspirations from sources other than the self.

at a later date, we have the opportunity to see the details of the ‘big picture’ of our development

3. Process reflection and journaling

through the lens of time.

Process reflection focuses on the recording of Classifying reflection and journaling

strategies, processes and procedures for the solution of a problem or for the creation of something

Looking through all my journals, I can clearly see

new. Where critical reflection has a ‘looking back-

a pattern regarding both their contents and their

looking forward’ dynamic, process reflection has a

function. For me they fall into 4 categories:

more organic nature. It is like a tree that has many roots and many branches, growing in all sorts

1. Affective reflection and journaling

of directions. Because it is the workings out of a solution to a problem – be it an equation, a project, a

Affective reflection is the one form of reflection

scientific experiment, or a performance - it is a quest

that most resembles a diary or a journal. It is often

for a successful outcome. Where affective reflection

written as a stream of consciousness and can

is primarily about capturing who we are, process

include drawings, letters, reminders, photographs,

reflection is about asking questions and involves

video, souvenirs. It provides us with the opportunity

an evaluative approach - drawing out the value,

to record our personal thoughts and feelings

usefulness, and purpose of what we’re doing, why

regarding experiences, events and interactions.

we’re doing it and how we’re doing it. If you don’t

Affective journals can be used for some of the

ask the right questions, you will never come up with

following purposes:

the right solution, the right answer. In this respect process reflection is fundamentally the recording of

• Tracking - keeping track of the present by

a process of inquiry, of trying to find solutions.

recording it 4. Organisational reflection and journaling • Marking - marking important moments, milestones and experiences

This is the sort of journaling that is used for planning. It often involves calendars, lists and notes.

• Mapping - examining an experience or challenge to make sense of it

It is designed to help us keep track of what we’re doing and where we’re supposed to be. It also has the added benefit of helping us to bring order to

• Signposting - providing ourselves with strategies for dealing with a problem • Solace - healing and soothing ourselves after a

what is often a chaotic or busy life. It focuses very much on the present and near future.

5. Secondary Reflection

difficult moment or experience Secondary reflection is where the learning happens.

2. Critical reflection and journaling

It is the moment when we revisit something we have already recorded, examine it, reflect on it and

Critical reflection, unlike affective reflection, is

draw the learning out of it. For me, the journal is

focused much more on thinking and on unravelling

essentially the place where I initially record my

thinking. We usually reach understandings by

primary reflections, my initial and immediate

making connections between present learning and

recording of learning, thoughts, feelings, processes,

past learning. Critical reflection goes back and forth

and experiences. This then gives me something

between the present, the past and the future; what

concrete to return to at a later date. Secondary

am I learning? How? How does it connect to what

reflection is then added to my journal, using the

I already know? In what way does it change how

primary recordings as prompts to revisit my initial

I will do things in the future? It relies on forming

thoughts, feelings, and ideas with a view to drawing

connections, looking for patterns and using these to

the significance out of it. This is the heart of the

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most valuable reflections and where for me the

previous exercise. Ask learners to think of a

journal has most value.

moment when they’ve felt:

‘If you don’t ask the right questions, you will never come up with the right solution.’

• Proud • Challenged • Powerful • Embarrassed They can adopt a physical posture to show each of these and photograph them or draw them.

Alternatively, learners can make a visual and textual collage that presents each state using found images and words.

TIPS, ACTIVITIES AND APPROACHES Ask them to think of circumstances and/or These can be used either as primary reflection or as

situations that made them feel like each of these.

secondary reflection, responding to a pre-existing

They should describe these circumstances as a

record. I usually assign journal tasks to learners as

caption beneath each photo/drawing/collage.

I’ve that it’s easier, more enjoyable and less daunting

Invite them to reflect on how circumstances

if they have a reflective task to complete rather than

contributed to each state and to record this in

a general reflection in their journals.

their journal. Examine each state, the visuals and the words they’ve used. What does this tell them

• Scaling

about themselves?

The blank page can be daunting. Working on different scales can be useful and is a good

• What makes an ensemble?

way of presenting the learner with ready-made

In small groups, learners are given a task to create

boundaries which help to define the length of

a scene on a given theme as a whole group. One

the reflection. Ask learners to reflect on A4 paper,

person takes photographs of the process. Each

postcard, flipchart paper, wallpaper, post its,

learner then individually reflects on what they

luggage labels, shaped paper, strips, wrapping

think are the top three qualities and the top three

paper. Add these to your journal.

skills required by an individual to make them part of an effective team. They write these down on

• Given circumstances

post-its arranging them in order of importance.

This is a term borrowed from Stanislavski (1863-

In their small ensembles they each share their

1938) and his work on creating a character

individual contributions. They discuss all the

in theatre. It refers to the time, place, period,

contributions and as a group they decide what

personal and public events, and culture relating

they think is the one most important quality and

to a particular situation. In other words, context.

the one most important skill. They record this in

Ask the learner to look at particular moments

their journal and use photographs taken earlier or

of action or at particular reactions they’ve had

a collage of found images to illustrate these. As a

to certain experiences and to identify the given

follow up for secondary reflection, the group can

circumstances. What is the relationship between

revisit their findings and discuss what strategies

context and action? What are the conditions

they used to decide regarding which was the top

conducive to learning? To creativity? To well-

skill and quality. If the group was unsuccessful,

being? To feeling safe? Ask the learner to examine

they can discuss what prevented them from

the relationship between context and action/

reaching a decision.

reaction and present this diagrammatically in their journal.

• The unblocking dice Creative thinking can be considered a problem-

• In a State This can be instead of or as a follow up to the

solving strategy. This exercise asks learners to come up with generic unblocking/problem solving

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strategies to help them get unstuck when they

concern which is personal or related to learning.

are working on a new project, product or artwork

This distancing exercise gives the area of concern

and feel blocked. You’ll need a dice making outline

a voice and through its responses, helps the

for this which you can find on the internet.

learners to find solutions.

The class discusses experiences of feeling stuck

• Through the eyes of others

or blocked and the different types of products or

Learners create a box in the centre of a page

outputs where a learner might face a problem

which they title ‘How I see me’. In the box they

or a block. Point out that this is not in regard to

write a list of what they consider makes them who

personal life but related to making, creating or

they are and what areas of themselves they want

working on something.

to develop.

Discuss what causes this block and what

They create and decorate 4 shapes in each corner

strategies can be used to get unstuck.

of the page, giving each a title:

Working in small groups, learners come up with

• Peer

6 different strategies that could be used if they’re

• Parent

working on something and are stuck. They all

• Teacher

write these strategies on their own dice outline,

• Friend

cut it out and each create their personal ‘unblock dice’ which they can decorate.

