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Drama Pedagogies and Practices in Ontario High Schools and

Their Effect on Students with Learning Disabilities

Jovan Kocic

OISE CTL7015

Dr. David Hayes

February 9th, 2020


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Drama Pedagogies and Practices in Ontario High Schools and Their Effect on Students

with Learning Disabilities

The Ontario Ministry of Education’s Equity Action Plan of 2017 highlights various areas

of current strengths and improvements needed in the province’s education system regarding

inclusion and equitable opportunities for all students. The document emphasizes the movement

towards enhancing boards, schools, and classrooms, including the betterment of professional

development programs and training of teacher candidates, with aims to promote equity, diversity,

human rights, inclusion, and equal opportunities for all students. Within the list of student groups

facing systematic barriers, students with learning disabilities and special education needs are

among those that would benefit from new policies, programs, and practices (Ontario Ministry of

Education, 2017). In order for the Ontario Ministry of Education to progress towards more

equitable and inclusive classrooms and systems, innovation in the current structures must be

promoted. One model is provided by the Universal Design for Learning (UDL) practices, which

focuses on differentiating and providing a variety of alternative learning practices when

conceiving the lesson plans. By foregrounding, UDL promotes inclusive learning opportunities

from the beginning, based on three principles: to support affective learning, recognition learning,

and strategic learning (Glass, Meyer, & Rose, 2013). My background in theatre motivated me to

inquire into further innovative methods for Ontario’s secondary classrooms for students with

learning disabilities. Arts education and implementation in schools has shown positive results for

all types of students and learners, with studies noting that high-arts students consistently outscore

low-arts students when considering creative thinking abilities, general competencies, perceptions

of self as learner, self-concept, and even contribution to school climate (Burton, Horowitz, &
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Abeles, 1999). The purpose of this study is to understand the benefits of drama pedagogical

approaches being used to create innovative learning experiences for students with learning

disabilities.

The current research in this field is limited as it does not specifically address high school

students with learning disabilities interacting with theatre in their classrooms. This paper seeks to

understand the effects of using drama pedagogies and practices with students with learning

disabilities in Ontario secondary public schools. In particular, I investigate the following

subsidiary questions: how does the integration of drama influence the sense of community in a

classroom, and does it foster social connections for students with learning disabilities?

Furthermore, what impact does the implementation of drama pedagogies have on students’ self-

efficacy, independence, and ownership of work? Finally, does the level of engagement amongst

students with disabilities change when implementing drama pedagogies and, if so, how?

Literature Review

Below I discuss the wide range of literature and research that was consulted in order to

inform and support the research I was to conduct. Due to the lack of research in addressing my

specific inquiry of the effects of drama pedagogy on high school students with learning

disabilities in the classroom, I broaden my focus when reviewing the literature related to my

research interests to include different art forms, range of ages, and a variety of exceptionalities. I

look at empirical studies that focus specifically on theatre, drama, and the performing arts used

with students and youth, but also widen the lens to include literature that explores the role of

other arts within education. The research that includes other subjects of study, such as literacy

and english, intersect with my field of research and provide valuable findings to support further
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specific research in theatre practices. The literature consulted includes students and participants

at the elementary and secondary grade level, however I also include related studies conducted

with adults. Though the scope of the research consulted is wider than that of my particular

research interest, all of the sources consulted highlight the betterment and improvement of social

connection creating a community, increase of student engagement, and promotion of self-

efficacy in structured safe spaces when implementing theatrical learning practices.

Much of the research was in agreement that when drama practices and instruction are

implemented, there is an increased amount of social interaction among students with and without

learning disabilities, creating a sense of community and authentic integration within the

classroom and school (Bayliss & Dodwell, 2002; Burton, Horowitz & Abeles, 1999; Cawthon &

Dawson, 2009; Hipsky, 2007; Kilinc et al., 2017). Theatre practices allow for active participation

through “membership” (Bayliss & Dodwell, 2002, p. 50), due to each student being directly and

equally involved in the creation process of drama, which fosters opportunity for social

interaction and the creation of a community, or “communitas” (Bayliss & Dodwell, 2002, p. 47).

The interactive and experiential nature of drama practices “require a great deal of collaboration

and cooperation in their creation” (Burton, Horowitz & Abeles, 1999, p. 40), which results in a

constructivist approach to learning based in genuine inclusion and the formation of meaningful

relationships (Cawthon & Dawson, 2009). The interpersonal aspect of drama also allows for

students to develop communication skills and learn more about each other, with studies

highlighting interactions between students exemplifying an increase in empathy and concern for

others (Hipsky, 2007; Kilinc et al., 2017).

