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Beyond Whole-Brain Learning

Beyond Whole-Brain Learning

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Published by Jaime Soriano

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Published by: Jaime Soriano on Sep 27, 2009
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12/30/2012

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SATJ  
2007 VOL 21
 
Mind the Gap: Beyond Whole-brain learning
Marth Munro & Marié-Heleen Coetzee
Tshwane University of Technology & University of Pretoria
In past research we
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have demonstrated how methodologies used in the training ofperformers can both encourage whole-brain learning and answer to the demands of SouthAfrica’s current educational paradigm, outcomes-based education (OBE). OBE is aneeds-driven, outcomes-driven and competency-orientated pedagogy, which aims atincorporating learners as active agents within the learning process as opposed to theprevious content-driven, teacher-orientated approach to education (Coetzee 2004).Our research was prompted by the constant need for our Drama departments to validatetheir existence in the light of changing funding structures for the arts, governmental andinstitutional demands for
 
measured outcomes
 
and our institutions’ emphasis on whole-brain learning as the preferred pedagogical approach to education and training. Weexplored the ways in which the changes in the South African educational dispensationimpact on the work of educators within a Drama department in the Higher Education andTraining band (HET) in South Africa. These changes include a focus on competenciesand critical outcomes across learning areas and across the qualification bands identifiedby the new National Qualifications Framework. In our search for ways in which toimplement the critical outcomes
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demanded by the OBE framework, we turned toHerrmann’s argument (1995) that optimal, deep structure learning can only take placewhen whole-brain modes are operative. Our investigations were supported by researchundertaken by De Boer, Steyn and Du Toit (2001:192) in which they indicatedcompatibility between the processes associated with each of the four modalities thatconstitute whole-brain learning and the processes associated with reaching OBE’s criticaloutcomes as demonstrated in Table 1 on the next page.Our research made specific reference to the Lessac system (Munro and Coetzee, 2005),Laban Movement Studies (Coetzee, Munro and De Boer 2005) and Drama-in-Education(Coetzee and Munro 2007).
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SATJ  
2007 VOL 21
 
Table 1: Processes and quadrants
 Process necessary toachieve OBE outcomesAssociated quadrants in theHerrmann modelCritical thinking A, B, C, & DProblem solving A, B, C, & DApplication BAppreciation A, B, C, & DAnalysing ASynthesising DEvaluation of information A, B, C, & DTeamwork CCommunication A, B, C, & DSocialising C(De Boer, Steyn and Du Toit 2001: 192) Whilst interrogating the Lessac Approach, we investigated voice pedagogies in the contextof OBE and whole-brain learning. We found that, in the field of voice for theatre, manywell-known approaches to voice training are primarily embedded in two of Herrmann’swhole-brain modalities, with little emphasis on the analytical or critical thinking frameworksthat both the metaphorical whole-brain model and OBE emphasise. The Lessac Approachis a widely used theatre voice system that addresses projection, pronunciation andprosodic elements through organic body/voice usage. We concluded that the LessacApproach facilitates the engagement of all four whole-brain modalities as it guides theeducator to focus on the epistemological approach to the pedagogy, the physiologicaleffect of the pedagogy and the acoustical outcome of the pedagogy.
 
In a separate study we explored how Laban/Bartenieff Movement Studies™ (LMS)operates as a strategy for teaching and learning that accommodates the fundamentalinitiatives of OBE, whilst supporting the institutional drive towards whole-brain learning.LMS is a movement-specific vocabulary used as a descriptive framework for observing,analysing and practising movement (Madden & Gantz 1989:117).
 
We located thisresearch in body/voice integration training for drama students on HET level and exploredthe practical implications of this research with reference to the production
Sitelines 
. Theproduction was designed to facilitate a learning opportunity where learners could focus onthe application of body/voice integration in a performance situation, directly apply theknowledge and skills they discovered in the body/voice integration curriculum to a
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SATJ  
2007 VOL 21
 performance context, engage with OBE learning structures, and foster whole-brainlearning. We used LMS as the central methodology in teaching, performing anddirecting/choreographing the production. We demonstrated how the methodology allowedfor multi-mode learning opportunities and fostered deep-structure learning and how LMSas a teaching methodology allows for whole-brain processes to be related to the OBEcritical outcomes.In the paper (Coetzee & Munro 2007) engaging with drama-in-education (DIE), DIE wasinterpreted as the use of drama as a teaching methodology. In this exploration of dramamethodologies in the context of OBE and the Herrmann metaphorical model, we arguedthat drama-in-education supports the ideas of both OBE and whole-brain learning on theHET level by creating the critical interface between the OBE critical outcomes andprocesses, and the Herrmann whole-brain modalities. We based our postulation on theconvergences between the philosophical underpinnings, critical outcomes and processesof OBE and those of DIE as well as on our observation that the processes associated withthe use of DIE are comparable to processes associated with all four of the metaphoricalquadrants of the Herrmann model of whole-brain learning. We demonstrated how threekey elements of DIE (dramatic play, role play and empathy) facilitate the interface betweenOBE and the Herrmann whole-brain model. We highlighted the ways in which theinterplay between these three elements opens up a third space of learning that integratesthe quadrants, engages the processes necessary to achieve the critical outcomesassociated with OBE, addresses these outcomes, and encourages optimal andtransformative learning.In our explorations we realised that a central concept of all these methodologies used intheatre performance training at an HET level is covertly embedded in OBE, but it is onlyvery tangentially addressed in the Herrmann metaphorical model. This central concept isthat the bodymind/brain processes, integrated with an emotional state, comprise aninterconnected whole/unit/entirety that stands central to training and education in general(Caine, Caine, McClintic & Klimek 2005:xii) and is specific to all performer training
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 The question that thus arises from this observation is whether, during moments oflearning,
 
the metaphorical whole-brain model does indeed optimally explain deep structurelearning as Herrmann posits. It is our contention that it does not, because it does notintegrate bodymind processes and emotional states. It does not seem as if Herrmannexplicitly positions the body as an agent of knowing and learning within this metaphorical
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