They imagine themselves as seen through the eyes of each of the people above. In each shape

• The Lotus flower

they write a soundbite of what they imagine each

This is an exercise that can be used to generate

of these different people would say about them

ideas. It works on a ‘blossoming’ principle. This

as well as drawing or sourcing images of how they

gives learners the opportunity to identify key ideas

think each of these sees them.

and the various aspects that need to be examined.

The learner draws a box in the centre of the page

• Shield of me

and writes their area of interest/inquiry inside it.

Learners consider themselves as an independent

Alternatively, this can be a theme/area of inquiry

learner identifying:

set by the teacher.

• their skills Learners draw four diagonal lines from each of the

• how they best learn

four corners of the square and draw a square at

• their passions and interests

the end of each line of these lines. This creates a

• how they overcome challenges

central box surrounded by four smaller boxes.

They create a shield, using visuals, by dividing a They then write aspects related to their area of

page into 4 parts, which represents them as a

inquiry in each of the four smaller boxes.

learner based on all the areas identified above.

Learners then draw four diagonal lines from each of the four corners of the four smaller squares and

Learners look at their own shield and think of a

draw a square at the end of each line.

motto which describes their approach to learning.

They write this at the bottom of the shield.

They write aspects for each of the areas they have identified in the smaller boxes. This creates

All the shields are displayed, and learners look

a central box surrounded by four smaller boxes,

at each other’s.

each surrounded by four small boxes. And so on.

• Dialogue with a problem Ask learners to write a dialogue of a fixed number of lines (10-20) between themselves and an area of

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Radical Candor in Self-Reflections

By Lizzie Hodge How can Radical Candor help

what can be sometimes awkward

it, ‘think of it like a compass to

lead your students to more

conversations with your team

help guide conversations’ and in

honest and in-depth reflections?

members, but the more I looked

this case, the conversation with

into this approach, the more I

themselves when reflecting on

As a team of learning leaders

thought how useful this could

their work.

(otherwise known as heads

be for students to use as a

of department), we often

self reflecting tool - an honest

look into current theories and

conversation with themselves

management/pedagogical

about themselves and their

approaches that may positively

work. For the purpose of this

impact our teaching and learning

article, I will focus on how I used

experience. One approach that

this method for self-reflection,

has sparked an interest in me

however, hopefully you will

and how it might be used as

recognise how incredibly useful

a way to reflect on a creative

it can be in teaching students

process is Kim Scott’s ‘Radical

how to give constructive but kind

Candor’. There is a plethora of

feedback to their peers!

Radical Candour: Our Approach (webpage accessed

information out there on this

1st May 2022).

theory and I do not pretend to be

How often do we read journals

an expert, but simply put, Radical

where our students have

Candor is ‘Caring Personally while

either been way too harsh on

Challenging Directly’.

themselves or perhaps offered an

How I used this approach

over inflated version of their work,

in class:

It is a method of giving guidance

not noticed or even missed out

and feedback that is both kind

weaknesses and areas for growth/

1. As a class activity, I showed

and clear, specific and sincere.

improvement? I am always

the students this diagram and

‘Caring personally’ being the

grappling with how to help

the descriptions below. I asked

humanity, human relationships,

my students to find that sweet

them to reflect on times when

love for each other etc. In IB

balance between being kind to

they may have experienced

terms - caring. ‘Challenging

themselves but at the same time

some of the characteristics

Directly’ being the ‘willingness

challenging themselves.

below either in their own self reflections or when giving

to piss people off’ as Scott puts it, or IB terms, perhaps being a

Below you will see a diagram Kim

feedback to others. The

risk taker? Ultimately, being open

Scott uses to help explain Radical

purpose of this step is to

minded enough to receive the

Candor and importantly, what

understand/recognise these

truth without being hurt or angry

it is not! I know none of these

different behaviours. It is

through skilled communication.

behaviours will be new to you,

important to point out that

but I found that giving them a

you should warn your students

It was intended to be used as a

name really helped to focus the

not to name names - very

management tool in navigating

reflection/response. As Scott puts

tempting for them!

16

Obnoxious Aggression™

Ruinous Empathy™

Manipulative Insincerity™

also called brutal honesty

is what happens when you

(backstabbing, political or

or front stabbing, is

want to spare someone’s

passive-aggressive behaviour)

what happens when you

short-term feelings, so you

is what happens when you

challenge someone directly,

don’t tell them something

neither Care Personally nor

but don’t show you care

they need to know. You

Challenge Directly. It’s praise

about them personally.

Care Personally, but fail to

that is insincere, flattery to

It’s praise that doesn’t feel

Challenge Directly. It’s praise

a person’s face and harsh

sincere or criticism and

that isn’t specific enough to

criticism behind their back.

feedback that isn’t

help the person understand

Often it’s a self-protective

delivered kindly.

what was good, or criticism

reaction to Obnoxious

that is sugar-coated and

Aggression. This is the worst

unclear. Or simply silence.

kind of feedback failure.

Ruinous Empathy may feel nice or safe, but is ultimately unhelpful and even damaging.

This is a feedback fail.

2. Once they had been given time to understand these different behaviours and reflected on when they had noticed these either in themselves or observed in others, we continued with our regular drama lesson. Note - keep the drama activity short as the main focus of this lesson is to practice reflecting with Radical Candor, so make sure to allow time for the steps below.

3. At the end of the lesson, I asked students to self-reflect on their work three times, through the lens of each of the behaviours above. I made it clear that this was to understand how NOT to self reflect! For example, ‘what kinds of things might you say or write if you were showing Ruinous Empathy behaviours?’ This could be done as a written exercise, a recorded voice note or a filmed response. Have some students share some of the responses with the class and have peers guess which behaviour they are showing. Again, the purpose here is to understand each of these behaviours.

Obnoxious Aggression:

Ruinous Empathy:

Manipulative Insecurity:

‘Why am I such a coward?!

‘I think I am a great

What is said: ‘I thought I

I never have the guts to

collaborator because I always

did well at listening to my

speak up! I’m so pathetic!’

support my group’s ideas.

teammates’

I follow their instructions well and I do as they tell me’

What is actually thought: ‘OK yeah, listening, but what ideas did I actually contribute? None!’

17

4. After each example had been

6. Next I asked them to try again,

Here are some video resources to

shared a class discussion was had

this time using the Radical

learn more about Radical Candor:

about what they understood to

Candor approach.

Radical Candor In 6 Minutes

be the negative impact of each of these behaviours on their work

7. To finish, we discussed why it

and progress.

is important to keep the balance

With Kim Scott

between caring and challenging

Kim Scott: How to be kick-ass

5. Next I mapped a line across

and how this balance might help

boss

the whole room. At one end

us to grow and improve.