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These studies also suggested that a sense of security or a safe space needed to be

established through the use of theatre and drama first, before meaningful interactions and

collaborations could occur (Bayliss & Dodwell, 2002; Corbett et al., 2016; Hipsky, 2007; Kempe

& Tissot, 2012; Kilinc et al., 2017; Ørjasæter & Ness, 2017). By embodying a fictional character,

rather than drawing from a real life experience, students are able to tackle and discuss their own

personal issues and tribulations, creating a “safe environment” (Kempe & Tissot, 2012, p. 98)

free of judgment and dedicated to providing a better understanding of disability (Hipsky, 2007;

Kempe & Tissot, 2012). Through finding commonalities and connections, students are able to

establish a safe space within the classroom where they “can be viewed primarily as people using

strengths in learning practices, rather than as children with or without disabilities” (Kilinc et al.,

2017, p. 433). Theatre is able to provide an environment in which students can practice social

interaction and communication skills in a structured and supported way (Corbett et al., 2016;

Kempe & Tissot, 2012). Though the focus of Ørjasæter and Ness’ (2017) study looks at adults

experiencing mental health illnesses, it reinforces the idea of utilizing theatre and drama to create

a necessary safe space for those experiencing exceptionalities in order to achieve inclusion and

motivate expression.

The most prevalent observation and finding presented by the research is that when

students are given alternative ways of thinking and learning through drama pedagogy and

practices, their joy and interest for learning is sparked, increasing their engagement and self

efficacy in said learning (Bayliss & Dodwell, 2002; Burton, Horowitz, & Abeles, 1999; Cawthon

& Dawson, 2009; Corbett et al., 2016; Delgado & Humm-Delgado, 2017; Glass, Meyer, & Rose,

2013; Goodrich & Goodrich, 1986; Hipsky, 2007; Kempe & Tissot, 2012; Kilinc et al., 2017;
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Okikawa, 2012; Trowsdale & Hayhow, 2015). The physical and auditory nature of theatre

provides opportunity for differentiated instruction and alternative forms of learning, knowledge,

and expression, which creates accessibility to and ownership of content for students experiencing

a wide variety of disabilities (Glass, Meyer, & Rose, 2013; Okikawa, 2012; Trowsdale &

Hayhow, 2015). Burton, Horowitz and Abeles (1999) support their conclusions with quantitative

data from a more generalized focus on all arts and students, expressing an overall increase in

student engagement, behaviour and self-efficacy when their learning was enriched with the arts

throughout their education. When students are able to identify their particular strengths in this

type of physical learning, they find confidence which motivates further engagement and success

(Hipsky, 2007; Kilinc et al., 2017). Furthermore, the literature also presented findings of an

increase in self-esteem amongst students with learning disabilities that interacted with theatre

pedagogy (Goodrich & Goodrich, 1986; Hipsky, 2007; Trowsdale & Hayhow, 2015), however

due to the criteria for participants in my research being limited to interviewing educators rather

than students, I am not able to explore this facet of the overall research.

In order for the above qualities of arts implementation in classrooms to promote

inclusivity of students with disabilities to be beneficial, positive, and effective for all students,

teachers must have the training, dedication, and personal commitment to facilitate creative

learning environments (Cawthon & Dawson, 2009; Kempe & Tissot, 2012). The research

emphasized the necessity for appropriate implementation of theatre and drama practices in a

classroom, highlighting the damaging or unresponsive results that could result from a lack of

planning and careful authentic instruction, and encouraging implementation through gradual and

suitable inputs informed by the students’ needs (Ineland, 2016). Amongst the research, few
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practical suggestions and guidelines are given, mostly just examples from studies inform the

reader on how to possibly begin implementing arts learning into their classrooms. This was the

main prompt for my inquiry into what support and professional development is currently

available and accessible for teachers, and what more needs to be implemented for effective

teaching and learning using drama pedagogies and practices? Though the body of literature that I

consulted extends to include various forms of disability, other art forms other than theatre, and a

larger range of ages beyond high school, this current research reflects and reinforces my more

narrowed and specific research focus of theatre practices being utilized in high schools with

students experiencing learning disabilities.

Methodology

My research is an intersection of two of my life passions and experiences in education.

During my experience teaching students with learning disabilities (which included autism,

dyslexia, along with other academic and social weaknesses), I often utilized and relied on my

theatre background and education to inform my pedagogical approaches and enhance the

students’ learning environment. I saw the value of drama in my own educational experiences and

through experimentation during teaching, so I sought to inquire to what extent theatre is valued

as an educational tool in the creation of specialized and inclusive learning environments,

specifically in Ontario high schools. I recognized that students facing a wide variety of

exceptionalities could potentially benefit from exposure to theatre practices and pedagogies, just

as I benefited in my own education and teaching experience. To better understand how drama

was being utilized and its effect on Ontario high school classrooms, I chose semi-standardized
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interviews crafted with open-ended questions as the best method for data collection (Ryan,

Coughlan, & Cronin, 2009).

My particular research requires anecdotal evidence from experienced professionals that

have a long and working relationship both with theatre practices and pedagogical approaches for

students with learning disabilities. Educators with strong and long standing relationships with

these types of students are best suited to provide insight into how drama influences community

building, the creation of safe spaces, and an increase in self-efficacy and engagement, as well as

other ways that it contributes towards the positive enhancement of the learning environment for

students with learning disabilities. By conducting hour-long private interviews with two different

educators, personal and professional experiences can be shared confidentially and candidly

through questioning, providing detailed qualitative data to be considered in regards to theatre

being used with the education of secondary students with learning disabilities.

