Example 002.

SYNTHESIS OF THE ART

The review of related literature for the present study presents useful ideas from writers
and authors whose assertions are summed up based on their commonalities.
The value for a wide repertoire of techniques and approaches for effective pedagogical
practice for developing the learner is propounded by Kyriacou (2009) for Mathematics teaching.
Same idea goes for Religious Education teaching as presented by Grimmitt (2000), Stern (2011),
Barnes, Wright and Brandom (2008). Likewise, the National Catechetical Directory for the
Philippines (NCDP) (2007) considers no specific appropriate method or strategy as long as these
are useful and not harmful to the unity of the faith or contrary to the Gospel.
Specifically on the strategy for teaching Religious Education, the NCDP (2007) adopts
the use of arts, drama and action learning as catechetical methods. In like manner, Piekkari
(2005) highlighted the advantages for the use of drama on its impact on the human being as a
tool for improvement and to promote social change. Kyriacou (2009) is one with Piekkari in the
idea of the value of drama for the human being since it is an example of experiential learning.
Similarly, drama as an effective learning strategy was explored by Mangan (2006), Moore
(2004) and Rongen (1975). They considered drama as experiential learning helping students
academically, socially and developmentally.
The claim was supported by Rott (2005) in his review of literature, programs and projects
in the United States. Stauffer claimed the same effect of the teaching approach on assisting the
student on his journey toward self- discovery, of becoming a responsible agent of change.
Religious educators established the role of drama as a significant educational technique
due to its vital and creative role in understanding religious concepts and promoting active
learning among students (Rue, McCaslin, 2006; Gangel; Booth; Moore, 2004). As a time-tested
technique to inspire and motivate students (McDougall, 2003; Jackson, 1993), drama allows
students to think and become active receptacles of the rich experience of learning (Swartz, 2003;
Moore, 2004).
Still considering both sides of the origin of drama, one stating that its origin is religious
liturgy (Young, 2002; Bodo, 2006; Rott, 2005; Bert, 2002), and the other stating that it is not
religious liturgy but folk festivals (Chambers; Rozik, 2003), theorists are one in saying that
drama as a learning activity emphasizes the value of learning by doing (Stauffer, 2005).
Missionaries used drama to educate the Filipinos (Wostyn, 2004; de Mesa, 2004; Francisco,
1976). On festival days, its purpose claims for instruction and entertainment (Francisco, 1976;
Bruch, 2004). Aquinas University of Legazpi as an institution is with this idea; hence, the
religious drama presentation is done annually. This is done to impart to the students new
understandings of religious experiences more than cognitive understanding, and more to
viscerally encounter religious belief, practice and religious imagination.