Radical Candor - The Surprising

was Caring and at the other was Challenging. I asked the

Final thoughts:

Secret to Being a Good Boss

students to think about how they self reflect and where they

I know we can’t often spend

were on the line - are you too

entire lessons teaching reflection

harsh on yourself or missing out

skills all the time as we have units

what you are doing well at? Are

to complete and work to rehearse

you focussing too much on your

etc, but I really felt this was a

strengths and not giving enough

worth while lesson and one

time to thinking about where

with a lasting impact. I am

you could do better? What do

interested to see how this lesson

you need to consider to be able

will impact how students talk

to place yourself in the centre of

to each other too.

this line?

‘I am always grappling with how to help my students to find that sweet balance between being kind to themselves but at the same time challenging themselves.’

18

The Journal: Finding My Theatre Voice

By Aditi Soni (Yr 12 IB DP Theatre student) A journal in theatre is steeped in reflection,

level, taking away some of your power. The chair is

growth, self-expression and/or self-exploration.

used to show that in relationships you settle, you

As an IB theatre student, journaling has been

stop fighting and sit, compromise or sometimes

requisite to identifying areas for improvement. As

fully give in. Its use with levels also shows the loss in

a theatre-maker, journaling has been essential to

power, although the actor sitting may still be the

helping me find my theatrical voice. A journal is

focal point you can see the actor behind towering

a constant debate within the mind of the creator,

over them, which not only takes away from their

a transformative discussion between the voice of

size but makes them look submissive therefore

your past mind and the voice you are beginning to

giving the power and weight to the actor behind.'

express. Personally, I see journalism as a physical manifestation of the metamorphosis of my

This reflection gave grounds for me to explore

theatrical brain paired with the amplification of

object transformation which then became a central

analytical skills. However, despite my emphasis on

idea in Fragments. It furthered my ideas and

personal transfiguration surrounding mind and

understanding of levels. This allowed me to then

work, journaling is also the process of deliberating

refer back to my own devising.

around the ideas and works of others. This is essential for an artistic mind to grow and develop.

‘Relation to Fragments: Kantas story, the theme of

For example, I used this style of journaling whilst

control and independence. Kanta is independent

devising Fragments. Fragments emerged from

and self-reliant. When her qualifications are

stories within our company, ten stories of powerful

stripped from her the desire to be able to control

women, our ancestors. It was an exploration of

her own life and profession is prevalent. There is a

diversity, memory transformation. During this

point of realisation that she has to give in to the

process, I used many works of theatre to help sprout

now overwhelming power this country has over her.

ideas for our piece and expand my conception of

It leads us to an understanding of the new form of

expression. This could later be connected to the

dismissal she will experience due to her race and

stories we were telling. For example, I reflected

gender. The image of the struggle represents her

on a piece called Particles, directed by Jack

disbelief and her hanker for having what she once

Hesketh, who used animation, light and object transformation to express movement through time in relationships.

‘I think the intention of this moment is to show dominance and reliance in some relationships - whether that's a relationship with an object, person or emotion. It's a visualisation of the control a relationship has over you, the control you allow it to have over you. The moment uses a chair. A chair is an object you use to rest to take the strain off your legs, it’s an object that shrinks you, lowers your

19

‘Journaling has been essential to helping me find my theatrical voice.’ had in Kenya. The sitting then further represents

managed to have, we struggled to find variety in

her releasing that which she will have to start from

the presentation of these moments, which in turn

the very beginning again, from the lowest level, to

affected the impact, as it drained the moments of

achieve what she once did again.’

contrast. This caused our moments to be repetitive.

So in general, the challenge we faced was with

When relating and linking your work to the works

the overall impact of our collection of work. This

of others it is crucial that you look precisely at

general problem was brought out after the

key themes, or techniques, used. You are not

creation of the movement piece surrounding the

stealing ideas, you are just looking at how you may

loss of Magda's husband. The piece lacked variety

express emotions through new forms of theatre

in speed, force and multifariousness which bled the

or interesting takes on theatrical techniques. It's

emotional impact of the piece. Initially, we were

important that one keeps this simple. You are

happy with the movement sequence we used. It

not writing a final scene whilst using this form

wasn't until we got an outside perspective that

of relationship but learning how to incorporate

we realised that the intention and significance of

practices into your work.

the moments weren't coming through. Despite the fact that our sequence lacked variety we did

Another form of journalism is overall self-reflection

create moments of merit in it. For example the

of a specific moment where you see an overall

point of climax, the box mime of memory. We saw

transformation in your work as you manage to

we needed to refine some moments but, more

highlight how your thinking has changed towards

importantly, add to the overall product.’

your piece. It's a point of realisation in writing, an area highlighting the entirety of your growth, the

It is essential to define the moments you are

challenges you've overcome, the amendments

working and reflecting on and what aspects of

you've made and the journey you've traversed in

the moment you will later see in development.

your work.

This helps show the clear transformation of your workings.

‘During the last 10 days I, as a theatre-maker, have been exploring the story of Magda Lazar, Valeria's

‘Moving forward in the creative process post

(a member of our company) Great Grandmother.

feedback, we started looking back at moments

Throughout this time period, we have been

where the impact could be added through

working to show her story through Magda's

techniques such as speed, weight and proximity.

perspective whether that's emotional, reactivity

We looked at adding contrast through transitional

or even, to a certain extent, literally. Despite the

moments, using each other and the stage to

flood of ideas and scene proposals our group

show points of change, whether that's a change in character or emotion. An example of this would also be the miming scene. Originally we used the sequence repetitively even in transition when surrounding Valeria, yet to contrast the pure simplicity and slower speed of this movement we used running and closer proximity to show the rapidity of the change in Magda's life and the overwhelming claustrophobic effect of it on her in an emotional sense. We also used the addition of an opening moment which contributed to contrast in levels and also separated the chorus for Magda (Valeria) therefore furthering the ideas surrounding

20

unfamiliarity in the piece which in turn contributed

your intention, the editing process and analytical

to the isolationist intent of the moment. Speed was

process of specifying the intention of each

also added to the solo piece following the point

movement are so important. Looking specifically

of climax to show the progression, or lack thereof,

at this moment we took the key points in our

of the emotional state of Magda. The unified

original piece and looked at how they showed the

acceptance of the need for development, especially

journey, emotions and authenticity of Magda's

surrounding the apogee of the piece, truly fuelled

husband's death. Furthermore, this moment

us collectively to dissect each individual moment,

taught me how our piece was increasingly

deciding where or what was relevant and

becoming a movement piece and a little repetitive,

contributing to the overall impact.’

it taught me to explore more unusual forms of theatre, with the removal of dialogue.’