In order for participants to qualify for this study, a set of criteria for selection was

developed for recruitment. It is important for participants to be educators that are OCT certified

and currently teaching in a secondary public school in the province of Ontario, with at least five

years of experience at the time of the study. Considering the focus of this research is on students

with learning disabilities within Ontario secondary public schools, participants must have the

appropriate teaching experience in this type of school. Participants meeting this criteria are best

able to provide professional anecdotal evidence on high school students in Ontario, which is

largely missing from current research in this area of study. Due to the nature of the secondary

education system in Ontario, there is a high chance that participants are able to speak to more

than one subject area and grade level.

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Furthermore, participants must be educators working with students with learning

disabilities (such as Autism Spectrum Disorder, Asperger, ADHD, Language Processing

Disorders, or Dyslexia) in their classroom at the time of the interview, with at least two years of

experience working with students with LDs. It is important for participants to have practical,

relevant, and current experience working with students with learning disabilities in order to

provide insight into this particular profile of student and their learning. Participants that meet this

criteria are best able to share their practices, observations, interactions, and experiences, and help

me understand the effects that drama pedagogy used in the classroom has on students with

learning disabilities.

Lastly, participants must be educators that actively and consistently use drama

techniques, practices, pedagogies, and strategies in their classrooms, and/or teach drama and

theatre as a subject in the class. As this research is centred around the implementation and

education of drama in classrooms, it is vital that participants are practicing drama pedagogies

regularly with their students, including those with learning disabilities. Participants’ active

implementation and/or teaching of drama in their classroom can help me better understand the

types of teaching strategies being used, as well as the effectiveness that drama has on LD

students’ level of engagement, self-efficacy, and integration in a safe class community.

It is ideal for participants to have experience teaching a variety of learners from

communities with a range of socio-economic, racial, ethnic, and religious backgrounds

represented, in order to provide a diverse sample of experiences and informed responses for the

study to consider. The two sampling methods that I employed to recruit participants for this study

are convenience and snowball sampling. I contacted a high school drama teacher, Judy Lamb,
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that I knew would fit the selection criteria that I highlight below, and this person led me to her

colleague, Bill Hanson, that was also an eligible participant to be interviewed. Judy has over

fourteen years of experience teaching drama and english in Ontario secondary public schools,

working with students ranging from grade 9 to 12 in varying academic levels, including

Intermediate Baccalaureate (IB) and special education classes. Similarly, Bill has over 26 years

of experience teaching drama, english (english for business), media and film studies with

students ranging from grade 9 to 12 in academic, applied, and IB streams. Judy and Bill work in

the arts and english department at Mothfield Collegiate Institute in Toronto, which runs an a

specialized program for students with disabilities and exceptionalities within the school. Both

Judy and Bill were working professional artists in Ontario and their continued love of theatre and

the arts is what motivated them towards becoming drama teachers. Judy worked as a dance

teacher and stage manager, while Bill worked as an actor before entering the public school

system as a certified teacher. Both of the interviews conducted were audio-recorded and then

transcribed, assigning pseudonyms to participants, their schools, students, and any other personal

information disclosed in order to protect their identities and uphold their anonymity. The data

collected from the interviews was then coded and organized for analysis, which is discussed in

my findings below.

Research Findings

Creation of a Safe Space

Students with learning disabilities can often face challenges with academic success,

social interactions, and overall performance in the classroom requiring accommodation or

assistance, resulting in visible otherness causing isolation, segregation, and disengagement. Rigid
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cognitive-centred learning with a lack of support and understanding from peers can create a

negative learning environment that is detrimental to the overall learning potential for students

experiencing learning disabilities. To promote equity and inclusive practices in Ontario high

schools, the needs of students with learning disabilities must be addressed with innovative forms

of learning that eliminate systemic barriers. Drama pedagogies actively contribute towards

creating a safe learning environment for students with learning disabilities, in which these

students are able to take personal and academic risks and feel respected by their teacher and

peers of diverse abilities.

Both of the teachers whom I interviewed for my research expressed that drama can act as

an “equalizer” which creates a “safe space” of mutual respect for students with learning

disabilities. Both Judy Lamb and Bill Hanson explicitly used language such as “safe space”,

“same level” or “equalizer” in multiple separate instances during their interviews. Bill

highlighted that students with learning disabilities expressed that they felt less judged in the

drama classroom through journal writing, due to everyone being on the “same level of ability in

the drama context.” Judy states that drama is an “equalizer” or “leveller” in which the disabilities

of students are less apparent, noting that “other students will be surprised to find out they're in

something like a bridge course or that they struggle with writing.” Both Judy and Bill’s

comments show that drama practices provide an equitable and emotionally safe environment,

which provides equal opportunity for success for students with learning disabilities free of

judgement and without their disability as a focus.

Furthermore, Judy and Bill both express that drama allows for risk-taking, allowing for

students to confront their learning disabilities in an emotionally safe environment. Judy stated
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that drama provides the opportunity for students to take a risk and witness others taking risks in

front of one another as an audience, which she further elaborates upon with her comparison to

physical education. Where drama and phys-ed share aspects of kinaesthetic learning and

differentiated instruction, Judy points out that in phys-ed “there's winners and losers. In drama,

there's none of those things.” Bill sees his drama classroom as a safe environment for students to

take risks, explore ideas “played out real or imagined”, and deal with aspects of their lives, “but

in a setting where they're not going to be ridiculed where they can take those risks, but knowing

that there's a safe space.” As these comments suggest, drama practices involve an element of

performance and role play that can encourage personal and academic risk-taking allowing

students to safely explore aspects of their disabilities and identities in a structured environment.

