Block 5 MVA 026

School of Performing and Visual
Arts
Indira Gandhi National Open
University
MVA 026
Understanding Aesthetics and
Art Education
BLOCK
5
ART EDUCATION: CREATIVE EXPRESSIONS
UNIT 1
Teaching and Learning in Art Education
UNIT 2
Application of Drama and Art in Education
UNIT 3
Drama and Art for Pedagogy
UNIT 4
Drama and Art for Social Intervention
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Introduction to Block
Dear Learner,
Art provides opportunities to the child for expressing her personal feelings, thoughts and
ideas. The focus in this Block is on the ways a person creatively expresses one‘s ideas and
emotions through art. The various art forms become relevant to the extent when they emerge
from day-to-day experiences, thoughts, emotions and feelings of the child, irrespective of
skillful accomplishment and technical abilities.
In view of the above, an attempt has been made in Unit 1 of Block 5 of Course MVA-026:
Understanding Aesthetics and Art Education, to discuss different modes for creative in art.
As long as an individual gets satisfaction and is able to give expression to his or her thoughts,
feelings, and pent-up emotions in a given medium, the art emerges. Creating form in two
(created on flat surface) and three-dimensional media, using various visual elements. The
essence of it is then expressed with the help of these media. It is more important that you
discover different media, materials and techniques related to child‘s environment and create
satisfactory conditions in which the children of this age group can easily manipulate for
creative self-expression.
The second unit ‗Art Education: Creative Expressions‘ of this block will discuss about the
use of drama and art as pedagogical tools in teaching-learning process. It highlights how
drama and art activities can be integrated in secondary schools both as a part of the curricular
as well as co-curricular activities. It also discusses strategies that can be used in organisation
and assessment of drama and art activities.
The third unit ‗Art Education: Creative Expressions‘ of this block explains the role of drama
and art in providing creative expression opportunities to students, self-realisation and
creating inclusive classrooms. The unit discusses role of drama as ‗critical pedagogy‘ and
different techniques of the Theatre of the Oppressed (TO) such as image theatre, forum
theatre and invisible theatre.
The fourth unit ‗Art Education: Creative Expressions‘ of block 5 helps in understanding
social and environmental issues through drama and art. It discusses the role of drama and art
in understanding local as well as global culture. It explains how teachers can organise
interactions with local artisans in schools along with visits of students to local fairs,
exhibitions etc. to enrich their understanding of local culture.
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CURRICULAM DESIGN COMMIITTEE
1. Prof. Anupa Pande, National Museum 5. Prof. S. N. Vikas, College of Fine Arts,
Institute, National Museum, Janpath, New JNAFA University, Hyderabad,
Delhi Telangana
2. Prof. B. S. Chauhan, College of Art, 20- 6. Dr. Lakshaman Prasad, School of
22, Tilak Marg, New Delhi Performing and Visual Arts, IGNOU,
3. Prof. Kiran Sarna, Department of Visual New Delhi
Arts, Banasthali University, Banasthali, 7. Dr. Mohd. Tahir Siddiqui, School of
Rajasthan Performing and Visual Arts, IGNOU,
4. Prof. Madan Singh Rathore, Department New Delhi
of Visual Arts, M. L. Sukhadia Chairperson & Convener
University, Udaipur, Rajasthan Prof. Sunil Kumar, School of Performing
and Visual Arts, IGNOU, New Delhi
PROGRAMME COORDINATOR(S) BLOCK PREPARATION TEAM
Dr. Mohd. Tahir Siddiqui, SOPVA, IGNOU, Contributor(s)

New Deli Unit 1
Unit 2
Unit 3
EDITORIAL TEAM &
Unit 4
Content Editor Format
Prof. Sunil Kumar, School of Performing and Visual Arts, IGNOU, New Delhi
Format Editor
Prof. Sunil Kumar, School of Performing and Visual Arts, IGNOU, New Delhi
PRODUCTION
@ Indira Gandhi National Open University, 2021

ISBN-
All right reserved. No part of this work may be reproduced in any form by mimeograph or any other
means, without permission in writing from the Indira Gandhi National Open University.
Further information about the School Of Performing and visual Arts and the Indira Gandhi National
Open University courses may be obtained from the University’s office at Maidan Garhi, New Delhi-
110068 or website: www.ignou.ac.in
Printed and published on behalf of the Indira Gandhi National Open University, New Delhi by Registrar,
MPDD, IGNOU, Maidan Garhi, New Delhi.
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UNIT 1 TEACHING AND LEARNING IN ART EDUCATION
Contents
1.1 Objectives
1.2 Learning Outcomes
1.3 Introduction
1.4 Modes of Expression
1.5 Visual Arts
1.5.1 Two Dimensional or Pictorial Arts
1.5.1.1 Drawing and Painting
1.5.1.2 Print Making
1.5.1.3 Collage Making
1.5.2 Three Dimensional Arts
1.5.2.1 Clay Modelling
1.5.2.2 Mask Making
1.5.2.3 Model Making
1.6 Performing Arts
1.6.1 Music
1.6.3 Dance and Rhythmic Movement
1.6.3 Creative Drama
1.6.4 Puppetry
1.7 Role of the Teacher
1.7.1 Motivation and appreciation
1.7.2 Display and Exhibition
1.7.3 Continuous and Comprehensive Evaluation
1.8 Let us Sum Up
1.9 Check Your Progress
1.10 Reference and Suggested Readings
1.1 OBJECTIVES
After reading this unit we will be able to

 Develop sensitivity to observe the environment;
 Explore simple, basic and locally available art materials;
 Create awareness about the environment i.e., the neighborhood, social characters,
community programmes, etc;
 Motivate to use imagination and to develop own ways of expressions through
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exploration;
 Identify the various art forms in own environment or locality;
 Develop independent thinking, initiative and confidence through various art forms;
 Develop skills to use various tools, other art materials in the process of discovery and
 exploration as also in the process of discovering space organization, colours, forms, l
ines, textures etc.
 Describe your role as a teacher in helping children express and communicate their
ideas freely;
 Describe the role of appreciation and motivation in encouraging the creative
expression of a child through various art forms;
1.2 LEARNING OUTCOMES
After having studied this unit, you will be able to:

 Express sensitivity to observe the environment;
 Use simple, basic and locally available art materials;
 Use imagination and express through exploration;
 Paint various art forms in own environment or locality;
 Create work of art through independent thinking, initiative and confidence;
 Use various tools, other art materials in the process of discovery and exploration;
 Apply space organization, colours, forms, lines, textures etc.
1.3 INTRODUCTION
It is well known that every child has an inborn desire to express his/her ides and emotions.
To express these ideas and emotions, the child selects the medium of his/her own choice. The
choice of the medium of expression depends on the child‘s environment and the
opportunities that are provided by way of art materials and encouragement on the part of
parents and teachers. In view of the above, an attempt has been made in this unit to explain
the concept of Art Education and modes of expression through art, as well as the various
developmental stages of child in artistic expression.
1.4 MODES OF EXPRESSION
Art is the spontaneous reaction of the creator to his/her environment. Various art forms help
the child to explore various means of communication or expression. It encourages him/her to
express freely in his/her own way. These areas of expression prepare the children as maker or
producers, performers, audience, critics and art evaluators. The art education comprises two
major areas – visual arts and performing arts. Each of these are quite different in nature.
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All the modes used by the child for expression of inner feelings are known as child art. Child
art may be defined as creative expression of which every uninhibited child is capable of in
his own individual way. Art is a means of self – expression. It provides a most satisfying
medium by which a person expresses his or her sense of beauty and creative sensibilities. The
forms of artistic expression have specific features. Some of them are:
a) It is universal in nature. Children of the same get age group all over the world depict
to a remarkable degree similarities in expression through drawing and painting.
b) The quality of expression (whatever be the mode) improves with proper guidance and
the extent exposure to the nature, environment and various art materials.
Researchers conducted in different parts of the world show that there are various stages of
artistic growth in a child. In Unit 3 of block 4 we have studied that the chronological age of
the child does not tally with the mode and quality of artistic expression due to various
reasons. Children of 5 years of age are also seen scribbling at times. In case of mental blocks
and hang ups or lack of motivation, children turn back to the previous stage momentarily.
These ups and downs between two stages are noticed more among sensitive/moody children.
In visual arts ideas and emotions are expressed through medium and materials etc., whereas
in performing arts these are expressed through body gestures and movement, actions etc.
These two modes have been further divided into different modes according to the use of
material, surface, space etc.
The major modes of expression adopted by children are given below.

Visual Arts
Performing Arts
1.5 VISUAL ARTS
The term visual arts are art forms such as painting, drawing, printmaking, sculpture, applied
arts, ceramics, photography, video, design, craft and architecture. Many other artistic
disciplines such as art performance, conceptual art and textile arts also involve aspects of
visual arts as well as arts of other type. The major modes of expression adopted by children
are given below.
1.5.1. Two Dimensional or Pictorial Arts