In my opinion, when working with a company it's essential to show how you've grown together - what

When discussing an overall change it's essential to

aspects you've worked on to ensure you see a clear

show a conclusion, to highlight what you've truly

change in the overall scene. This will then lead you

learned and how you've grown as an individual and

to discuss how you've changed in relation to the

as a company.

scene and what you contributed to the change. This shows how your initial state has developed.

Journaling is a personal process. When one journals, whatever they reflect upon will help

‘Individually my contributions came through on a

them grow as growth comes through personal

very physical level, by this I mean exploring ways

reflective comments. As theatre makers growth is

of amplifying moments through the exploration

indispensable to be able to create new, beautiful,

of physical movements. Specifically, Maya and

cathartic pieces which change and develop with

I choreographed the skeleton of the additional

time. As the world evolves so do our truths as

‘scene’, the scene representing death and its

humans and theatre is a place where the truth

physical impact on those who are affected by

of our time is unveiled visually, where expression

it. We explored being physically uncomfortable

reveals the world in its newest form. It is our duty as

in unnatural positions, we wanted to show the

the artists of the world to show and question this

contrast between the natural presence of death

developing world.

and the almost unnatural feelings it bestows on every part of the body, the control and agony

‘An artist is a sort of emotional or spiritual historian.

grief put onto a human. I thought the inclusion of

His role is to make you realise the doom and glory

breath was important, especially uneasy breath,

of knowing who you are and what you are. He has

the struggle of life in a body that is so alive with

to tell because nobody else in the world can tell

pain. A lot of ideas for this sequence were explored

what it is like to be alive.’

physically and then analysed from an outside

James Baldwin 1

perspective within the group, someone not Thomas, Riley David. “14 Quotes about the

performing them. We did this as this is how we

1

originally spotted points of weakness within our

Purpose of Theater.” StageLight Magazine, 6 Mar.

performance.’

2019, Stagelight Magazine

To conclude the reflection process, I would like to discuss how the process enriched my theatremaking knowledge and my understanding of our piece. I think on a basic level the reflective process surrounding the extension of a moment through speed, level and proximity truly taught me the importance of contrast, in terms of communication of our intention. Additionally, it taught me how to edit a moment, it taught me that a moment doesn't have to be completely scrapped to fit

21

Journaling: Drama, Wellness and Finding Your Path

By Juliette O’Brien I don’t like journaling, it just doesn’t come naturally

come under the umbrella of gratitude. What both

to me. When I was a teenager many a New Year

of these journaling processes have in common are

came with the resolution to keep a journal. I think it

the notions of mindful awareness, of consciousness

was partly with a mind to write something that was,

of intention, process and outcome and that word

in the words of Cecily Cardew, ‘simply a very young

again, of making connections.

girl's record of her own thoughts and impressions and consequently meant for publication.’ It never

But how do we create this in a meaningful way for

happened and every year I soon gave up. It just

our students? As a non-journaling journaler, here’s

wasn’t meaningful for me.

what I’ve learnt and what helped make the process meaningful to me and I have tried, in consequence,

Yet journaling is something of a hot topic in two

to pass on to my students:

fields that intersect with my world: drama and wellness. A couple of years ago I found myself not

Divide and Conquer

only asking my students to keep a drama journal, but having to keep a journal myself as part of

I soon figured out that, for me, one linear journal

my yoga teacher training and I began to wonder

was not a useful tool. If I put all my notes, my ideas,

what these two areas had in common that made

my progressions, my goals and my reflections,

the process of journaling so intrinsic to both.

revelations and gratitude into a day-by-day, week-

Furthermore, I found myself considering how my

by-week format then when I came to look back on it

process of yoga and wellness journaling might

I could never find anything I needed.

inform my understanding of the drama journal and help shape both into a meaningful experience.

The mind works in, what psychologists call, ‘chunks’ or ‘schemas’ - ways of grouping information. It

Yoga means to ‘yoke’, to connect: in this case the

therefore, arguably, makes sense to organise

holistic connection of body-mind-spirit. Yoga or

our thoughts and the tangible collection of our

wellness journaling speaks to this same goal: to

thoughts in a similar way. Students can do this

make connections between what we do, what we

through separate notebooks, digital documents,

learn, the journey we are on and how we develop

blog pages, YouTube playlists or however else they

along the way. In addition, a wellness journal can

work. The point is, each is distinct and has a clear

have many purposes, but three common ones are

purpose. Our students may find their own ways of

tracking a goal, reflection and gratitude. As drama

doing this; here’s what works for me:

and theatre teachers, we understand that the process of journaling has many similar intentions

Progress and Goals

and concepts. We want our students to make the same connections and to track their progress

This is the working part of the journal and the one

and goals, to reflect and perhaps to see their own

in which chronology is most important. Whatever

development as a practitioner and learner could

the student is working on, this records where they

22

‘Wellness journaling speaks to this same goal: to make connections between what we do, what we learn, the journey we are on and how we develop along the way.’ are in the process, what they have created, what

breeds reflection and so looking back through

problems need solving and what they want to

any of the elements of a journal can create new

create next. These can be thought of or defined as

understanding and awareness. Maybe even

moments of TEAM that exist or are needed in order

encourage students to see reflection as gratitude:

to realise the overall intentions of the piece they

because of X I can/understand/appreciate...

are working on and can be set down using photos, videos/links to videos, written descriptions, sketches

Make Space to Make Connections

and so on. This part of the journal is integral to their creative process: they pick it up at the start of each

What reflection does require is slowing down and

rehearsal and check in with where they are at and

making space. To this end, I have found reflection

where they are going. In group projects this can be

rituals to be useful. Mine generally involves a comfy

done collectively and shared or individually. And it

seat, a cup of tea, nice lighting, no phone and even

only takes one or two ‘oh yeah’ moments of finding

putting my watch aside. My best reflection also

things they would otherwise have forgotten to

comes when I’m walking or swimming and I have to

realise the value of this!

‘hold my thoughts’ until I have the chance to write down what has come to me. Students need time to

Theory

develop an understanding of what enables them to reflect, so sharing practices as a group can be useful.

This is simply a record of learning. In some cases

If you have time, then creating space within the

this part of a journal might not be necessary,

program to stop work, put on music, find cushions,

as you might have enough digital resources,

go outside or to the library, sit down comfortably

text books, handouts, worksheets or other such

and look back can be a great way to help students

materials for them to refer to. However, if students

reflect. There is no magic answer, only the need to

are undertaking independent research into a

make space for discovery. This goes for all parts of

practitioner or tradition and exploring elements of

the drama journal. It’s so easy to run out of time

these, this is the part of the journal that becomes

at the end of class and students rush off, taking

their personalised resource. This part of the journal

their focus with them but finding a few moments

becomes their encyclopaedia, their glossary and can

to somehow consolidate can be invaluable:

be clearly organised by topic so that information

‘consolidate’ literally means to combine in order to

can be found quickly, with space to add further

make more effective.

information on each topic as it is acquired.