Without the threat of failure and the focus on a space conducive to success, active drama

practices promote freedom in exploration, and as audience members, students also benefit and

learn from seeing and supporting their peers taking risks.

Lastly, both teachers indicated that drama has less academic expectations and often

promotes learning through strengths rather than weaknesses, which allows for reduced

competition and invisibility of disabilities. Bill states that many of his students with learning

disabilities know that the focus of any writing they do is on their ideas rather than a critique of

their spelling or grammar. He also sees his students with learning disabilities “come out of their

shell a little bit more” and their disability becomes a non-factor when they find success in

alternate ways to communicate ideas through physicality, vocalizing, and verbalizing in

performance and role play. Judy further supports this in her statement “students with the most

profound reading and writing related disabilities actually shine in drama in particular and
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anything that's improv based or role play based.” These statements indicate that drama

pedagogies innovate the means of communicating ideas in the classroom with less focus on

literacy skills, allowing students with learning disabilities to rely on their strengths. With less

competition in between students and decreased visibility of disabilities in the drama class,

students are able to be challenged in a safe space, or what Judy calls “brave spaces”, which

allows for students to confront and improve weaknesses knowing that focus and value will be

placed on their ideas.

The commentary from both Bill and Judy’s interviews indicate that drama creates an

environment that is conducive to safe and structured explorations of self and others, promoting a

higher potential for learning for students with learning disabilities. Their observations and

experiences with drama and learning disabilities mirror the ideas presented in the existing

literature and research. Drama allows for all students, regardless of exceptionalities, to view each

other as equals on a level playing field due to the alternative learning expectations and means of

communication that stray away from traditional academic practices. Students are recognized for

their strengths which promotes acceptance and respect amongst peers, reducing the risk for

ridicule or isolation, especially based on a learning disability. With support from their peers and

from the safe space crafted with drama practices, students are able to take personal and academic

risks and explore facets of their personal identity. The innovative and equitable learning

environment that drama pedagogies help create is vital in supporting each of my subsidiary

research questions. A safe space is a necessary factor that supports the potential positive effects

on community, social connection, self-efficacy, and engagement within a classroom, already

exemplified by the teachers’ comments of risk-taking in drama.

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Fostering Community and Social Membership

For young adults, high school is a formative time during development, significantly

impacting social skills and abilities beyond academia. Isolation of students with learning

disabilities can extend beyond the classroom and can impact the students’ overall school

experiences. In order to provide every student with an equitable educational experience, Ontario

high schools should consider how conducive their pedagogical approaches and practices are to

social interaction and community building. Drama pedagogies increase the sense of class

community, strengthen student relationships, and provide opportunity for students with

disabilities to be an active integrated social member.

Both of the interviewees’ accounts about the use of drama practices indicate a

requirement for students to learn and work closely together in groups which breaks down social

barriers and fosters genuine interaction, acceptance, inclusion, and respect for students with

learning disabilities. Judy focusses on the element of empathy that is invoked when engaging

with interactive theatre practices motivating peers to “be more understanding of each other's

differences because they are able to see the strengths.” She acknowledges her students’ ability to

appreciate new forms of knowledge and leadership within a drama context and explains the

relationship dynamic she witnesses: “Kids who are not natural leaders are able to appreciate a

little bit more, I think, the natural leadership of the higher functioning people, and the higher

functioning more academic, less creative ones are able to appreciate the creativity and the

strengths of the ones who have reading and writing disabilities.” Bill adds to this positive result

of peer interaction by stating that drama is instrumental in providing students with a sense of

hope by learning through play and from the feedback and support students receive “around issues
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that might be normally just stay in their head that they can now bring out into the forefront.”

Genuine support between peers and recognition of individualized strengths within drama’s play-

based and kinaesthetic learning is what these teachers attribute to motivating social connections

and the creation of friendships, as well as a larger class community. Student with learning

disabilities are able to create work meaningfully with other peers that genuinely appreciate the

differentiated strengths these students offer to the drama class. The universally differentiated

pedagogical approach of drama fosters opportunities for inclusion and understanding of students

with learning disabilities.

The teachers both built further upon this idea of differentiated learning, expressing that

students interacting kinaesthetically through drama form new relationships, stronger connections,

and friendships outside of class and school with students with learning disabilities. Judy

observed a very significant aspect of student interaction in her drama class that is often

overlooked, stating that “they learn the other students names, they use them.” She elaborates

further on the interconnectedness that drama forms within a class, stating that “[students with

learning disabilities] feel seen by the other students, included by the other students.” Bill notes

that these connections and relationships translate outside of his drama class to the hallways of the

school and into other subjects, such as his english class, resulting in peer support and friendship,

as well as an increased sense of comfort. Bill goes into detail about the extra curricular programs

that utilize drama practices having long lasting and widely reaching effects on students,

expressing that “students that are differently abled, who have real mentors in our senior students

have gotten to know them over the years, and developed really keen relationships.” Judy and

Bill’s experiences make it evident that the opportunity for relationships to be formed among
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students is increased in a drama class that employs physical and collaborative learning practices,

and these social connections extend to positively benefit and support a student’s education in

other subject areas and overall educational experience.