1.5.1.1 Drawing and Painting
1.5.2.2 Mask Making
1.5.1 Two Dimensional or Pictorial Arts

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This group consists of various art activities such as Drawing and Painting, Collage-making,
Print making, etc. All these activities have different techniques and play different roles in the
development of a child. One feature common to all these is the use of art on two-
dimensional (flat) surface such as paper, cardboard, floor, etc. Let us go through all these
activities one by one.
15.1.1 Drawing and Painting
Young children love to make drawings and paint them. They do not need many suggestions.
They have endless ideas of their own and like to express these ideas in their own ways. A
painting may appear just a daub of colour to a teacher, but can have real meaning to a child.
Drawing and painting play a major role in art activities. A notable feature of this activity is
the existence of considerable variety in the materials. It has the capacity to offer fun even to
a two-year-old child. Children at this age do exploratory exercises as scribbling and express
their feelings, ideas and imagination to the grown-ups.
While planning and suggesting these activities it should be remembered that our target group
comprises the children of the primary stage. At this stage of school education, the children
are naturally creative. They choose their own materials, media, tools and techniques keeping
in mind their moods and modes of expression. Their experiences at home and in school are
all that are significant to them, which they are naturally inclined to depict in their creative
acts.
All that an Art-teacher has to do is to create a favorable environment in the class and
motivate children in such a way as to release and channelize their creative energies. There are
some don‘ts in the teaching of art activities which are even more important to remember:
 Never use blackboard for ‗how to draw‘ purposes.
 Never ask/motivate children to copy or trace the blackboard.
 Never impose your own experiences/ideas on children.
 Do not encourage them to use work-books or printed drawing-books which are
prescriptive such as ―JOIN THE DOTS‖ OR ―FILL UP COLOURS AS SHOWN IN THE
PICTURE‖.
 Do not encourage: ―Mom, draw me a picture‖, ―Teacher, draw me a horse or
elephant‖ attitude, because your help will not help children express themselves or draw what
they know or understand. Rather, they will develop a sense of ―Mom/Teacher, I cannot draw
like this‖.
Materials and Techniques for Two-dimensional Drawing
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 Soft pencil, charcoal, coloured chalk-sticks and crayons are used for free scribbling
and drawing purposes. Pencil and charcoal medium are used on paper. These help in
developing muscular movement and control. Chalks are used directly on chalk-boards.
 Crayon engraving-some bright coloured crayons may be rubbed all over a sheet of
strong paper or card, covering it almost completely. A second coating on the first coat may
be given with a dark/black crayon. Thereafter, pictures or drawings can be engraved on this
surface with a nail or any sharp/pointed object.
 A picture or a design may be drawn on a paper with the wax crayons while leaving
some parts of the picture un-coloured. Then, water-colour is applied over the picture, creating
batik effects.
Water Paints and their Uses
At the primary level, opaque water paints/colours should be used for various types of
painting activities. Opaque water paints are also known as poster colours or tempera paints.
They are available in both forms: Dry powder is well as Creamy-liquid. Commercially,
poster colours are very costly but one can prepare these colours by mixing glue in the
ordinary powder colours available from the building material stores.
 For surface materials, there is a wide variety of papers : Drawing papers, Coloured
posters, coloured cover papers, Coloured pastel papers, hand-made papers, Newsprint papers,
Newspapers, old magazines, old calendars, Corrugated papers, Cards, Cardboard and other
papers with texture surfaces. Slate, takhti and painting activities. Older children for drawing.
 Brushes with long handles would be more useful for primary classes. Bristle brushes
of 1/4 inch or 1 inch width can be used for various drawing and painting activities. Older
children may need small and sometimes round brushes.
 It would be interesting to improvise brushes with sponge, jute-fiber, cotton, etc. for
primary classes.
Print making is a technique in which texture, form or image is transferred by printing from
one surface to another surface.
For young children, simple printing techniques are followed to sustain their interest. This
technique is useful for children during later childhood and adolescent period. This provides
new openings to imbibe varied abstract forms, visual texture and visual atmosphere. This,
technically helps children to infer new meaning and the wide possibilities of visual language
with unending variety of materials. This may also help them to extricate themselves from the
conventional art forms and right techniques. And thus, it would keep some kind of continuity
in creative growth and help stimulate children for imaginative thinking.
Printing/Stamping
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Colour can be soaked in an improvised pad made of cloth, like an ink-pad. In the beginning
water colours can be used technique of work. Later on, cyclostyle printing link or oil colours
can be used for printing activity. Different pads for different colours should be used. The
objects which can be collected by the children are: bottle-caps, shells, beads, stones/pebbles,
leaves, twigs, small wooden blocks with their natural creeds and joints and the marks of
tools, vegetables (cut vegetables like Onion, Lady‘s finger), keys, textured textile pieces,
gunny cloth, unserviceable machine parts, rubber packings, wire-mesh etc. Stamping
technique or printing may be changed later-on or mixed with cut-out blocks of designs.
Materials like potato, carrot, clay blocks, plaster of Paris (PoP) blocks etc., can be used for
cutting patterns for block printing.
Collage means an artistic composition in which objects or materials are pasted on another
surface to decorate the drawing of an object. At primary level, paper collage and mixed
collage are very useful and interesting.
a) Paper Collages
For making pictures and patterns, a variety of papers and other materials can be used. This
process of art activity is known as ―Collage making‖. There are a number of types of
papers/colored papers which can be collected by the children. Glazed colored papers, kite-
paper, cellophane-paper, abri-paper, papers of different textures, corrugated papers,
newspapers, coloured magazine papers and old calendars etc., all can be very well explored
for this art activity. Bits of rubbings and coloured papers or old pictures of the children can
also be used.
The techniques in preparing paper collage are very simple. Once can tear or cut the paper of
different colours with scissors/knife etc. (knife/scissors can be used with children of classes
(IV & V) and arrange and paste on a separate sheet of paper to make an object or design. One
can also prepare the design with overlapping kite paper or cellophane paper, if required.
b) Mixed Collages
There are no hard and fast rules for making collages. The only thing is that one has to select
such a material which could be adhered to a given surface. Paint etc., can also be used with
advantage on selected areas. In collage making, pasting, stitching, nailing, stapling g or any
other method of adhering can be applied. Various textures rags, yarns, papers, cards,
corrugated sheets, variety of springs, buttons, beads, seeds, bottle-caps, leaves, twigs, straw-
pipes, rubbings, etc., are a number of suggestive materials for such an activity. Since
composition of the collage and the nature of materials is such that it requires a strong ground
surface for which card-board, ply-board or hard papers are best for adhering process and to
hold the materials. Suitable adhering materials should be used for objects in collage-making
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e.g., synthetic glue (or similar adhesives), good quality of gun-paste, stapling machine, nails,
stitching materials, etc.
Miscellaneous Collections for Collage Work

Children usually engage themselves in collecting and manipulating number of objects and
things from their surroundings, which they like most. Both, collection and construction work
are very important activities of art because these provide for resourcefulness and imaginative
thinking. Collecting things by itself creates many new ideas for improvisations in various
combinations. The materials and objects which the children collect are not only kept in
possession by them but are also used in various play-making situations. These collections
may be further classified and arranged in terms of their nature or for other facilities. Some
examples of collections are shells, pebbles, seeds, feathers, leaves, cartoons, unserviceable
machine-parts, bottles, bottle-caps, corrugated packing, button, fiber, cotton, rags, strings and
wires, etc. All such things, in addition to a few more by the teacher can be put to for various
use in arts, e.g., in collage-making, printing, stamping, constructions, mobiles, etc. Other
tools and supporting materials which may be required are gum-paste, water, vegetables,
threads and needles, gunny cloth, colour containers, water containers, scissors, knives,
variety of strings and many local objects or things which have some peculiarities of certain
region/locality.
Art forms created in three dimensions are called Three Dimensional Arts such as, clay
modeling, construction or model making, mask-making etc.
Clay is perhaps the most satisfying creative medium which can be used for creating three
dimensional forms and objects. It stimulates imaginative experience and children like using
it.
a) Clay
Clay is an interesting medium which renders quick results, thus helping children to gain the
confidence to make something. Children play with clay and derives satisfaction by pinching
and squeezing, rolling, thumping, patting, stretching and moulding it in various shapes/ways.
There are many kinds of clay available in the nature. They have different properties and
require different temperature for baking.
b) Oil Clay or Plasticine

Oil clay is prepared in commercial sector. Its recipe is not commonly known. Therefore, it is
costly and is available ready-made in the market. It may be prepared by adding raw linseed
oil in chalk-mitti powder, zinc oxide and glycerin. The objects prepared with this clay are
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not hard. Therefore, the objects can be reshaped and be turned into the original lump. This
clay, being oil-based, does not require water.
Important Tools and Equipment for Clay Work
The hands are the best tools for clay work. Older children may use many objects like knives,
paper cutters, wooden knives, tin scrapers or flat and blunt dagger-shaped steel scrape, nails,
wire rods, sticks, ice cream spoon, hair pin, paper clip, office-pins, forks, match sticks, brush,
handles, keys and other objects with which texture can be created. Hard-board or wooden-
board covered with newspaper for keeping the clay objects should be used so that they may
be removed to keep them at a safer place. Wooden hammers and mallets are used for beating
the clay and wooden rollers for flattening the clay. Water bowls for keeping water, polythene
sheets for covering unfinished work and prepared clay, mugs for keeping the slip and brushes
for applying slip are also essential tools and equipment for clay work. Clay, when prepared
like a thin paste is known as slip. It is used for joining together two pieces of clay modeling
work. Potter‘s wheel for older children of class V onwards can be introduced.
Working with Clay
The initiate experiences with clay should be free. Children should play and enjoy with clay as
they like. They themselves would explore the process of pinching, rolling, balling, adding
and removing etc. Children can then be motivated through discussion related to their daily
life experiences.
c) Pottery and Ceramics
Simple pottery objects with potter‘s clay can be prepared by young children. Pottery methods
like coil, slab, mould and wheel pottery may be introduced for older children. Designs of
pottery by distorting shapes and forms prepared on the wheel may be explored. Pots are also
prepared with the help of plaster moulds. Metallic objects/utensils can also be used as
moulds. Surfaces of various pottery objects can be formed with the help of various tools and
other objects listed earlier. Seal and stamp designing can be introduced for older children.
1.5.2.2 Mask Making
Mask is a device to cover-up the personal self in order to show a make-belief personality.
However, with children it works differently. Social constraints are revealed when a child
comes out with his/her inner self under the pretext of the character of the mask in which
he/she could cover-up his/her shyness. Apart from this purpose of play-making with mask,
there is another advantage of this activity; the innumerable possibilities of creating faces
which evoke imagination and new ideas for free play and dramatization. Any material, which
can cover-up the face and allow making some expressive features and holes through which
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the child can see while playing, can be used for mask-making. Cartoons, papers, spare-bags,
paper plates etc., can be used for improvised faces papier.
Clay moulds can be prepared for Papier-mâché and paper-strip mache. Papier-mâché or
literally "chewed paper") is a composite material consisting of paper pieces or pulp,
sometimes reinforced with textiles, bound with an adhesive, such as glue, starch,
or wallpaper paste. Papier-mâché sculptures are used as an economical building material for
a variety of traditional and ceremonial activities, as well as in arts and crafts. Strips of old
newspaper, pasted layer after layer on a clay or plasticine mould (or any improvised mould
like a wad of papers on astick, balloon etc.) is called strip paper-mache. This process is very
easy and can be started from classes IV or V onwards. Children of class III can try it on
simple moulds. Semi-round surfaces can be painted further. Never use polythene bags as
mask. Wherever required, some knitting wool, jute fibres or paper-wool etc., can be used for
hair and beard etc.
More than any other form of art, excepting perhaps painting, modeling encourages children
to express their individual thoughts and ideas freely and without the limitations imposed by
some other media. Children are helped by modeling to develop their artistic sense and they
derive emotional satisfaction from their work. Modelling materials provided in school are, in
varying degrees, malleable and this allows the children a great amount of control and also
develop the sense of touch while playing with the materials.
There is no dearth of throw away or discarded materials like used carbons, bottle-caps, shells,
beads, wood-scraps, cardboard scrap, match boxes, cardboard boxes, etc. We can use them
for transforming many creative ideas. Various shapes and forms of such materials
themselves suggest certain ideas which can be further elaborated with some additions and
deletions like legs, arms, features, buttons, or other things. Miscellaneous collections
suggested in collage making will help children create new ideas for model construction.
Mobiles and many constructions can be done with such materials. Wire sculpture and
construction by older children are also worth trying. Plaster of Paris can be applied over the
wire sculpture by wrapping the wire with cloth/paper as it is done by a surgeon for fractured
parts of the body.
Interesting models can be made by the older children using wire or pipe cleaners and paper.
This form of modeling is particularly suitable for making figures of long-legged creatures
like giraffe, camel, etc., which are sometimes difficult for young children to manage in other
media.
When permanent form is not as important to the child as manipulation, plasticine is the ideal
medium. It is much like clay, but it has an oil base so that it can be moduled and will not set
up. Plasticine dowes not harden, so the child can enjoy a plasticine shape for a period of time
and then reshape it when he/she feels a need to change it. Various forms and shapes can be
combined together with certain modifications to create a new form of personal interest. New
form may be suggestive figure or even an abstract one.
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1.6 PERFORMING ARTS
Music, dance, drama, puppetry, etc., provide opportunities for expression of feelings,
emotions, ideas by children/artists in front of the audience. These modes of expressions are
called performing arts. This medium is entirely different in nature from those described
earlier. In performing arts, children express their ideas through rhythmic body movements,
gesturers, actions, etc. All these activities play a vital role in the development of a child, as
these activities are performed mainly in groups and in front of an audience. These help the
child overcome his or her shyness and hesitation. The child reacts to any tune as soon as
his/her sense of hearing emerges. The sensibilities to sound, rhythm are inborn qualities in
the children. They appreciate and enjoy any tune heard by them.
While planning/organizing activities on performing arts the following points may be kept in
view:
 Children should be given freedom to choose the medium of expression they like.
 Suggestive topics/ideas can be given for activities.
 Every child should participate according to his/her interest and ability.
 Negative observations should be avoided.
 Dialogues in drama should not be very long, even the reading of dialogues can be
encouraged if the children are not able to remember them.
 Encourage children to watch and appreciate the performances of others.
 Children can perform activities in their usual dresses. Only on special occasions some
special customs and make-up can be used.
The major modes of expression adopted by children are given below.