We know that as drama and theatre teachers we Reflection

are also teaching young people life skills. Journaling has become a wellness practice because it makes

This is the hardest part to write and the easiest to

us pause and reflect on the past, present and future.

neglect. Reflection can be done in so many different

Drama journaling might be the most valuable thing

ways and this in itself can be paralysing. When it

we can teach our students.

comes to reflection, those moments of clarity, when the dust settles and everything sinks in can come at any time. That makes timing reflection challenging.

I think valuable moments of reflection can take many forms: when creativity gets stuck; when creativity suddenly flows; at the end of a project;

‘Drama journaling might be the most valuable thing we can teach our students.’

before starting a new one. I also think that reflection

23

Photo by Marcos Paulo Prado on Unsplash

24

Idea generation, Modification and Development: The ISTA Journal

By Dr. Derek Pigrum (Article from Scene 2006/7)

While the ISTA journal does not

by students today. In the

a master of this process, which

exist in one format, the generic

‘commonplace book’ students

often involved rapidly absorbing

term is a useful one, in that it

studying analysis, genesis and

and metamorphosing ideas by

refers to all work carried out by

literary composition would

other people. But he was not

teachers, in relation to students

enter products of individual

alone in keeping a notebook.

reflecting on their work. Whether

reading and notes on style for

Galluzzi (1996) states that there

this be a notebook, an IB Theatre

future use, on the grounds that

are in existence one hundred and

Arts Portfolio or an MYP Journal

they would, as Bacon stated,

fifty notebooks by other artist-

or another form that you use.

‘ensure copies (copiousness) of

engineers of the Renaissance

As such it lends clarity to that

invention’ (in Dixon, 1971, p.48).

that have never been published.

area of our work that is focused

In the renaissance artist’s note/

The practice of copying down

on students generating ideas in

sketch book, with its drawings

ideas by other people was not in

written/visual form.

and writing, it became the focal

the least at odds with ideas about

point of discussion of ideas and

creativity or originality based

their modification. The notebook,

on the interplay in rhetoric and

Introduction

like the ISTA journal today,

poetical composition between

This article is an attempt to

became an instrument both of

invention and imitation.

locate the complexity of idea

guidance, interaction and control

generation and development in

because it provided the means

Perhaps one of the most

the ISTA journal and its role in

to discuss and illustrate ideas

important tasks facing post-

sustaining the unending effort of

and changes, as well as a means

Romantic, expressionist and

construction that is characteristic

to check changes and mistakes

modernist theories of education

of creative work.

and to introduce corrections.

in the arts is to help our students

The sketchbooks of the Medieval

overcome what Bloom (1988) has

There is a correlation between

craftsmen were pattern books,

termed ‘the anxiety of influence’.

the origins of the creative use of

while the sketchbooks of the

All art involves artifice. The way

journals, the emergence of the

Renaissance artist-engineer,

we approach the effort and

sketchbook in the Renaissance

like the ISTA journal, effectively

artifice of creative construction

and the role of the ‘commonplace

constituted an experimental

and the quality of completed

book’ that is present in the

field (Pigrum, 2001). As we might

work will to a great extent be

way the ISTA journal is used

expect, Leonardo da Vinci was

determined by the way students

25

‘Where else can you think like a philosopher while playing like a child?’

ability to ‘think onto paper’ and

Farihah Zaman, American Embassy School, New Delhi, India, Addis Ababa

say, the main ‘sensitivity’ to the

this is exactly what I believe the teacher’s role is in terms of the ISTA journal. I would agree with D’Arcy in stating that the main motivation or as Smith would journal process, comes when the student experiences the power

encounter the journal and make

students through demonstration

that the journal has to sort out

it their own.

and as part of the modelling of

ideas. D’Arcy also states that the

practices by the teacher, to work

kind of pedagogy she is

Switching between Modes and

in rough, in dialogue with the

advocating involves a

Getting Things onto Paper

student.

‘multi-mode’ approach to writing:

Journal keeping at its most

D’Arcy (1989) and Smith (1982)

effective often involves writing,

writing about drafting, place

‘Our mental capacities for

drawing and other sign-mode

emphasis on the journal, on

shaping meaning continually

use. In terms of creative thinking,

getting things out onto paper

interrelate, making use of

Kress (1997) argues for the

and the central difficulty of

whatever media happens to be

efficacy of ‘multi-mode’ use;

getting students to appreciate

at hand – verbal, visual or kinetic’

when the limits of one mode

the malleability of writing. D’Arcy

(ibid.).

have been reached it helps to

actually echoes Leonardo da

be able to switch to another

Vinci’s advice on compositional

D’Arcy deals briefly with the

mode. In Kress’ description of

process when she states that

drawing mode in writing. In

‘multi-mode’ objects very often

‘children need to feel they can

process writing drawing is used

young children use language to

play around with it (writing) and

as a shaper of meaning, just as

indicate action and sequence and

try things out, without worrying

writing is used as a shaper of

‘drawing to represent, to display’.

over much if their intention

meaning. She even comments

He emphasises the temporary

doesn’t work out in the way

that when words are used with

nature of these objects.

they expect’ (D’Arcy, 1989, p.21).

drawing in this way they change

MacCormac states each mode is a

D’Arcy takes up the most difficult

their character and become

‘way of mediating an appropriate

feature of introducing drafting

very condensed. She identifies

cognitive phase’ (in Lawson,

processes to children. It is the

the ‘holistic’ nature of drawing

1997, p.142). The disposition or

attitude adopted by children of

and our ability to take it in at a

the freedom to shift mode helps

wanting to get a task ‘over and

glance. But later she sidesteps

the agent to avoid conceptual

done with’ and her solution is

some of the implications of the

entrapment and to avoid closure.

to get children interested and

drawing mode for process writing

However, Kress states that these

involved in their own thinking

and instead looks at the use of

‘multi-mode’ objects are not

processes, in meta-cognitive

Buzan’s (1993) ‘mind maps’ that

culturally recognised; we very

activity. The journal provides the

are essentially linguistic with a

seldom get to see the rough

teacher with something tangible,

limited use of other signs. Harste

draft or manuscript of a writer or

because visible, to respond to in

and Short (1988) have a short

excerpts from notebooks and the

terms of a dialogue about ideas

section entitled ‘sketch to stretch’

rough sketches of playwrights

and orientations to future action.

which states that pupils ‘should

and directors. Kress states that

The teacher is what D’Arcy calls

be helped to see that shifts in

education divests us of the

‘a partner in a learning dialogue’.

communication systems help

ability to use ‘multi-modes’. In

The teacher’s task is to provide a

learners gain new perspectives

subjects like Art and Design

framework and introduce some

and insights’ (Harste and Short

and Performing Arts there is

conventions and strategies,

1988 p.356). But in general they

an urgent need to encourage

which enhance the student’s

use drawing to ‘recast’ something

26

that has already been written

Kafka also used drawing as an aid

believed to involve students

and not as an integral part of the

to composition although many

in a ‘hypothetical mode’ that

process work, or working in rough

of these drawings have not been

encourages experimentation,

that goes on in journals.

made available (Böttcher and

inquiry and the student’s active

Mitterzweil, 1982). Kafka’s use

construction of Understanding.