The teachers’ commentary highlights that the creation of class community, fostering of

individual relationships and social connections is achieved through interpersonal and kinaesthetic

learning practices that further contribute towards the authentic integration, rather than

accommodation or toleration of students with learning disabilities within school culture. The

collaborative aspect of drama pedagogies fosters social connections between all students,

including students with learning disabilities. These friendships are not confined to the drama

classroom, their positive and supportive effects can be seen in other classrooms and in daily

teenage life, providing necessary and valuable social skill development for students with learning

disabilities.

Increased Engagement and Self-Efficacy

For student facing barriers and challenges in school due to their learning disability,

disengagement can be a solution to ensure emotional safety and often results in a larger learning

gap perpetuating the negative cycle when unaddressed. Students want to be at school when they

experience success, take control and become passionate about their learning, and when their

individuals needs are met. Drama provides opportunities for differentiated instruction,

expectations, and learning environments that increases the engagement and self-efficacy of

students with learning disabilities.

Both teachers spoke specifically to witnessing increased attendance and engagement with

drama classes and pedagogies in comparison to other classes and teaching strategies. Judy shares
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the success she has seen with attendance and accountability ever since the administration of her

school deliberately scheduled arts classes as the first morning period, which Judy states that

“kids feel like it's something you have to show up for, they like coming, they feel welcomed.”

Judy also references the social and communal implications that are connected to attendance in

drama, stating that “[students] feel like if they don't show up, they're kind of beholden to other

students.” Bill expresses similar experiences with past students “that rarely go to any other

classes but have a perfect attendance in drama.” The strategy that Mothfield C.I. accommodated

to increase attendance could be limited to the specific privileges and circumstance that they have

that other schools might not, however both of the teachers’ observations show that drama has a

particular ability to increase engagement and self-efficacy for all types of students which I

explore further below.

Judy and Bill attribute the increase in engagement to drama utilizing accessible and

engaging learning materials and methods that gives a voice to students with learning disabilities.

Both teachers reference universally differentiated forms of learning through kinaesthetic methods

or “being up on their feet” multiple times during the interview. Though much of the same factors

are discussed when considering the creation a safe space, these differentiated and kinaesthetic

learning methods of drama also spark joy for learning among students with learning disabilities.

Bill expressed that drama allows for students to “move around” or see their classroom

differently, which Judy supports with her specific experience of innovating the way she taught

Othello, resulting in her students with disabilities finding accessibility to the content, becoming

more engaged and having a better understanding, through bringing scenes to life and “with

saying Shakespeare's words up on your feet.” Both teachers describe drama’s ability to
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differentiate the content as well as the means of learning to extend beyond curriculum

expectations, with Bill feeling passionate “that all student voices are being heard,” and that each

student is equally valid as any other when expressing themselves in drama. Judy describes

drama’s wider application and innate unique benefit for teaching students with various learning

disabilities (ADHD, Tourette’s, high functioning Autism) necessary life skills and social skills,

which Judy explains that “it sounds like you're just teaching them a technique but really you're

teaching them a life skill.” As seen through the teachers’ experiences, drama takes advantage of

kinaesthetic learning and a focus on differentiated forms of expression and content exploration,

that do not require standardized academic abilities, but rather gives room to teaching universal

life skills crucial to a young person’s overall development. Students with learning disabilities are

engaged and invested in their learning when their personal voices and identities are represented

and validated through the work they do in drama.

Lastly, through the interviews the teachers revealed that drama teaching strategies give

agency to students and they feel an obligation to perform and take ownership over their work.

Bill explains that the notable shift in learning style that drama techniques use, such as the

removal of desks and lecturing, encourages students with learning disabilities to take ownership

over their work, since “a lot of the work that we do in drama is facilitated by the students

themselves.” Judy’s ideas about the role of performance as an educational assessment practice

shares the same result of an increase in self-efficacy, Judy explaining that all students “have to

take more ownership or they're probably gonna be embarrassed.” Both of the teachers’

commentary indicates that there is both a communal accountability and personal self-efficacy
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being adopted by students in a drama class, due to the differentiated, collaborative and creative

process of drama practices, including assessment through performance.

The experiences of the the teachers interviewed directly support and reinforce the claim

that drama provides students with learning disabilities opportunities for innovative differentiated

instruction with a focus on kinaesthetic learning and a physical change in classroom space.

Students with learning disabilities respond positively to these changes and by working through

their strengths they find success at school which increase both their engagement and self-

efficacy, perfectly evidenced by the schools’ increase in attendance from students with learning

disabilities. Sometimes just getting to school is the first stepping stone for these students and a

motivator such as learning through drama pedagogies can act as an alternative solution for

disengagement and passiveness in learning.