1.5.1 Music
1.5.2 Dance and Rhythmic Movement
1.5.4 Puppetry
1.6.1 Music
It is virtually impossible to separate music from art for a very long period of time in the
elementary school. One seems eventually to lead the other, probably because they blend and
complement each other so well. Art is the common visual form of man‘s expression of his
creativity and music is his most common audio form: combined they make creative
expression richer and more exciting. Within the arts, music may be classified as a performing
art, a fine art, or as an auditory art. Music may be played or sung and heard live at a concert
or orchestra performance, heard live as part of a dramatic work, or it may be recorded and
listened to on a radio, MP3 player, CD player, smartphone or as film score or TV show.
Music is the art of arranging sounds in time through the elements of melody, harmony,
rhythm, and timbre. It is one of the universal cultural aspects of all human societies. General
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definitions of music include common elements such as pitch (which governs melody and
harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics
(loudness and softness), and the sonic qualities of timbre and texture (which are sometimes
termed the "color" of a musical sound). Different styles or types of music may emphasize,
de-emphasize or omit some of these elements. Music is performed with a vast range of
instruments and vocal techniques ranging from singing to rapping; there are solely
instrumental pieces, solely vocal pieces (such as songs without instrumental accompaniment)
and pieces that combine singing and instruments.
The creation, performance, significance, and even the definition of music varies according to
culture and social context. There are many types of music, including popular music,
traditional music, art music, music written for religious ceremonies, and work songs such as
chanteys. Music ranges from strictly organized compositions—such as Classical music
through to spontaneously played improvisational music. In India Hindustani and Carnatic
music are considered classical music and require years of practice to learn.
1.6.2 Dance and Rhythmic Movements
Dance is a performing art form consisting of sequences of movement, either improvised or

purposefully selected. This movement has aesthetic and often symbolic value. Dance can be
categorized and described by its choreography, by its repertoire of movements, or by its
historical period or place of origin. An important distinction is to be drawn between the
contexts of theatrical and participatory dance, although these two categories are not always
completely separate; both may have special functions, whether social, ceremonial,
competitive, erotic, martial, or sacred/liturgical. Other forms of human movement are
sometimes said to have a dance-like quality, including martial arts, gymnastics, cheerleading,
figure skating, synchronized swimming, marching bands, and many other forms of athletics.
It is a form of expression, and as such can be employed as a means of developing creativity.
In an accepting, permissive atmosphere, dance can be utilized to develop divergent thinking
processes. Originally can be fostered, and the characteristics and qualities of creative people
can be encouraged in a legitimate manner. Dance also provides a way of releasing excess
physical energy and emotional tensions. It provides a foundation for linear movement and the
expression of movement in visual art.
Indian classical dancing started around 200 BCE in India. People in India loved art in India
so they developed dancing into their culture, and they would dance at any events from
religious festivals to any social gathering like weddings and parties. Indian classical dancing
is a very joyful and celebratory thing for people to do in the Indian culture. The style of
Indian classical dancing is very vibrant and motivational. It is a style of dance that is like a
communication with the gods. Indian classical dancing usually happens at festivals and
cultural events. The dancers who perform this kind of dance usually is a professional dancer
that has had a lot of practice in that specific style of Indian classical dancing. In Indian
classical dancing the professional dancers usually dance to beat of the song or sound that is
playing. They move their body to rhythm of the music and they flow. They movement and
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coordination usually sync up with whatever sound or song they are listening to. The dancer
takes the role of the character that they hear in the song or sound and become emotionally
connected with the story and the audience.
The Natya Shastra is the foundational treatise for classical dances of India, and this text is
attributed to the ancient scholar Bharata Muni. Its first complete compilation is dated to
between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The most
studied version of the Natya Shastra text consists of about 6000 verses structured into 36
chapters. The text, states Natalia Lidova, describes the theory of Tāṇḍava dance (Shiva), the
theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing
postures – all of which are part of Indian classical dances. Dance and performance arts, states
this ancient text, are a form of expression of spiritual ideas, virtues and the essence of
scriptures. While the Natya Shastra is the revered ancient text in the Hindu tradition, there
are numerous other ancient and medieval Sanskrit dance-drama related texts that further
discuss and expand on the classical repertoire of performance arts, such as the Abhinaya
Darpana, Abhinava Bharati, Natya Darpana, Bhava Prakasa and many others. The term
"classical" (Sanskrit: "Shastriya") denotes the ancient Indian Shastra-based performing arts.
The text Natya Shastra describes religious arts as a form as margi, or a "spiritual traditional
path" that liberates the soul, while the folk entertainment is called desi, or a "regional popular
practice"
Indian classical dance or Shastriya Devesh is an umbrella term for various performance arts
rooted in Hindu musical theatre styles, whose theory and practice can be traced to the
Sanskrit text Natya Shastra as mentioned earlier. The number of classical dances range from
eight to more, depending on the source and scholar. The Sangeet Natak Academy recognizes
eight – Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri and
Mohiniyattam. Additionally, the Indian Ministry of Culture includes Chhau in its classical
list. These dances are traditionally regional. They consist of compositions in Kannada,
Telugu, Tamil, Sanskrit, Malayalam, Hindi, or any other Indian language and they represent
a unity of core ideas in a diversity of styles, costumes and expression. Currently, there are 9
official classical dances in India.
Theatrical dance, also called performance or concert dance, is intended primarily as a
spectacle, usually a performance upon a stage by virtuoso dancers. It often tells a story,
perhaps using mime, costume and scenery, or else it may simply interpret the musical
accompaniment, which is often specially composed and performed in a theatre setting but it
is not a requirement. Examples are western ballet and modern dance, Classical Indian dance
such as Bharatanatyam and Chinese and Japanese song and dance dramas such as dragon
dance. Most classical forms are centred upon dance alone, but performance dance may also
appear in opera and other forms of musical theatre.
Participatory dance, on the other hand, whether it be a folk dance, a social dance, a group
dance such as a line, circle, chain or square dance, or a partner dance such as is common in
Western ballroom dancing, is undertaken primarily for a common purpose, such as social
interaction or exercise, or building flexibility of participants rather than to serve any benefit
to onlookers. Such dance seldom has any narrative. A group dance and a corps de ballet, a
social partner dance and a pas de deux, differ profoundly. Even a solo dance may be
15
undertaken solely for the satisfaction of the dancer. Participatory dancers often all employ the
same movements and steps but, for example, in the rave culture of electronic dance music,
vast crowds may engage in free dance, uncoordinated with those around them. On the other
hand, some cultures lay down strict rules as to the particular dances in which, for example,
men, women and children may or must participate.
When dancers perform classical Indian dance, they wear traditional clothes. They wear
sarees, lenghas and kurtas (Traditional Indian clothing). Usually, females are the people
performing Indian classical dancing. The costume consists of a long colorful material with a
beautiful pattern on it, wrapped around her body, she usually wears a lot of jewellery like
necklaces, hand bracelet and leg bracelets the female also wears a head ornamental piece, she
usually has a lot of makeup applied to her to make her seem vibrant and attract attention from
the crowd, and her outfit is usually custom made by hand. The costume will have a special
design on it that consists of many beads and other spectacular designed things attached to the
costume. The female wears foot shakers which jingle as she dances.
School children at the primary stage are to be made to realize the effectiveness of using the
body as an expressive medium, by making him/her walk across the room in his/her own way.
Children of early primary classes have little coordination of their movements and actions
with the background music. With practice they gradually get over this and begin to show
coordination.
While performing in a drama children develop creativity and imagination and learn to
communicate effectively. Children‘s dramatic activities are different form theatre, where all
actions, dialogues, costumes, stage and background are perfectly prepared under the
supervision of the Stage Director. But in creative dramatic activities a child enjoys and
identifies with his/her own creation. Children create their own script and perform the
character according to their ability and interest.
1.6.4 Puppetry
Puppetry is the part of a dramatics in which the puppet/actor expresses his/her thoughts and
ideas through objects called puppets. The puppet is manipulated by hand in such a way that
the puppeteer is not seen by the audience. In certain performances, the puppeteers are also
visible but they mostly wear black costumes. Children are attracted by puppets and these
puppets can therefore be effectively used to capture their attention. They are an interesting
media for telling stories and songs.
There are many types of puppets like finger puppets, mobile puppets, glove puppets or hand
puppets, rod puppets, shadow puppets and string puppets. These puppets can be prepared by
old cloth, gunny cloth, thick certain cloth, paper bags, beads, buttons, jute fibre, wool, cotton,
boxes, old stockings, handkerchief, napkins, paper cups, vegetables, etc.
16
Since manipulating the puppets and performing a drama on a stage require specialized skills,
we shall only discuss here the construction of simple hard puppets, which can be used by the
child to express different emotions.
Making a Hand Puppet
Wrap a piece of hard paper on your index finger and make the shape of a pipe so that it
should fit in your finger. Take small pieces of old newspaper and fix them one by one with
gum to give it a round shape to represent as head of puppet. Wrap a skin colour paper over
the ball carefully so that there are no wrinkles on the side which is to be used for drawing the
facial details. Draw the facial features of the desired character. Now the head of the puppet
is ready.
“Steps for making hand puppets”
For making the body of the puppet, take a cloth of bright colour and stitch it in such a way so
as to give it a round shape. Insert the head of the puppet upside down. The them and reverse
the cloth, you will get the shape. You can make two holes in the body to show thumb and
middle finger indicating arms of the puppet.
Mobile Puppet
Draw the shape of desired character on a cardboard. The moving parts should be traced out
and prepared separately with some margin for attaching them with the main figure. After
completion fix the entire figure on a stick. The free ends of these parts are tied with thread
and adjusted at the back of the figure. The loose strands of thread are pulled up and down for
movement. Draw or paint the details on the puppet.
Rod Puppet
On one end of a rod or stick place 4-5 sheets of crumpled newspaper tightly to form a round
shape. Put another paper to cover it and tie these with a string. Now cover these with a brown
paper bag and tie the opening end with the rod or stick to make the shape of a head.
Finger Puppet
Roll a 3‖ square piece of stiff paper on the finger on which the puppet is to be worn. Paste
the paper to make it a tube. Make the face of the puppet on itself or on a separate sheet of
paper and paste on the tube. Attach some wool to make the hair. You can have any number
of such puppets to represent different characters.
1.7 ROLE OF A TEACHER
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The teacher is the source of inspiration in art and craft work. He/she will often need to make
children see with their mind‘s eyes the picture he/she has in his/her own mind. Before he/she
can do this, he/she must be able to see for himself/herself the pictures which are in the world
around. He/she must be alive to exciting combinations of colours and forms so that he/she
can kindle the imagination of the children. The teacher has the task of providing the right
atmosphere for the creation of pictures. Nothing is more infuriating than to find, when
children are full of ideas and ready to start, that the brushes have not been given out, or that
there is no while paint.
The best atmosphere for art and craft teaching is one of enthusiasm and encouragement. If
the lesson has been started in the right way by the kind of talk and discussion which leaves
children clear about what they are to do and with plenty of ideas to get them started, most
classes settle down quickly to work.
The art teacher should keep the following points in view while teaching:
 Be sympathetic, encouraging and understanding.
 Encourage the child to experience creative activities.
 Encourage the child to feely express his/her ideas.
 Encourage individuality and originality.
 Encourage the child to discover things for himself/herself, encourage him/her to be
resourceful.
 Inspire and stimulate the child to invent and create his/her own ideas.
 Supervise constantly to see that each child understands what he/she is doing.
 Help the child clarify his/her thinking by questioning and discussion.
 Demonstrate only mechanical processes, safety measures, etc.
 Allow the child to experiment and to make ―mistakes‖.
Above all the teacher must encourage individuality and self-confidence among children. The
teacher must be very creative and active and should know how to spark the creativity of
children, how to generate enthusiasm in the class, how to encourage the weaker children.
The teacher should be capable of offering children the opportunity to have first-hand
experience of different situations. Later, the teacher should be able to provide an opportunity
to the children to express the experiences.
In short, the art teacher needs to know specifically what to do and what not to do. Every
minute of the art class the teacher is needed by the children. It is not done for the teacher to
put the children to work on an art problem, provide them with materials, and then withdraw
to correct work-books from a previous session or to put some work on the chalkboard.
Creative expression provides the richest opportunities for individual expression and growth.
The child must be free of teacher control and direction in order to accomplish this.
1.7.1 Motivation and appreciation