In the poetic composition of

of drawing was very rapid. Max

Pushkin there is a pervasive use

Brod collected them together,

Working in rough is something

of drawing. Zavlovskaya (1987)

sometimes rescuing them

teachers often take for granted

states that one use of drawing

from the wastepaper basket or

that students can do without

in his composition process

cutting them from the margins

assistance, partly because they

was a form of ‘exit or outlet for

of the school exercise books that

believe that they ‘free-up’ the

things he could not yet express

Kafka used as notebooks. Some

student by the exhortation,‘work

in words’ (Zavlovskaya, 1987,

were done on postcards; many

it out in rough’. I suspect that

p.381), a kind of intimation of

were spread throughout his

one reason we are baffled when

things to come. This produces

prose composition. This use of

students have difficulties working

drawings in his manuscripts that

drawing must not be interpreted

things out in rough is that we

‘The journal provides the teacher with something tangible, because visible, to respond to in terms of a dialogue about ideas and orientations to future action.’ are sometimes unrelated to the

as illustration but as integral to

somehow equate working in

words on the page producing

the drafting process. Böttcher

rough to an innate ability to play.

an antagonism between the

and Mitterzweil (1982) suggest

Teachers, for example, often use

sketch and the text; drawings

that Kafka used drawing in a

the expression ‘play with that

produced by unexpected

playful transposition (spielerische

idea and see what you come

associations unconnected to

Transponierung) of thoughts and

up with’ as if to ‘play’ with ideas

the text he was working on. At

emotions, but more importantly

is an innate ability. However,

the same time some drawings

to initially capture the gestures,

playing with ideas or working

produce a graphic parallel to

movement and appearance of

in rough is high order cognitive

the text. In the rough portrait

the characters in his works (see

activity characterised by erasures,

drawings that abound in his

also Josipovici, 1995). Both Kafka

cancellations, displacement and

manuscripts he selected those

and Pushkin seemed to have an

condensation and is open to

features that immediately

extreme sensitivity to human

modes of negation and the use of

brought that person to life for

gestures and movement that

‘multi-modes’. This is complicated

the reader. It would seem that

they initially captured. in drawing.

by the fact that, unlike the

Pushkin used drawing to help him grasp the words he needed

finished piece, journal entries do Working in Rough

to describe them. In English in

not yet represent value. For the expert practitioner this value free

the Arts (1982), Peter Abbs places

In many areas of education and

zone is uninhibiting, but for the

great emphasis on the initial

particularly in the arts, students

student it can be disconcerting.

exploratory stages of writing.

are asked to work in rough in

He quotes Bowra on Pushkin’s

the belief that working this way

speed and abundance of creative

invites further thought and

process but neither he nor Bowra

produces better end products

Once ideas are displayed or,

mention Pushkin’s pervasive and

because it allows for a process of

as Heidegger (1975) would

interwoven alliance of drawing

development and modification.

say, ‘presenced’, they can be

and writing in his manuscripts.

Working in rough is correctly

changed,abandoned, returned

‘Getting out of the desert’

27

to, made and remade. Thus

him out of the desert’ (Billington

placing an idea on paper before

what is pulled together can be

1979). Etymologically, the

our eyes is what Heidegger

pulled apart and in this process,

relationship between writing and

(1975) relates to the process of

because what has been pulled

drawing is close. The German ‘riss’

or ‘condensing’ Verdichtung.

together or apart is ‘presenced’

is closely related to both writing

The word for poetry in German,

in drawing and writing, nothing

and drawing (riss is the origin of

Dichtung, is derived from this

is irretrievably lost to the mind.

the word ‘writing’ in English). In

word that seems to describe

The ‘thingly’ character of journals

German the concept of wresting

the essential process of poetic

is achieved by being worked on.

is related to the concept of riss,

composition.

Something worked on in order to

rift or incision. Reissen is to

work something out.

wrest. Den Riss is the design,

Reflective and Reflexive

reissfeder the drawing pen and Heidegger developed a concept

reissbrett the drawing board,

Monitoring of Creative Process

of ‘thrownness’ of projection, of

but it is the relationship of the

The ‘reflexive monitoring’ of the

sketching out. The purpose of

concept of ‘to wrest’ and to draw

student’s own creative process

the sketched out, has to do with

or design or write which is of

in journals and workbooks

wrestling something. Thus the

importance. Drawing and writing

serves the two reflective

beginning, or founding act, starts

have a quality of projection, of

purposes Jarvis assigns to the

the chain of ‘could be’ states. It is

‘thrownness’ that facilitates the

journal; ‘first, it helps students

what Heidegger would describe

wresting of an idea (Heidegger,

to become reflective learners,

as close to thesis, of bringing

1975). It helps here to once again

both on- action and in-action.

forth into the unconcealed, a

return to the paradigm of poetic

Secondly, it is possible to get

‘setting up’ or ‘presencing’ in

composition, which Heidegger

students to examine their own

the unconcealed, which is then

describes as ‘a kind of measuring’,

self-development and their

subject to questioning (see

as an act of measuring against

own feelings of empowerment’

Heidegger, 1975). It is what Pinter

an unknown goal state. The

(Jarvis,2002, p.127). The

refers to as his ‘given’ that ‘gets

importance of ‘seeing’ an idea, of

journal becomes an archive

Allegory on the Fidelity of the Lizard, design for a stage setting, Leonardo da Vinci, 1496 (taken from The Met, accessed 1st May 2022)

28

of observations, connections,

not produce, but rather orientates

to do’; the dialectic between

interrelations and coincidental

action by providing a practical

reflexive powers, action, reflective

images, all of which can provide

sense of ‘how to go on’.

judgement and the growth of

the basis for a restructuring of present idea development.

understanding and competence.