Discussion

The focus of my research inquiry was centred around drama’s ability to innovate and

differentiate learning experiences for students with learning disabilities, questioning the

pedagogy’s effects on these students’ relationships with space, other peers, the content and

practices, and themselves as individuals. The findings and their subsequent results are all very

interconnected and interwoven with one another, with each element of drama pedagogies

contributing to every aspect of the overall benefits and positive effects they provide. The

participants built upon prior knowledge, adding to the previously explore ideas and contexts of

drama practices in existing literature, such as detailing that “membership” in a “safe

space” (Bayliss & Dodwell, 2002) in drama involves an equalizing or levelling effect. These safe

spaces directly impact students’ abilities to engage in social relations and take personal
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ownership over their work. Regardless of academic goals and expectations all classes are able to

integrate drama techniques to contribute towards building safe spaces with their students. A safe

learning environment created through drama is conducive to risk-taking and structured

confrontation of weaknesses and challenges can be universally beneficial for all students, but

particularly support students with learning disabilities.

The results of my research support and reinforce the ideas and claims of the existing

research, Kilinc et al. (2017) similarly focus on students utilizing and being recognized for their

strengths, just as Judy and Bill highlight as a factor in creating authentic bonds between students.

The results of my research further these claims by exploring the extending effects of these

relationship formed within drama, noting that students with learning disabilities were

maintaining friendships, mentorships, and connections as an academic, emotional, and social

support system within their educational experience. Furthermore, these results specifically

address the goals of the Ontario Ministry of Education in creating more equitable, diverse, and

enriching opportunities for students facing systemic barriers, which includes students with

learning disabilities. The findings highlight that drama has a direct positive influence on all

aspects of a student’s educational experience, including accessibility to learning environments,

integration into school community, relationship with peer and teacher, and personally motivated

and engaged learning, which directly addresses the same challenges that students with learning

disabilities face.

It is important to consider the necessity for a well equipped and trained teacher in both

specialized fields on theatre and special education. Proficiency, expertise, and experience

teaching both areas of learning allows for optimal and meaningful integration of drama practices
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with students with learning disabilities, which can pose as a real limitation for most schools and

teachers. Both teachers that were interviewed were clear in expressing that the biggest limitation

and challenge they faced was a lack of professional support and communication that they felt

was necessary for them to properly implement drama pedagogies with students with learning

disabilities. While both Judy and Bill were experienced in drama and the arts, their knowledge

and practices around students with learning disabilities was completely informed by previous

experience and some generalized professional development or additional qualifications. Both

expressed a need for more resources and professional development in the area of special

education, and further research could delve into what specific training, support, communication,

and educator programs would best prepare teachers of various backgrounds and areas of strength

to successfully implement drama pedagogies and practices in their classrooms.

Conclusion

Motivated and inspired by my love of theatre and the successful implementation of drama

practices in my own teaching experiences, I sought out to understand the effects of drama

pedagogies on students with learning disabilities, and how they can be utilized as a universal

solution to this Ontario’s struggle in not only addressing students facing systemic barriers, but

efforts to make schools more equitable and diversified. Students with learning disabilities are

often failed by the system that educates them at large, but are able to find hope and support

through individualized and isolated moments throughout their education. The findings and

results of the interviews conducted directly responded to my inquiries around the use of drama

pedagogies with students with learning disabilities, addressing the necessary safe space needed

for risk-taking, which also promotes social interaction amongst all students that can extend
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beyond the classroom, and ultimately engages the student with the work they are creating and

have agency over.

The student voice and perspective is largely missing in this research and could be an

informative aspect in understanding both the effects and necessary next steps in meaningful

implementation of drama pedagogies. Further research could be conducted through more

interviews or active participatory studies that primarily focus on the experiences, changes to

learning, and self-reflection of student participants, also allowing for an exploration of the effects

on self-esteem which was mentioned through the supporting literature. My hope is that my

research showcases the universality of drama and the arts and that they are a valuable aspect of

education and student learning, that require further investment of time, development and finances

to flourish, rather than the cuts that have been steadily accumulating during years of neglect.
 !23

References

Bayliss, P., & Dodwell, C. (2002). Building relationships through drama: The action track project

[1] construire des e´changes grace au the´atre: Le projet d'action track fomentando

relaciones a Trave´s del arte Drama´tico: El proyecto 'action track'. Research in Drama

Education: The Journal of Applied Theatre and Performance, 7(1), 43-60. doi:

10.1080/13569780120113139

Burton, J., Horowitz, R., & Abeles, H. (1999). Learning in and through the arts: curriculum

implications. In E. B. Fiske (Ed.), Champions of change: The impact of the arts on

learning (pp. 35–46). Washington, DC: The Arts Education Partnership and the

President’s Committee on the Arts and the Humanities.

Cawthon, S. W., & Dawson, K. (2009). Drama for schools: Impact of a drama-based professional

development program on teacher self-efficacy and authentic instruction. Youth Theatre

Journal, 23(2), 144-161. doi:10.1080/08929090903281451

Corbett, B., Key, A., Qualls, L., Fecteau, S., Newsom, C., Coke, C., & Yoder, P. (2016).