18
Motivation is the teacher‘s most important task. It is a separate function in itself. It is a part
of every other action during the art class. When a person is prompted to do something, he is
motivated to do it by having some incentive for the action he undertakes. A motive is an
inner urge that causes the person to act in one way or another. An art activity, to be truly
creative one, should come from within the child. At times a child need not be motivated in art
by another person. The child frequently paints or draws simply because he/she wants to do
so. This is a matter of individual self-motivation. Children enjoy art and want to create.
They are anxious to express their ideas and proud of the Independence Day they develop
through creative art. Art is only one of the many interesting areas of education that demand
the child‘s attention.
Since creating is a difficult task, the child needs to be strongly motivated to begin and carry
the task through. To take the lead in helping the child become inspired by his/her own idea is
the teacher‘s responsibility. The teacher needs to learn how to induce action, to rouse the
child enough to work hard in his/her own best manner. He/she should continue the
motivation until he/she senses that every child is excited and keen to begin.
In order to motivate the child, the teacher should appreciate his/her work. Ritu is a class I
student. She makes a drawing in which she draws fish in the sky. As she finishes the work,
she comes to show the drawing to her teacher. The teacher does not appreciate her work.
Instead, she says that fish never fly. One can understand how the child would feel hurt. So
discouraged, she may not try to express her ideas freely and independently.
Encouragement and praise are the keys to successful art expression. Appreciation of the
child and of his/her efforts and achievements is essential. This viewpoint should saturate
every phase of the teacher‘s operation with children. Not only is it basic to motivation for art
work, it is the foundation on which the teacher helps the children to solve their problems
through guidance.
In order to use this strength of motivation to advantage, the teacher has to arouse children
successfully, excite them, make them want to create and make them eager to do it. The
teacher must be lively in functioning and alert in dealing with children‘s problems. Some
teachers do it with only a quick gesture that indicates and communicates admiration. Every
child needs to feel this radiation on the part of the teacher in terms respect, regard,
confidence, approval, and pleasure. Such a position taken by the teacher inspires children
and makes them want to create.
1.7.2 Display and exhibition
Children‘s art should always be well displayed so that each child may share his/her thoughts
and ideas with others. Whatever the purpose or scope of the exhibition, care should be taken
19
in mounting it. Nothing looks worse than a hotch-potch collection of paintings and drawings
with their corners hanging loose. While arranging the display, the children must be involved.
Greater harmony will be achieved if pictures are given narrow, half-inch mounts of natural
colours-grey, white, off-white or pale cream. It will also help if drawing pins are avoided:
the heads are too disturbing. There are other methods of attaching paintings and drawings to
display boards. One is by means of a push-pin and the dress-maker‘s pins. These pins are
almost invincible. The best method of fixing art work to display boards is by means of a
staple-gun. These are quick and efficient and the staples are almost unnoticeable. A little
practice will enable you to achieve a good standard of display. Cleanliness and tidiness are
essential. Harmony, is achieved by relating all verticals and keeping them parallel and by
taking care that all horizontals coincide or relate to one another. Sticky tapes should be
avoided as they never look tidy.
A good display will give distinction to an interior and it will start off the child in the direction
of good standards. It is essential to establish some principles in this context because if we
fail to present children‘s wok in a worthwhile manner, we are generally not doing justice to
it. It is not suggested that every item produced by a child should be pinned up for all to see,
but there should be regular occasions when a class activity culminates in everyone having
his/her particular piece of work displayed, thereby enjoying the satisfaction of seeing one‘s
own creation as part of a glorious whole.
At the primary stage, there is no real place for the pinning up of the ―best pieces‖. Broadly
speaking, when your students are painting or modeling, they are making a purely subjective
statement and it is wrong for any teacher to presume to be able to say, ―you have done it
right‖ or ―you have done it wrong‖. A teacher is justified in saying. ―You have been talking
and not really busy doing that. Let‘s pin it up for everyone to see ―what must be avoided is
the attitude that work is or is not pinned up in proportion to its ―worth‖. We are not always
in a position to judge the worth of a child‘s creative expression. Therefore, art competitions
among children and the judgment of their work from the exhibition‘s point of view should
always be avoided.
1.7.3 Continuous and comprehensive evaluation
Evaluation or assessment is a very important part of the teaching-learning process. Without

evaluation, the students will not be in a position to know the progress made by them.
Evaluation diagnoses the whole situation for you. It is an important tool if designed and used
properly. If not, it can be very harmful as well. Evaluation in Art Education is conducted in a
totally different manner. Since Art Education consists of various art forms (i.e. pictorial,
plastic, performing, etc.), its evaluation procedure is also different from other subject. As
we know each child has some inherent abilities to use or apply these arts for giving
expression to his/her ideas. The child‘s expression, and not his/her skill or art, is therefore
considered the main outcome to be evaluated.
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Since the main purpose of Art Education is to develop creativity, individuality and
expression through art activities. Therefore, the creative element in the individual‘s work has
to be considered for evaluation purposes. At the primary level, the child has typical modes of
expression which are natural for this age group. To determine whether his/her art
expressions are consistent with the age or not, the work has to be evaluated. If we accept that
art for the child is a language, a means of expression and communication, then logically there
can be only one way of assessment and that is to assess the content of the work. The
content means the experience the child has tried to express through that medium.
A characteristic feature which we must take into account when assessing child art is that the
young child uses his drawings and painting as a form of language to express and
communicate. The child draws/paints what he/she knows or feels and not what he/she sees.
For example, if you ask a child of class one what he/she tells is not represented in that form
(drawing). Children‘s artistic form keeps on developing as they grow through stages. So,
while evaluating child art, you must keep in mind the particular stage and its characteristics
in which the particular child falls. For instance, if a child is drawing oval forms all over the
page, you need to know that the child is in pre-schematic stage and is exploring the oval form
or circular form. All these developmental stages are explained in detail in the first unit of
this block.
Evaluation in Art Education must be continuous and comprehensive. Continuous evaluation

means the evaluation of the whole process of development i.e., of every child, of every
activity form beginning to end, and not only of the end product. For example, you have
organized a printing activity for your class. Children collect leaves, stems, sponge pieces or
any other material which leaves an impression on paper. They use these materials to take
prints. One child prints the full sheet with one leaf using one colour. Another child tries
various objects and colours and enjoys variety and, while having fun, colours his/her hands
also and as a result his/her sheet (paper) also gets some unwanted impressions. The result is
a paper sheet with different objects all over in different colours without any harmonious or
organized pattern. Does it mean that the achievement level of this child is less than that of
the one who printed a neat and clean pattern with a single leaf in a single colour? No, he/she
has enjoyed this activity fully experiencing different impressions. He had the fun of using
many colours and had explored various possibilities without restrictions. His/her work is no
way less remarkable than that of the other one, but it is possible to reach this conclusion only
through continuous and comprehensive evaluation. There are some questions which can be
helpful to you while assessing a piece of art work by a young child. For example:
 How did ―painting this picture‖ or ―doing an activity‖ help the child?
 What good accrued to the child while he was engaged in this activity?
 Did he enjoy doing it?
 Did the making of this piece of work provide him/her with any new or valuable
experience or involve him/her in any new activity?
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 If so, did this experience add anything to the child‘s developing personality?
 Does the work provide evidence of any improvement in muscular coordination?
 Is there any evidence of the development of the power to concentrate, discriminate or
choose?
 Can we say that painting this picture helped the child to see, to feel, to grow, imagine
and to develop? If we can, then the art work is good.
 Did the work provide the child with a means of expressing personal emotions and
experiences?
 If it does, is it a good thing?
 What new initiative does he/she take?
 Is he/she positive or tentative in his/her work?
On the whole the evaluation of child‘s work of art should be made only in terms of his/her
own development rather than in comparison with other children or in terms of any standard
or norms of evaluation. It is only for the teacher‘s records and is not required to be relayed to
the children.
Therefore, examinations, tests, grading and competitions, etc., do not have any place in the
creative activities of children.
1.8 LETUS SUM UP
This unit attempts to explain various art-activities which can be organized at the primary
level. Materials and tools required and their multiple manipulation/use in free expression of
oneself are also discussed. Apart from familiarizing you with these modes, materials, this
unit also suggests many activities from visual and performing arts for primary classes. In Art
Education, evaluation does not come at the end of the activity. It is continuous and
comprehensive. In art, children express themselves in a purely individual manner.
Therefore, branding their work as ―good‖ or ―bad‖ is not justified. On the other hand, they
should all be motivated and appreciated. Their work should be displayed as it encourages
their participation in future and gives them a sense of achievement. Competitions and
comparisons, marks and grades, should be discouraged completely. But it depends on how
well you (the teacher) understand and play your role as a teacher.
1.9 CHECK YOUR PROGRESS
Question No. 1: What is the differentiate between Painting and Printing?