Conclusion

The recording, generation,

Such understanding is, as Gadamer (1989) states, ‘self-

modification and development

In terms of idea generation and

understanding’. Keeping a journal

of ideas in the journal

creative thinking journal use

produces a continuity of self-

encourages experimentation

rests on tentative, provisional

understanding and eventually

and critical thinking, provides

reference points that constitute

it helps us to understand the

the opportunity for reflection

knowledge that is incomplete

complexity of our own creative

and is a source and stimulus to

or approximate, knowledge as

processes. In it are preserved the

dialogue. Briskman (in Dutton

speculative action that constantly

continuity of personal growth

and Krausz, 1981) dismisses any

moves and always produces a

and development. But what is

understanding of the creative

remainder.

the relatedness and difference

process without resource to this

But how does the student ‘know

between the process of the

kind of intermediary product

how to go on’ (Wittgenstein,

journal and the finished work,

and the transitional processes

1963, p.84) and ’set about taking

between the means and the end?

it involves. At the same time,

hold’ (Derrida, 1987 p.126) in

‘it’ helps students to become

the independent context of

Zizek (1998) states that the

reflective learners, both on-

work in the journal. Following

end does not ‘realise itself via

action and in-action. Secondly,

Wittgenstein (1963), the answer

a detour: the End the subject

it is possible to get students

would not seem to lie in a

has been pursuing throughout

to examine their own self-

consideration of ‘the reasons

the process is effectively lost,

development and their own

for doing this or that’ but in a

since the actual End is precisely

feelings of empowerment’ (Jarvis,

response to the pressure of an

what agents caught up in the

2002, p.127).

immediate task where working

process experience’ (Zizek,

in the journal operates as what

1998, p.127). In the journal the

Jarvis mentions Morrison (1996)

Wittgenstein terms ‘signposts’.

self is not expressed as a kind

who ‘notes that when reflective

The student goes by a signpost

of static inner synthesis but is a

practice prospers it is seen

only ‘in so far as there exists a

continual process of construction

by many students as a major

regular use of signposts’ (Ibid.

and re-construction. Just as

significant feature of their

p.80).

the End is not the one initially

development in all spheres.’ (ibid.).

sketched out so neither is the There is a vital link here to

subject the same ‘self’ as the

the work of Harré on ‘Identity

one at the outset. Journal use

Reflexive monitoring in the

Projects’ in that, by keeping

goes beyond the expression of

journal is an ‘enabling’ structure

a journal or note/sketchbook,

the self, that was an integral to

that enhances the student’s

the individual transforms social

Romanticism and modernism to

ability to see ‘how to go on’.

appropriations that enable

the reflexive construction of the

As we have seen, following

them to ‘take over their own

self. Self, in other words, is not

Wittgenstein, the pupil can

development’ (Harré, 1983 p.257).

seen as something just given as

‘continue the pattern by himself’

Harré equates the possibility

an unchanging inner synthesis

(Wittgenstein, 1963, p.84) because

of self- knowledge with ’the

but something that has to be

‘there exists a regular use of

semiotic resources’ available

routinely created and sustained

signposts’ (ibid., p.80). ‘Regular

to the individual but also

in the reflexive activities of the

use’ constitutes the journal as

places its development in our

individual. There is an urgent

a ‘signpost’ that becomes a

engagement with others. Journal

need, therefore, for teachers to

‘generative structure’ or habitus

use, is related to Harre’s way of

develop a more sophisticated

(Bourdieu, 2000). The habitus, like

formulating agency in terms

understanding of journal

the notion of the ‘signpost’, does

of ‘powers to be’ and powers

keeping.

29

References Billington, M (1997) The Life and Work of Harold Pinter (London: Faber and Faber) Bloom, H (1988) Poetic Origins and Final Phases. In Lodge, D. (Ed) Modern Criticism and Theory: A Reader. Pp.240—286 (London: Longman) Böttcher, K and Mitterzweil, J (1982) Dichter als Maler: Deutschsprachige Schriftsteller als maler und Zeichner (Zürich: Buchclub Ex Libris Zürich) Bourdieu, P. (2000). Pascalian Meditations. Translated from the French by R. Nice. (Stanford: California Univ. Press) Originally published in 1997.

Buzan, T. (1993). The Mind Map Book (Harmondsworth: Penguin) Derrida, J. (1987) The Truth about Painting. Transl. from the French by G. Bennington and Mcleod. (Chicago. Chicago Univ. Press) Dixon, P. (1971). Rhetoric (London: Methuen) D’Arcy, P. (1989). Making,Shaping Meaning: Writing in the Context of the Capacity Based Approach to Learning (Portsmouth, NH: Heinemann) Dutton, D. and Krausz, M. (1981). The Concept of Creativity in Science and Art (The Hague: Martinus Nijhoff) Gadamer, H-G (1989) Truth and Method. Transl. from the German by J. Weinsheimer and D.G. Marshall (London. Sheed and Ward) Galluzzi, P. (1996) Renaissance Engineers: From Brunellschi to Leonardo da Vinci. Translated from the Italian by J. Mandelbaum (Florence: Giunti) Harre, R. (1983) Personal Being: A Theory for Individual Psychology (Oxford. Blackwell) Harste, J. C. and Short, K. G. (1988). Creating Classrooms for Authors: The Reading Writing Connection (Portsmouth: Heinemann) Heidegger, M. (1975). Poetry, Language, Thought. Translated from the German by A. Hofstadter (New York. Harper & Row) Jarvis, P (ed) (2002). The Theory and Practice of Teaching (London. Kogan Page) Kress, G. (1997) Before Writing: Re- Thinking the Paths to Literacy (London: Routledge)

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Lawson, B. (1997). How Designers Think: The Design Process Demystified. 3rd ed. (Oxford: Architectural Press) Pigrum, D. (2001). Transitional Drawing as a Tool for Generating, Developing and Modifying Ideas: Towards a Programme for Education. (unpublished Ph.D Thesis. University of Bath) Ryle, G. (1979). On Thinking (Oxford.Blackwell) Smith, F. (1982). Writing and the Writer (Oxford: Heinemann) Wittgenstein, L. (1963). Philosophical investigations. Translated from the German by G. E. M. Anscombe. (Oxford: Blackwell) Zavlovskaya, T. G. (1987). The Drawings of Pushkin (Moscow: Iskustvo) (Title translated freely from the Russian original).

Zizek, S.(1998) The Indivisible Remainder: An Essay on Schelling and Related Matters (London: Verso)

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5 ways to make journals come alive!

By Keriann O'Rourke

Visible thinking The Harvard Graduate School of Education's Visible Thinking project is exactly that - exploring reflection, critical thinking, organising ideas, new perspectives in a visible way. And there's so many other topics to explore! To really make thinking visible educators need to model the routines in their lessons first before students would be able to apply anything independently. But the strategies are effective, easy to execute and FUN for students of all learning styles.