Improvement in social competence using a randomized trial of a theatre intervention for

children with autism spectrum disorder. Journal of Autism and Developmental Disorders,

46(2), 658-672. doi:10.1007/s10803-015-2600-9

Delgado, M., & Humm-Delgado, D. (2017). The performing arts and empowerment of youth

with disabilities. Pedagogia Social, (30), 105-120. doi:http://

dx.doi.org.myaccess.library.utoronto.ca/10.SE7179/PSRI_2017.30.08

Glass, D., Meyer, A., & Rose, D. (2013). Universal Design for Learning and the Arts. Harvard

Educational Review, 83(1), 98–119.

 !24

Goodrich, J., & Goodrich, W. (1986). Drama therapy with a learning disabled, personality

disordered adolescent. The Arts in Psychotherapy, 13(4), 285-291. doi:http://

dx.doi.org.myaccess.library.utoronto.ca/10.1016/0197-4556(86)90029-8

Hipsky, S. (2007). Drama Discovery: Setting the Stage for Students with Emotional/Behavioral

Needs to Learn about Self. Essays in Education, 21, 163–182. Retrieved from https://

www.rmu.edu/sentry_prod/research/31522.pdf

Ineland, J. (2016). Hybrid structures and cultural diversity in welfare services for people with

intellectual disabilities. The case of inclusive education and disability arts in Sweden.

Alter, 10(4), 289–300.

Kempe, A., & Tissot, C. (2012). The use of drama to teach social skills in a special school setting

for students with autism. Support for Learning, 27(3), 97–102. https://doi-

org.myaccess.library.utoronto.ca/10.1111/j.1467-9604.2012.01526.x

Kilinc, S., Farrand, K., Chapman, K., Kelley, M., Millinger, J., & Adams, K. (2017). Expanding

opportunities to learn to support inclusive education through drama-enhanced literacy

practices. British Journal of Special Education, 44(4), 431–447.

Okikawa, L. C. (2012). Putting it together: musical theater and literacy for children with visual

impairments. Journal of Visual Impairment & Blindness, 106(6), 370+. Retrieved from

http://link.galegroup.com.myaccess.library.utoronto.ca/apps/doc/A295551319/AONE?

u=utoronto_main&sid=AONE&xid=2f224652

Ontario Ministry of Education. (2017). Ontario’s Education Equity Action Plan. Retrieved from

http://www.edu.gov.on.ca/eng/about/education_equity_plan_en.pdf
 !25

Ørjasæter, K. B., & Ness, O. (2017). Acting out: Enabling meaningful participation among

people with long-term mental health problems in a music and theater workshop.

Qualitative Health Research, 27(11), 1600-1613. doi:10.1177/1049732316679954

Ryan, F., Coughlan, M., & Cronin, P. (2009). Interviewing in qualitative research: The one-to-

one interview. International Journal of Therapy and Rehabilitation, 16(6), 309–314. doi:

10.12968/ijtr.2009.16.6.42433

Trowsdale, J., & Hayhow, R. (2015). Psycho-physical theatre practice as embodied learning for

young people with learning disabilities. International Journal of Inclusive Education,

19(10), 1022–1036.

Yotis, L. (2006, March). A review of dramatherapy research in schizophrenia: Methodologies and

outcomes. Psychotherapy Research.

 !26

APPENDIX A

Data Collection Protocol

Teacher Background & Experience

1. What subjects and grades do you currently teach?

2. What subjects and grades have you taught in the past?

3. How many years have you been teaching?

4. What motivated you to become a teacher?

5. What is your approach or philosophy for teaching?

Teacher Practices, Observations & Beliefs

1. Describe the dynamics of your classrooms.

(a) What type of exceptionalities do students have in your class?

(b) What background or experience do you have in working with students with learning

disabilities?

(c) Do you work with students with learning disabilities in your classroom? Describe

these students as learners and their disabilities.

(d) What are the dynamics between non-disabled students and those with learning

disabilities within the classroom?

2. How long have you been using and/or teaching drama in your classrooms?

(a) What prior personal, educational, and/or professional experience do you have with

drama and theatre?

 !27

(b) What are some of the drama practices, pedagogies, and techniques you have

implemented in your classroom? Please provide examples.

(c) How have your students with learning disabilities reacted to this type of teaching?

3. How has the use of drama effected class dynamics, community, and social interactions in

your classroom?

(a) How have relationships in your class changed or evolved?

(b) How has it influenced relationships between students with learning disabilities and

students without?

(c) Have you noticed a change in the class community (cohesion, peer support)?

(d) How do you think drama integration has influenced these changes in class

community and social dynamics?

(e) Have you observed a change with your students’ relationship with the space?

(f) Has the learning environment changed in any way? Do your students feel safer or

freer of judgment?

4. What impact has drama had on your students’ self-efficacy and ownership of learning?

(a) Focussing on students with learning disabilities, have your students shown more

ownership over their learning and work?

(b) How have you observed students’ levels of confidence and independence change?

(c) What elements of drama practices have impacted students’ self-efficacy most?

5. How have levels of engagement amongst your students been impacted by the

implementation of drama pedagogies?