22
___________________________________________________________________________
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Question No. 2: What material do you need to organize Printing activities in your class?
___________________________________________________________________________
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Question No. 3: What is the differentiate between visual arts and performing arts?
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
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Question No. 4: Mask is a device to cover-up the personal self in order to show a make-belief
personality.
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Question No. 5: Write a short note on Dance and its different forms.
___________________________________________________________________________
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Question No. 6: What is continuous and comprehensive evaluation and why is it considered
the best?
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Question No. 7: Write a brief note on ―Role of the Teacher in Art Education‖.
___________________________________________________________________________
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1.10 REFERENCES AND SUGGESTED READINGS

 "Andhra Pradesh Portal: Dance". Andhra Pradesh Government. Archived from the
original on 2010-12-04. Retrieved 2010-11-03.
 Ambrose, Kay (1984). Classical Dances and Love of India. Palgrave Macmillan.
 Colles, Henry Cope (1913). The Growth of Music: The age of sonata, from C.P.E. Bach
to Beethoven. Clarendon Press.
 Emmie Te Nijenhuis (1974). Indian Music: History and Structure. BRILL Academic.
ISBN 90-04-03978-3.
 Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre:
Traditions of Performance. Motilal Banarsidass. ISBN 978-81-208-0981-9.
 Harwood, Dane (1976). "Universals in Music: A Perspective from Cognitive
Psychology". Ethnomusicology. 20 (3): 521–533. doi:10.2307/851047. JSTOR 851047.
 Kapila Vatsyayan (1974). Indian classical dance. Sangeet Natak Akademi. OCLC
2238067.
 Kapila Vatsyayan (1977). Classical Indian dance in literature and the arts. Sangeet
Natak Akademi. OCLC 233639306., Table of Contents
 Kapila Vatsyayan (2001). Bharata, the Nāṭyaśāstra. Sahitya Akademi. ISBN 978-81-
260-1220-6.
 Kapila Vatsyayan (2008). Aesthetic theories and forms in Indian tradition. Munshiram
Manoharlal. ISBN 978-8187586357. OCLC 286469807.
 Kapila Vatsyayan. Dance In Indian Painting. Abhinav Publications. ISBN 978-81-
7017-153-9.
 Kennedy, Michal; Kennedy, Joyce Bourne (2013) [2012]. Tim Rutherford-Johnson
(ed.). The Oxford Dictionary of Music (6th paperback ed.). Oxford: Oxford University
Press. ISBN 978-0-19-957854-2.
 Natalia Lidova (1994). Drama and Ritual of Early Hinduism. Motilal Banarsidass.
ISBN 978-81-208-1234-5.
 Natalia Lidova (2014). "Natyashastra". Oxford University Press.
doi:10.1093/obo/9780195399318-0071.
 Ragini Devi (1990). Dance Dialects of India. Motilal Banarsidass. ISBN 978-81-208-
0674-0.
 Reginald Massey (2004). India's Dances: Their History, Technique, and Repertoire.
Abhinav Publications. ISBN 978-81-7017-434-9.
 Revealing the Art of Natyasastra by Narayanan Chittoor Namboodiripad ISBN
9788121512183
 Sadie, Stanley; Tyrrell, John, eds. (2001). The New Grove Dictionary of Music and
Musicians (2nd ed.). London: Macmillan. {{cite encyclopedia}}: Missing or empty
|title= (help) Online version as Grove Music Online
24
 Small, Christopher (1977). Music, Society, Education. John Calder Publishers, London.
ISBN 0-7145-3614-8
 Tarla Mehta (1995). Sanskrit Play Production in Ancient India. Motilal Banarsidass.
ISBN 978-81-208-1057-0.
 Wallace Dace (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory".
Educational Theatre Journal. 15 (3): 249–254. doi:10.2307/3204783. JSTOR 3204783.
 Williams, Drid (2004). "In the Shadow of Hollywood Orientalism: Authentic East
Indian Dancing" (PDF). Visual Anthropology. Routledge. 17 (1): 69-98.
doi:10.1080/08949460490274013. S2CID 29065670.
UNIT 2 APPLICATION OF DRAMA AND ART IN EDUCATION
Contents
2.1 Objectives
2.2 Learning Outcomes
2.3 Introduction
2.4 Need for Drama and Art in School Education
2.5 Drama as a Problem Solving Process
2.6 Types of Drama
2.6.1 Linear Drama
2.6.2 Process-oriented Drama
2.7 Art as an Experience: Developing Aesthetic Sensibility
2.8 Integration of Drama and Art in School Curriculum
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2.9 Organisation of Drama and Art
2.10 Selection of Themes/Content for Art Education
2.11 Assessment for Learning of Drama and Art
2.12 Assessment of Learning through Drama and Art
2.13 Let Us Sum Up
2.14 Unit-End Activities
2.15 References and Suggested Readings
2.1 OBJECTIVES
After reading this Unit, you should be able to:

 explain need for art and drama in school education
 understand drama for problem solving;
 list different types of drama and art activities;
 select the themes/content for drama and art in education;
 learn assessment in drama and art in education.
 use art and drama in school education

 use drama for problem solving;
 use different types of drama and art activities;
 practice the themes/content for drama and art in education;
 appreciate dramatic/art expression in education;
 assess learning through drama and art; and
 carry out assessment for drama and art in education.
2.3 INTRODUCTION
Humans are social beings – which means they live, thrive and interact in the society. Societal
interaction is individualistic or group interactions. These interactions shape our thinking,
values and cultural heritage. Human beings often express the interactions of the society in
various forms of art. The dictionary defines ‗art‘ as the expression or application of human
creative skill and imagination, typically in a visual form such as painting or sculpture,
producing works to be appreciated primarily for their beauty or emotional power. Visual
forms of art or dramatic forms of art are the powerful mirrors of our society that classroom
facilitators can make use of in their classrooms.
In this Unit, we will discuss how art & drama can be used as pedagogical tools in the
classroom. How can art and drama activities be integrated in secondary schools both as a part
of the curricular activities and that of co-curricular activities? How can we organise and
assess drama and art activities? How can drama be used for problem solving in classrooms?
26
2.4 NEED FOR DRAMA AND ART IN SCHOOL EDUCATION
The inclusion of art education in the curriculum of school as a subject has certain important
purposes apart from contributing to overall development of the child‘s personality. Art
education enables students to fully experience the joy of teaching-learning, appreciate and
experience the beauty of the universe and also helps in their mental development. It also
brings students closer to their environment to learn about their cultural heritage and to
inculcate in them respect for each other‘s work (NCF, 2005). Different art forms such as
visual arts (drawing, painting), performing arts (dance, drama, and music) and traditional art
and crafts, puppetry, etc. that are introduced at different stages in school curriculum which
can help students to become confident, balanced and well-groomed citizens has been
emphasized in National Education Policy 2020.
Inclusion of Art and Drama in education is well supported by Howard Gardner‘s theory of
Multiple Intelligence. Gardner‘s theory of multiple intelligence (1983;1993; 1999) has added
new insights to the educationist‘s understanding of how students not only learn but interact in
their learning environment. His work has inspired educationists around the world to dwell
deeper into epistemological questions of how students learn. Why one method of teaching is
effective for one student and not for others? How students interact with various concepts
while learning?
In an interesting article, ‗The Happy Meeting of Multiple Intelligences and the Arts‘,
Gardner (1999) describes the meeting of Arts and multiple intelligence as a happy meeting.
He says ―all of us as human beings possess a number of intellectual potentials. Schools have
generally addressed the linguistic and logical intelligences, but other institutions and
situations can encourage the nurturance of at least six other intelligences: spatial, musical,
naturalistic, interpersonal, intrapersonal, and bodily-kinesthetic‖ (Gardner, 1999). The arts
can provide an educational ―way through‖ for many students. Because everybody‘s mind is
different, education should be tailored to the individual. ―Kids who have language and logic
abilities are going to do fine in school,‖ Gardner points out (Gardener, 1999). ―But everyone
cannot be smart when you have a single ruler, a single caliber.‖ He suggests that schools
―help kids discover areas where they do have some strengths— what I call a crystallizing
experience— and to really encourage that.‖ Many children have strengths in one or more of
the arts that could give them such experience. According to Eisner (1998), the theory of
multiple intelligence supports a much larger role for the arts in the curriculum. The various
kinds of intelligences point directly to a variety of ‗ways of knowing‘. Eisner suggests a
balanced curriculum consisting of fields of study that all students should learn, coupled with
subjects for which students have particular proclivities and inclinations: ―As long as schools
operate on an essentially linguistic modality that utilises a kind of literal, logical,
mathematical form of intelligence, it not only delimits what youngsters can know, but also is
an impediment to those youngsters whose intelligences are in modalities other than the ones
that are emphasised (Eisner, 1998).‖
27
The abundance of available research convinces the teachers that art, drama and multiple
intelligence are a happy trinity, but as they say the proof the pudding lies in its eating. Let us
look at two classes – one of Mrs. A and the other of Mrs. M. Using these classroom examples
we will ourselves see how using Art and Drama across curricular and content areas makes
the classroom learning environment more meaningful and how students with varied
capabilities benefit from such activities.
BOX 1: ART, DRAMA, MULTIPLE INTELLIGENCE IN CURRICULAR AREAS