Bonus! These routines can be used across subjects and age groups making connections across student's learning. Read more about visible thinking

Make it quick!

Who said journal responses always have to be epic?

Sometimes a quick bullet list, drawing and caption, questions of the day, or headline can be enough to capture the experience and give students enough to go back to the following day. Some students find writing lengthy journals daunting and are more open to quick captures when possible. Prep in advance your favourite go-to quick journal tasks for those days when it feels like a chore. This article itself is an example of just how effective simplified communication can be.

Check out Bullet Journals or Western Academy of Beijing's awesome Sketchnote resource for creative notetaking ideas for both students AND adults!

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Improve the design Learning to design effectively can improve your ability to communicate. Think of a journal like a stage - in order to get your message effectively across to your audience you need to consider placement, colour, layers and levels. Similar rules can be applied to journals! Applying the elements of design can help develop any website, slideshow, blog or handwritten notebook into a polished piece and become a place of pride for students to showcase their work.

I HIGHLY recommend Keri-Lee Beasley's student-friendly e-book Design Secrets Revealed for a quick and easy look at applying design elements.

Practice what you preach Ok, so you want your students' journals to be these amazing vessels of learning. Opening them should make you gush and be groundbreakingly inspirational spaces for students. But have you done a stocktake of your own practice you are modelling for them? Do your own communication tools (presentations, activity sheets etc.) reflect what you hope your students will create? If they don't match up it's time to refresh those weary docs and demonstrate exactly what you expect your students to achieve.

Canva is a great design website that makes creating presentations, posters (and pretty much anything you can think of) easy and professionally polished.

Photos & videos are fab There's no more authentic way to express ourselves than through photos and videos - just think of how effective a quick video call is vs. a long email. Take reflection to the next level using digital tools to further develop feedback and reflection.

• Use video tools like Loom or Screencastify to respond to work in real-time • Share feedback through video responses as a class using Flipgrid • Find a partner teacher/school doing the same task as your class for a peer review

Talk to your Tech Team at your school. See what digital tools other subject areas are using and steal their ideas and give them your own theatrical spin.

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Biographies Daphne Said I studied English and Theatre at the University of Malta and then furthered my education at Loughborough, Leicester and LIPA. Every educational experience gave me an insight into teaching, working collaboratively with others and leading effectively. I joined the international school world in 2010 and have taught in Malta and Rome.

ISTA was a great addition to my teaching experience, I have participated in festivals, professional development workshops and hosted festivals in Malta. Getting into teaching 17 years ago I never really thought I would be able to be a full-time teacher and artist… but it's happened.

I've worked with students of different ages and many nationalities, performed in a variety of roles, on stage and on screen, and directed full scale performances. But above all through theatre I have met some amazing people that each have left a mark on my life. I am now an IB examiner focusing mainly on the Director’s Notebook component.

Lizzie Hodge I have always been interested in different cultures having grown up in Nepal, living there for twelve years. After a four year stint teaching in China, I am currently living and working in Cambodia, with my husband and two daughters. Teaching theatre and sharing my passion for the subject with my students is what I love best.

I trained at the Royal Central School of Speech and Drama, specialising in Applied Theatre. Through teaching the IB I have enjoyed being on a constant learning journey, discovering new practitioners, plays and traditions. I love directing and devising – specifically using a range of physical theatre techniques and creating theatre for change.

Gretchen Nordleaf- Nelson Gretchen Nordleaf-Nelson has enjoyed working and learning with students for over 30 years. She has taught in suburban, urban and independent school settings in four different states. Over the course of her teaching tenure, she has taught English (9-12), Theatre (9-12) and at the college level, IB Theatre, IB Language and Literature, Media Design as an IB Visual Art, Journalism, ELL Literature and History, Art History, and Holistic Health. Drawing on her background in theatre and Dorothy Heathcote’s work she has also developed and taught professional development courses for teachers: Drama Methods for the Classroom Teacher and The Teacher as Actor. She holds a Bachelor of Arts in Secondary Education from Western Washington University and a Master of Arts in Theatre from the University of Michigan, Ann Arbor.

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Aditi Soni My name is Aditi Soni, I'm a 16-year-old biracial student who has lived internationally for the majority of my lifetime. At the moment I am settled in Switzerland for my final two years of school. My exposure to various cultures, values and beliefs has expanded my perspectives on the modern world, challenging and adapting my originally more western outlook. This transformation of knowledge has been essential for me to engage in everything from global issues to global theatre.

The variegated worldly perspectives I attained have bled into my viewpoint on theatre as a subject and as an expression of culture.

Theatre to me is a connection to the past, to the roots of heritage and art and an embodiment of the future due to its power to oppose the objectives of its observers, but most of all an escape to simply express.

Juliette O’Brien I am a theatre and English teacher with over 15 years’ experience. I have a Masters in Theatre and Performance Studies and a PhD in Dance and am studying for a Certificate in Dance in Education. I have studied many dance and theatre styles and musicalities from many different cultures.

I am interested in weaving together my knowledge of music, movement, dance, literature and theatre, and I love experimenting with how these elements can interplay to create enhanced, alternative and layered meanings.

Dinos Aristidou I’m a playwright, director and education consultant working internationally. Covid-19 has changed my process working digitally to make/share work. I am working with Birmingham Royal Ballet and as creative learning director of UCAN, developing Storystarters. As artistic director/playwright of the Hear Us Out Verbatim Theatre Festival I am working with older people and their stories.

My passion is for Verbatim theatre, working with communities to discover empowering ways of theatrically presenting untold stories.

My work with students and teachers focuses on reflection, its role in learning, social activism and building compassion. As an artist I am interested in what it means to make art with kindness.

I have an interest in curriculum and was manager of the curriculum review of IB MYP Arts. As a consultant I am involved in the development of the IB Diploma Theatre course as well as Diploma Literature and Performance. I have designed Diploma Theatre teacher workshops, online courses and teacher support materials.

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Dr. Derek Pigrum (bio from 2006) Derek Pigrum has a doctorate from the University of Bath Department of Education where he is a Visiting Research Fellow. He has been involved in international education for over 25 years and is the Professional Development Manager at Vienna International School where he also teaches Art and Design.

Keriann O'Rourke I am a Canadian who has recently repatriated after 16 years living in Singapore back to the Great White North. I have worked in education as a Kindergarten teacher as well as a drama and dance middle school specialist. I am a proud member of the ISTA team and work as an Event and Communications Manager.

I adore all things that have to do with using our bodies and voices in unique ways to tell stories, interpret texts and to develop a creative understanding of our world around us. I am particularly interested in ways that we can use technology in our arts classroom to make our theatre work come to life - taking what we already know, applying visual, audio and experiential elements to make the actor's experience move beyond the stage.

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