 !28

(a) Have you observed a higher or lower level of engagement for students with learning

disabilities?

(b) What aspects of drama practices most engage these students?

(c) How has the implementation of drama pedagogies influenced overall engagement in

your classroom?

6. Why do you think drama is beneficial for student learning?

(a) Is drama particularly beneficial for students with learning disabilities?

(b) How do you think drama effects the learning and school experience for students with

learning disabilities?

(c) What makes drama unique (compared to the other arts and to other teaching

practices) in enriching a classrooms?

Supports & Challenges

1. What supports do you have in place at your school or in your board for working with

students with learning disabilities?

2. What supports do you have for integrating drama practices in your classroom?

3. Is there cross-curricular sharing of drama teaching practices in your school?

4. What resources are necessary in order to successfully implement and/or teach drama in

your classroom?

5. What barriers do you face when trying to implement and/or teach drama in your

classroom?
 !29

6. What challenges have you faced when teaching students with learning disabilities? How

have you responded to these challenges? Have you looked to drama as a response to

challenges?

7. What supports do you still need in order to implement and/or teach drama in your

classroom? What supports do you still need to teach students with learning disabilities?

Next Steps

1. What are your goals this year regarding your use of drama pedagogies in the class?

2. What are you goals for your classrooms and the students in them?

3. What advice would you have for teachers wanting to implement drama techniques in

their teaching?

4. What relationship does drama have with teaching students with learning disabilities?

5. How do you see drama being used to change the way students learn in the future?

 !30

APPENDIX B

Consent Form and Recruitment Script

Date:

Dear _______________________________,

My Name is Jovan Kocic and I am a student in the Master of Teaching program at the Ontario
Institute for Studies in Education at the University of Toronto (OISE/UT). A component of this
degree program involves conducting a small-scale qualitative research study. My research will
focus on the effect of using drama pedagogies and practices with students with learning
disabilities in Ontario’s public high schools. I am interested in interviewing teachers who are
currently teaching in an Ontario secondary public school, use drama pedagogies regularly in the
classroom, and teach students with various learning disabilities. I think that your knowledge and
experience will provide insights into this topic.

Your participation in this research will involve one 45-60 minute interview, which will be
transcribed and audio-recorded. I would be grateful if you would allow me to interview you at a
place and time convenient for you, outside of school time. The contents of this interview will be
used for my research project, which will include a final paper, as well as informal presentations
to my classmates. I may also present my research findings via conference presentations and/or
through publication. You will be assigned a pseudonym to maintain your anonymity and I will
not use your name or any other content that might identify you in my written work, oral
presentations, or publications. This information will remain confidential. Any information that
identifies your school or students will also be excluded. The interview data will be stored on my
password-protected computer and the only person who will have access to the research data will
be my course instructor, David Hayes. You are free to change your mind about your
participation at any time, and to withdraw even after you have consented to participate. You may
also choose to decline to answer any specific question during the interview. I will destroy the
audio recording after the paper has been presented and/or published, which may take up to a
maximum of five years after the data has been collected. There are no known risks to
participation, and I will share a copy of the transcript with you shortly after the interview to
ensure accuracy.

Please sign this consent form, if you agree to be interviewed. The second copy is for your
records. I am very grateful for your participation.

Sincerely,
Jovan Kocic
(416)-888-2859
kocic.jovan@gmail.com
 !31

Course Instructor’s Name: David Hayes

Contact Info: ______________david.hayes@utoronto.ca__________________

Consent Form
I acknowledge that the topic of this interview has been explained to me and that any questions
that I have asked have been answered to my satisfaction. I understand that I can withdraw from
this research study at any time without penalty.

I have read the letter provided to me by Jovan Kocic and agree to participate in an interview for
the purposes described. I agree to have the interview audio-recorded.

Signature: ________________________________________

Name: (printed) _______________________________________________

Date: ______________________________________
 !32

Hello,

My name is Jovan Kocic and I am teacher candidate in the Master of Teaching program at OISE
(University of Toronto). A component of this program involves learning to conduct research on
teaching by interviewing educators on a topic that interests us. The findings from these studies
are intended to inform our practice as beginning teachers. I am interested in interviewing
secondary teachers who practice drama pedagogies and practices in their classrooms and have
experience working with students with learning disabilities. More specifically, I am interested in
learning about the effects that drama has on students with learning disabilities when implemented
in a classroom, particularly focussing on influence on community, social dynamics, student self-
efficacy, and engagement in learning.

If this is an area that you have experience with, I would be grateful for the opportunity to
interview you at a time and place that is convenient for you, outside of school. The interview will
take approximately 45-60 minutes, and you will be assigned a pseudonym in the study to ensure
confidentiality. I would also be very grateful if you could forward information about my study to
others whom you feel could also speak to this topic. I am eager to learn from experienced
teachers, and to share the research findings with the broader educational community in order to
continue supporting students with learning disabilities in Ontario classrooms, and to validate
drama techniques as effective and valuable means for this type of support.

With sincere thanks for your time and consideration,

Jovan Kocic
Jovan Kocic
Teacher Candidate, Master of Teaching Program
OISE/University of Toronto
(416)-888-2859
kocic.jovan@gmail.com