Class: IX
Subject: English
Topic: If I were you …..
(A brief synopsis of the story so that students without English can appreciate the example ….
This is a story of an intruder, who enters the house of the playwright. The intruder, however, does
not know that the owner of the house was a playwright. He knows him as Gerrard and he had
heard about him a few things. The intruder also knows that Gerrard was something of a mystery
man, who lived in the wilds of Essex. The intruder also knows that Gerrard gave orders for his
daily supplies on phone and never met the tradesmen.
Gerrard, on the other hand is a cultured playwright, who lives in a small cottage. He is to go out
soon, but before he does so, an intruder enters his cottage. The intruder has a gun in his hand.
Gerrard welcomes the intruder with confidence. The intruder asks many questions to Gerrard,
which he answers with wit, irony and humour.
The intruder, then tells Gerrard that he wants to murder him and live as Gerrard as they both
looked alike. Gerrard at once understood everything. He told the intruder that he was also a
murderer. Therefore, the police were after him. Gerrard explained that unfortunately one of his
men had been caught. He was expecting trouble that night.
The story then reveals what happens next ... (Interested?? Pick up the Class IX. NCERT English
Textbook - Beehive)
Mrs A’s Class:
Mrs A gets two students to stand up and read the story – one student reads the lines of the
intruder while the other student reads the lines of Gerrard.
Other students of the class are listening and following what is being read in their own textbooks.
Mrs A gives explanations as the story progresses.
Mrs A then discusses the unit-end exercises.
Mrs M’s Class
Mrs M begins the class by giving the students the synopsis of the story without revealing
the end …. (something like what is given above). She then divides her class of 35 students
into 5 groups of 7. The following tasks were assigned to each group:
1. Read the story
2. Create a visual backdrop of the cottage.
3. Get two students from the group to be Gerrard and the intruder.
4. The group then decides how the story would28 end and the two students playing Gerrard
and the intruder will depict the end to the story in front of the class.
5. Students were also encouraged to use music while depicting the end to the class.
Questions for your reflection:

Now that we have seen with an example how Art and Drama in our classrooms changes the
learning dynamics, let us discuss how does drama help in problem solving – one of the most
important skills needed in today‘s times.
2.5 DRAMA AS A PROBLEM-SOLVING PROCESS
We are lifelong learners. We learn and use skills continuously to solve problems on day-to-
day basis, and for which we must acquire some basic social and problem solving skills.
Drama is a great way to develop these skills. When we learn something new, we connect it to
prior information already known to us. The ideas of connecting new information with
something we already know have been affirmed by Robert Vogel, who has studied cognitive
science for fifteen years as it applies to education. ―According to research, the human brain,
while learning, strives to make connections. The brain does not learn in isolation‖, says
Vogel. ―Lessons have to be taught in a way so that the new knowledge connects to something
the student already knows‖, he says. Drama can do that for the brain since it is a way of life.
It is a practice we are born with. We know drama, so we can connect it with new ideas that
we learned in school. Also, drama allows the learner to explore their experiences in using
their imaginations.
Drama, which involves imaginative transformation and reflection on experiences, helps

students expand their ability to act out thoughts in their minds. This skill is necessary for
organising thoughts and problem solving situations in everyday life. For example, a class is
studying the Everest Mountain. The teacher has informed the class that they are all trained
mountaineers. She has already read them some books on the Everest Mountain, so the
students have some background knowledge that will be accessed. The students must work
together to plan a strategy on how they will eat, cope up with less oxygen at high altitudes
and climb mountain ranges to reach ultimately the peak of Everest mountain (all these
obstacles are set up by the teacher that would mimic real problems that the mountaineers
generally face). When this activity happens, effectively, each student in this class is
creatively problem solving the situation, which can be represented in the form of a drama,
where ultimately students are using their best judgement and retrieving their schema about
the Everest mountain.
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The second way problem solving is practiced with drama is in a social context. Drama in
education is done in groups or with the whole class. Students run into problems where, for
example, they do not agree on a solution or action that the rest of their group takes. There
may be many conflicts while working in a group. Like all group work, students must solve
problem of how they will handle this conflict of interest. This type of problem solving helps
students become lifelong learners. As adults, it is very common to face problems in our
social lives. These problems could occur at home, school or in work place and we need to use
problem solving skills to resolve these issues. As drama in education involves group work so
students get an opportunity to acquire skills needed throughout their lives.
In the next section, we will discuss different types of drama and art.
2.6 TYPES OF DRAMA
There are two types of drama methodologies that are adopted by teachers depending on the
class, the competence of the teacher and the content that is being taught
1. Linear drama methods – these are designed with a clear beginning, middle, and end.
2. Process-oriented drama (also referred to as ‗holistic drama‘ or simply ‗process
drama‘) is open-ended, only with a skeletal structure of activities designed to evolve based
on participants‘ input throughout the lesson.
2.6.1 Linear Drama
Linear approach to drama is generally preferred by a teacher initiating drama into the
classroom for the first time. With this structure, drama activities are primarily planned and
outlined by the teacher before involving the students into the dramatic playing. This tends to
give the teacher a great control while allowing the students to give their creative inputs. The
linear drama session resembles a recipe, with a series of steps that produce a selected
learning outcome.
According to scholars like Vygotsky (1967), Moore (1990) and Frost, Wortham, and Reifel
(2008), people of all ages learn about the world by trying out new ideas and imitating actions
through play, and this imitative behavior forms the basis of social learning – some of the
objectives that teachers can achieve using Linear Drama.
The core techniques used by teachers through the linear drama approach to facilitate their
student‘s learning are discussed here:
a) Side-coaching
In this technique the teacher facilitates learning of skills without stopping the action of the
lesson. These skills help the learner gain more awareness of the drama, the character, the
plot. It also helps the learner develop a certain metacognitive awareness of what she is doing
while enacting a certain part. As a teacher it is important to ensure while using the technique
of side-coaching, students don‘t get distracted. A very good example of side-coaching that
we often see while working with students in drama groups is telling the student to focus their
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attention on the audience, look to the audience and not look on the floor. We give these
instructions as the drama progresses and learners process these instructions and adapt to them
while performing the drama.
b) Spotlighting & Sharing
Another technique that is commonly used in linear drama is spotlighting. This technique
allows participants to informally view other participants‘ work, take inspiration from other
ideas, and safely share moments of work in progress. The idea of using ‗spotlight‘ technique
is to help learners learn from others expressions or techniques. During a ‗spotlight‘ all other
participants freeze except the participant on whom the spotlight is on. For example, in a
bazaar scene, the teacher may put the spotlight on a roadside hawker due to the intensity of
expressions that he is depicting; other performers of the scene are able to either appreciate
the performance or give suggestions to improve.
Another technique used often is sharing. Sharing is similar to spotlighting as far as the
experience is concerned, but the only difference is that spotlighting happens during the
process of drama while sharing happens at the end of the performance. While using this
technique the facilitator is able to integrate reflective questions into the drama learning
experience.
c) Storytelling
Although stories are integral to every drama, using the technique of storytelling is what
makes character unique in the drama. When a learner is using the art of storytelling in drama
she is able to bring life into the character and ‗get into the skin‘ of the character. She is able
to make the whole experience of the drama vivid for the audience. She takes care to pay
attention to pitch, rhythm, pace, volume, gestures, facial expressions, and eye contact. She
allows the voice to set the mood of her expressions and in the process adds life to the
character.
d) Improvisation
Another commonly used technique in linear drama is allowing students to improvise –

adding their own dramatization at the moment. This means the students won‘t get any
rehearsal time and these actions are done at the spur of the moment. As a teacher it is very
important to allow for improvisations especially when the group of students are in a higher
class or have attained certain mastery – this will enable students to always keep the
excitement of learning alive. Another very interesting point to remember is that if any student
improvises during the drama session, other students have to learn to adapt to the
improvisation. This could be an interesting activity in itself where one student improvises
and other students follow the cue – the result could be an entire new plot.
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Teacher as a drama facilitator, it is necessary to decide how much improvisation is permitted
within a drama and share these guidelines well in advance with the learner.
Apart from these techniques there are other techniques that are often used in the linear drama
approach, like, pantomime (dramatisation without using words but relying solely on physical
movements, gestures and facial expressions to convey the idea); starters and building block
activities (often used as ice breakers within groups; link prior learning to current lessons etc);
tableaux (a French word that simply means frozen pictures that people create with their
bodies) etc. For in depth understanding of these techniques, you may refer to Hunt, Water,
and McAvoy (2015).
2.6.2 Process-oriented Drama
By now you are aware that linear drama is more about skills related to drama that not only
complement to the curricular areas but also are helpful in our day-to-day life activities.
Process-oriented drama on the other hand focuses on learning about life through the dramatic
methods. It is an extremely participative method where the participants and facilitators both
shape the drama. Process-oriented drama techniques treat learning as a holistic learning
experience without breaking the experience into activities. Process-oriented drama involves
allowing the learner to experience the entire learning process as a continuum rather than
having a beginning, middle or end part.
Some of the techniques in practice with Process-oriented drama include:
a) Mantle of the Expert - The method was propounded by Dorothy Heathcote.

In this method the participants work in a collaborative environment and share their area of
interest. Once the area of interest has been identified the group develops a fictional world
where each participant plays a specific part and the group explores their interest collectively.
In this fictional world, each participant generates and takes the ownership of expert roles. It
is generally difficult to use this methodology with subject areas, but is a wonderful approach
for studying social issues. Sometimes facilitators encourage students to produce tangible
material like leaflets, booklets, and brochures that details their work.
b) Facilitation: Another technique used in process-oriented drama is facilitation.

In this technique, the leader follows a very democratic approach and helps guide the drama
without steering the drama towards a certain direction. Facilitators basically maintain control
and safety in the learning environment. The technique requires facilitators to possess quick
thinking skills, listening skill, empathetic attitude and flexibility and adaptability in dealing
with contributions of the participants.
c) Role Play: In this technique participants create believable and realistic

characters that have a vested interest in the character. In the process-oriented approach of
drama, role playing involves two components - role making (preparing for the role) and role
taking (embodying the role).
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d) Simulation: Simulation is an imitation of the real world experience. In
process-oriented drama, the facilitator can develop simulations either based on real or
imaginary events. For example, simulation can be used for teaching the concept of ‗Gram
Panchayat‘ to class VI students. A representative group is selected which must have 1/3 girls.
The teacher can take the role of ‗Sarpanch‘. The villagers present a problem (let us say
related to adult education) which the panchayat tries to solve after a debate. The panchayat
members discuss the problem not only amongst themselves but also the villagers. Once they
arrive at a consensus, then ‗Sarpanch‘ announces the decision.
2.7 ART AS AN EXPERIENCE: DEVELOPING AESTHETIC SENSIBILITY
Aesthetics is the branch of philosophy that explores the nature of art, creation and expression
of beauty in various forms of art. Although it is said, beauty lies in the eyes of the beholder
and is an extremely subjective term, yet aesthetics tries to capture the essence and meaning of
the beauty that is expressed in various forms of art. Like, for example, the aesthetic design of
a building, the aesthetic design of a temple, the aesthetic presentation of a flower
arrangement, the aesthetic presentation of a dish by a chef, the aesthetic presentation of a
mechanics‘ final touches to a freshly painted car, the aesthetics behind the design of a mobile
phone – there is beauty in each one of these activities that is an expression of art in itself.
This expression of art is the journey of the artist - her experiences, her emotions, her joys, her
pleasures and her thought. And in order to produce any piece of art, the artist presents her
experience and journey in reaching that point of continuum of life.
Rabindranath Tagore was one of the first Indian educationists and philosophers who
acknowledged the importance of art in education. In his endeavour to define art, he
acknowledges that: ―I shall not define Art, but question myself about the reason of its
existence, and try to find out whether it owes its origin to some social purpose, or to the need
of catering for our aesthetic enjoyment, or whether it has come out of some impulse of
expression, which is the impulse of our being itself‖ (Tagore, 1917, p. 16). From his list of
possible reasons for the existence of the arts, as well as from other texts, it is clear that
Tagore does not emphasise the instrumental benefits brought by art, but rather remains within
the framework of private intrinsic benefits, such as captivation, pleasure, an expanded
capacity for empathy, and cognitive growth (McCarthy et al., 2004).
Just like Tagore, Dewey was among the first western educational philosophers to write
explicitly about art as an experience and how the arts connect to education. Dewey believes,
the photograph, dance, poem or story which the student creates from looking out of the
window ―is charged with meanings that issue from intercourse with a common world‖
(Dewey, 1980, p. 306) or in other words is an expression of the experience the student has
with the world. Therefore, Dewey advocated that art education must form a symmetry with
life because this is a prerequisite for having an experience of art that augments the
democratic, liberal and changing values that a student experiences in his daily life. Like for
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example, earlier in the classroom when students used to put up paintings they used to be
those of a mountain, a river flowing from the mountain and rising sun, today in classes when
you see students work they are more inspired by their favourite cartoon character rather than
the beauty of nature. This change in expression in art form is a direct reflection of the change
in experience that a student is undergoing.
When we discuss ‘Art as an experience’ we are very consciously accepting that Art is a
sponge and a fountain – sponge where the environmental, cultural, social, economic and
psychological experiences are absorbed by the student and a fountain where all these
experiences are expressed in various forms of art – drama, visual art, theatre, folk art, music,
dance, etc. It is for these very reasons art cannot be segregated from everyday experiences;
and ultimately it is through these experiences that art can help develop aesthetic sensibility in
students to appreciate the world around them.
Teachers have a pivotal role to play in helping students achieve and express these
experiences. Teachers need to be cognizant of various ways in which they wish to shape
students' experiences inside the classroom and outside the classroom so as to enable their
students become better sponges and fountains.
2.8 INTEGRATION OF DRAMA AND ART IN SCHOOL CURRICULUM
Integrating drama and art in school curriculum, means making connections between the
school subjects and forms of art expression. There are many ways in which classroom
facilitators can integrate drama, and art in school curriculum. One such example is given
below. Example is based on NCERT English Textbook – Beehive - Class IX - Chapter 2 –
The Sound of Music – Evelyn Glennie Listens to Sounds without Hearing it and Class IX –
Science Textbook – Chapter 12- Sound.
In this example, we take the case of two teachers of Class IX who were discussing the
performance of their students, when they both realised they were discussing the same theme
in their class – Sound. The English teacher was helping her students relate to the journey of
Evelyn Glennie who lost her ability to hear at a young age, yet became one of the youngest
percussion instrument performers, whereas the Science Teacher discussing about production
of sound, characteristics and propagation of sound waves, reflection of sound and its uses in
our daily life and the structure of the ear.
Both teachers felt that since they were dealing with a common theme it would be very
interesting to see how their students would react to a multidisciplinary approach to teaching
(a practice commonly witnessed across in all American schools). In order to fully implement
the approach, the two teachers listed the objectives they wished to cover under their subject
area. Each objective was matched with a particular skill that the students were expected to
demonstrate and the final assessment was a blend both of Science and English content.
Students in the classes used presentations, videos, demonstrations, dramas, pamphlets and
34
debates to discuss various issues that were raised in the classroom. As a unit-end exercise,
the two teachers divided their students into 3 groups and the students had to present a drama
on the theme of sound. The students out performed their teacher‘s expectations by putting up
three themes – Sound in our lives (the clutter in our minds); Solitude of Silence and Lost
voices in our society.
What the two teachers of Class IX didn‘t expect from their students was the ability to
integrate social life and social ethos into the prevailing topics of the classroom. It was with
this experience the two teachers understood the benefit of using a multidisciplinary thematic
approach in the classroom where drama, arts, science, music, language were not treated as
parts but treated as an integrated whole.
2.9 ORGANISATION OF DRAMA AND ART
The syllabus of Art education is prescribed in detail by NCERT (2008). The time that may be
allocated for Art education at upper primary and secondary stage is given in Table 1.
Table 1: Allocation of time periods for each Art Education Activity at Upper Primary
and Secondary Stage
Stage Number of Suggested Periods per Week
Drawing, Craft Music Dance Drama
Painting and Activities Activities Activities related
Sculpture/ Activities
Clay
modelling
Upper Primary (VI – 2 2 2 2 2
VIII)
Secondary (IX – X) At least 6 periods (3 block periods) should be allocated for practical activities
and 1 period should be allocated for theory.
Infrastructure
All schools should have the basic facilities to provide arts education, which will include
trained teachers, resources to provide basic materials, separate space for conducting visual
and performing arts (NCERT, 2008). Some examples of basic infrastructure include colours,
a dholki, chart paper, props of various kinds, few dupattas, a thalli, a bell, a stick etc. All
these basic infrastructures form the basis of any drama activity that a teacher wishes to
integrate in her classroom. Apart from this the teacher should also get the class to develop
low cost aids that would act as props in the classroom activities. Teachers should encourage
35
students to make vegetable based colors that are not only economical but easy to use and
handle.
Classroom Organisation
Classroom organisation and the concept of space, especially for the activities in arts
education is an integral part of the teaching-learning process. In an ideal situation, schools
should have rooms especially allocated for art activities, whether for visual or performing
arts.
Number of students in the classroom should be limited (30-35 students) and manageable.
This permits the teacher to pay personal attention to every student. If the class is large, it is
advisable to divide them in different groups. Physical classroom organisation needs to be
supplemented by continuous group interactions while the group work is in progress.
Practices in classroom and outside
Teachers should try to conduct group activities so far it is possible. This will enable the
students to share their resources; materials and a sense of cooperation and sharing will
develop among the students. If during a classroom interaction session, a teacher finds that her
students have done exemplar work, she should find ways to showcase their talent – one way
to do that is during the assembly time where most schools have now created a time for
classes to showcase their artistic engagements.
Using local resources
Looking at the socio-economic and cultural diversity of the country, it would be all the more
essential for the schools, parents and teachers to be able to use the local regional arts and
craft traditions both visual and performing in the developmental stages of school education.
All the schools should provide experience to children to work with the community, beyond
the four walls of the school (NCERT, 2008). There are two very interesting ways to do this
– one approach is to utilise the local resources of not only artisans but also college students
with experience in art and the second way to do this is creating a lesson based on service
learning. In service learning, students work on themes and issues of social relevance. An
example of service learning using an art work is that of Ragland (2002). In his research,
Ragland, (2002) cites the example of a community school which distributed nearly 20 tonnes
of food to the underprivileged and simultaneously developed print based resources for the
workers in fields who help produce this food – these print based resources focused on
methods by which the workers could protect themselves from the pesticides that were used in
fields and also on how one could reduce the consumption of chemical pesticides and instead
use biological pesticides.
Workshops to be organised frequently
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Schools may regularly organise workshops for one week or a fortnight where local artists can
be invited to interact with the students and teachers. Workshops on art and crafts, theatre,
music/singing, playing musical instruments, pottery, leatherwork, folk dance, animation,
puppetry, kite making and so on can be arranged for students‘ experiential learning.
Workshops may also be conducted at the artists‘ workplace (NCERT, 2008). Like discussed
above these workshops could be on themes related to making and using vegetable colours,
painting folk art, using nukkad nataks as a medium of expression.
2.10 SELECTION OF THEMES/CONTENT FOR ART EDUCATION
1. Visual Arts
According to (NCERT, 2008), the themes or content can broadly be related to the following
suggested fields to enable pupils to study a range of tangible and abstract subjects and issues.
Stage Content/Themes Methods Outdoor Exposure/Activities
Visual Arts 1. Objects Drawing, Painting, 1. Field Visits: School garden, public
Upper Primary 2. People Printmaking place like a community park, museum
(VI – VIII) 3. Traditions etc.
4. Environment Ceramics, 2. Outdoor Sketching: like trees,
5. Experiences Sculpture/ plants, school building etc.
Architecture 3. Celebration of National Days: like
Republic day, Independence day.
Fibers like weaving 4. Festivals, special days: Festivals,
rituals, holidays, birthdays of national
Mixed media: leaders are important occasions.
collage, bas-relief 5. Visit to a Museum, Gallery,
Exhibition, Monuments, a Religious
site.
Stage Content/Themes Methods Outdoor Exposure/Activities

Visual Arts 1. Tradition Two Dimensional Sharing of information by students on
Upper Primary based Arts festival/events, folk dance, tribal dance
(IX – X) 2. Environment Drawing, Painting,
based Collage making,
3. Object based Print making,
4. People based Photography and
Computer Graphics
(Wherever possible)
Rangoli/
Mandna/Wall
painting
Three Dimensional Sharing of information by students on

Arts festival/event/ local event and place of
Sculpture (using role of 3-D art forms in the celebration
37
locally available – Ganesha Utsava, Dussehra,
materials), Clay Deepavali, X-Mas, Jatras, etc
modelling,
Terracotta, Carving
and relief work,
Papier mache, Mask
making,
Construction (using
waste materials),
Pottery (If possible)
Table 1.2: Content/ Themes, Methods and Outdoor Exposure/Activities for Visual Arts
Syllabus at Upper Primary Stage and Secondary Stage (NCERT, 2008)
2. Performing Arts
i) Drama: Drama provides a medium through which the individual can express his/her ideas
and reaction to the impressions he/she receives and, by expressing them, learn to evaluate
and experience them (NCF, 2005).
Drama at Different Stages of School Education

I–V Free play (Elements of Creative drama)
VI –VIII Improvisation
IX – X Drama as a Performing art
XI – XII Formal and Organised Drama
Table 1.3: Drama at Different Stages of School Education (NCF, 2005)
2.11 ASSESSMENT FOR LEARNING OF DRAMA AND ART

Assessment of learning is ‗summative‘, i.e. its main purpose is to grade and certify students‘
achievement, while Assessment for learning is ‗formative‘, aiming to support and advance
students in their learning – the following paragraphs cover both aspects – as using drama and
art helps student engage with content as a continuum of activities and help teachers monitor/
observe each activity of the student vis a vis the learning objective ( in the lines of formative
assessment) while the final product is the culmination point of assessment (is in the lines of
summative assessment)
One of the problems teachers often face is with regard to assessment – traditional paper
pencil tests are known not to provide a holistic assessment of the learning nor are those tests
capable of providing a stress free environment for the students– apart from that the traditional
assessment schemes only assess the end product and not the learning experience. By
introducing Drama and Art as an assessment tool, teachers have the capability of providing a
stress free method of assessment which is continuous and is capable of measuring various
38
dimensions in the learning journey of the student. An interesting case on this point is the
Waldorf School pedagogy based on the philosophy of Rudolf Steiner. Waldorf‘s pedagogy
emphasises the role of imagination in learning, striving to integrate holistically the
intellectual, practical, and artistic development of pupils (Waldorf, 2017). The main highlight
of assessments in Waldorf schools is to deviate from traditional practices of assessments.
Teachers rely only on classroom assessments which are comprehensive and include all
domains (areas of development) such as cognitive, affective, psycho-motor, and also social,
character, and aesthetic development. Therefore, assessment is multidimensional (includes
many evidences over a period of time) and age-appropriate. The purpose of all assessment is
pedagogical (not for grading or ranking).
Dear learner now we will dwell deeper into the various facets of assessment of learning
through Drama and Art.
2.12 ASSESSMENT OF LEARNING OF DRAMA AND ART
Just like assessment itself, the 5Ws of assessment are also non-hierarchical and non-linear in
theory and practice. For example, the ―who‖, ―where‖, ―why‖, ―what‖, ―how‖ and ―when‖
Who – will design, administer, complete, interpret and evaluate assessments? A teacher/ an
art teacher/a teaching artist
Where — will we assess?
Why – are we assessing?
Determining areas of strength and areas for improvement within a group of students; learning
about most effective practices for a given activity/lesson; finding out whether we have
achieved or not stated or required objectives in a specific curriculum
What – information do we want to know?
For example, we can include diverse skill categories and knowledge groups which can be
identified for drama-based learning and arts learning as a whole such as:
• Cognitive skills
• Affective/social and emotional/self-system skills
• Creative skills
• Aesthetic skills
• Knowledge society skills
When – will we assess?
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All assessments fall into the following three categories related to time of assessment:
• Diagnostic assessment or pre-assessment helps in determining students‘ prior

knowledge before planning a lesson. This helps a teacher to find out what students already
know about a topic.
• Formative assessments help monitor learning during a lesson. Formative assessments

tend to be informal. This information helps teachers to modify their lesson plans to meet the
needs of students within the lesson plan.
• Summative assessments help evaluate learning once lesson is over. These

assessments usually measure cumulative knowledge and help teachers decide whether long-
term objectives have been mastered by students or not.
How — to assess?
Which assessment techniques, methods and tools to use for assessments? This again depends
upon the time of assessments i.e. whether it is for diagnostic, formative or summative
purpose. The assessments could be done through
• Rubrics,
• Adoption of various strategies for reflection,
• Adoption of various strategies for thinking skills,
• Portfolios,
Ensuring quality in assessment, validity, reliability, feasibility and fairness is crucial.
SAMPLE OF ASSESSMENT OF LEARNING THROUGH ART & DRAMA
NOTE: The following example uses an integrated approach to content that is assessed via
Drama and Art methodology. The example blends traditional classroom approaches with that
of Drama and Art – as student teacher you can try out portions of this sample activity in your
classroom or you and your friends together can do the complete activity to see the benefits of
Drama and Art in your classroom.
Class: VIII
Theme: Agriculture
Subjects Integrated: Mathematics, Hindi, Geography, Science & General Awareness
Concepts Covered:
1. Mathematics: Data Handling (basically covers pictographs, bar diagrams, pie charts
and other tools that help in graphical representation of data)
40
2. Hindi: Uth Kisaan Aao (Poem) (that is an inspiring poem for Farmers)
3. Science: Crop Production (documents the entire journey from preparation of soil to
harvesting and preserving the produced crops)
4. Geography: Agriculture (discusses the various agricultural practices across the world)
5. General Awareness: Newspaper snippets that discuss about the distress amongst
farmers with regard to lack of monsoons and raising debts leading to suicides amongst poor
farmers.
Pre-Activity Preparation by Teachers

Teachers from all the five subject areas will sit and brain storm to produce this
comprehensive table.
Subject Who will When Where What area Why are we How would
Area assess the would the would the or domains assessing the
final work? various assessment are we areas? assessment
stages of and interested in take place?
assessments learning assessing?
be done? happen?
Like
Diagnostic
Assessment
/ Formative
Assessment/
Summative
Assessment
Mathematics All teachers 1.Summative Depends on Cognitive As a good Assessment
will assess & Formative individual Domain with practice it is will be of
the final Assessment teachers – reference to important two types: 1.
work will be done like for thinking that teachers Assessment
by all example –the skills discuss the of Content
Hindi teachers General Affective reason for across each
based on a Awareness Domain with assessing subject area
strategy teacher reference to each skill 2. Thematic
suitable to would take empathy and domain Assessment.
their subject the students Cognitive with students
1. Diagnostic to the Domain with –this
Assessment Multimedia reference to transparency
will be done Centre and thinking in evaluation
by show various skills will help
Science Mathematics news reports Cognitive students be
teacher with regard Domain with more aware
before to the reference to of their
students Farmer‘s thinking learning and
begin to Suicide. The skills will help
41
Geo-graphy represent the teacher can Cognitive students take
General data with also show Domain & onus of their
Aware-ness regard to episode 8 of Affective own learning
Agricultural Season 1 Domain with goals.
practices in which talks the
their state. about Toxic understanding
Food – the that students
pesticides in will be able
our food. to see the
Following links between
this there the cross
could be a curricular
discussion in areas of
the class theme
Ideas for thematic assessment include:
1. ―You are Ram Dev who owns 2 acres of land in Madhya Pradesh – in the last three
years you haven‘t been able to sustain yourself with your farming. You get to
know about a government project where Agricultural scientists are sharing new
methods to improve crop production for your area. You need to prepare for the
interview with the Agricultural Scientist. Your daughter Satya is extremely
intelligent and you wish to take care of her help‖ As a group you need script and
execute a drama where you showcase your day and experience with the
Agricultural Scientist as Ram Dev (Pointers: Your intelligent daughter will
gather data about how scanty the rainfall has been, discuss the relation between
how the money and time invested has had no significant impact etc.)
2. ―As Sarpanch Renuka Lal, you realise the farmers in your village are having
a lot of problems. You have just returned from a workshop at the Block level where you
have learnt about various ways by which agriculture can be done with little
water.‖ As a group you need to plan a workshop for the farmers of your village
where you will share the practices learnt in the Block Level workshop (Pointers:
Make appropriate posters and pamphlets, find video clips so that your fellow
farmers can see results)
2. ―You realise that many people you know are suffering from cancer. Your mother is a
scientist and you end up discussing the issue with her. She tells you how using
pesticides on our crops is one of the main factors contributing to cancer….
Coincidentally you also get an opportunity to visit your village over the weekend
where you realise all farmers are using a lot of chemicals to increase their crop
production. You decide to stage a nukkad natak with your friends to make the
farmers of your village aware of the hazards of pesticides and also share with
them alternatives to pesticides‖ As a group prepare the nukkad natak to be staged
42
in the village. (Pointers: Make pamphlets and write slogans that will help farmers
remember the hazards of pesticides)
Classroom Transactions:
To begin with each teacher will take her class individually as a separate class
– like how it‘s done in a traditional classroom. As the topic reaches its conclusion after 4
teaching periods all the five teachers will have 4 combined double periods so that students
can get to work on the ideas for thematic assessment.
In order to facilitate group learning each teacher will individually interact with each group at
least once in the 4 double period schedule.
Assessment:
1. Content Assessment will be done by respective teachers using formative assessment

tools
2. Drama and appropriate Art will be used as the final assessment tool. Teachers will
use Rubrics and their personal interaction with various groups to document the learning of
the students.
2.13 LET US SUM UP
In this unit we discussed need of drama and art in education, different types of art forms like
visual (painting, drawing, and sculpture), performing (music, dance, drama) or traditional art
and crafts or puppetry. We also saw that art activities can either be done individually or in
groups. Drama and art must be integrated in the school curriculum to strengthen learning of
interdisciplinary skills. We have also learned that while organising drama and art activities,
we need to keep in mind themes, content and methodology (especially for a particular stage
such as primary, upper primary, secondary or higher secondary). Assessment of learning
through drama and art can be done by using different techniques, tools and methods such as
rubrics, portfolios, strategies adopted for reflection and thinking. We have also discussed in
this unit how drama can help in problem solving process.

1. Develop multidisciplinary activities on the following themes:
 Energy
 Environment
 Water
 Air
2. How will you use following drama methods in teaching-learning of your disciplines
at secondary level?
 Role-play
43
 Simulation
 Improvisation
 Storytelling
3. How will you integrate creative-writing and visual art forms in teaching of your
disciplines?
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
4. Select a topic from your subject area which you would like to teach through
simulation method. Describe the method in detail.
Topic: ............................................................................................................
Subject: .........................................................................................................
Class: ............................................................................................................
Method: .................................................................................................
.............................................................................................................
.............................................................................................................
5. Select a topic from your subject area which you would like to teach through visual art
and why?
Topic: ............................................................................................................
Subject: .........................................................................................................
 Dewey, J. (1980). Art as experience. New York, NY: Perigee Books. Frost, J. I.,
Wortham, S. C., & Reifel, R. S. (2008). Play and Child
 Development. Pearson/Merrill Prentice Hall.
 Gardner, H. (1983). Frames of Mind. New York: Basic Book Inc. Gardner, H. (1993),
Multiple Intelligences: The Theory in Practice, Basic Books,
 ISBN 046501822X.
 Gardner, H. (1999) Intelligence Reframed. Multiple intelligences for the 21st century,
New York: Basic Books. 292 + x pages. Useful review of Gardner‘s theory and
discussion of issues and additions.
 Heathcote, D. (2009, April). Mantle of the Expert: My current understanding.
 Keynote address to the Weaving Our Stories: International Mantle of the Expert
conference, University of Waikato, Hamilton.
 Hunt, K., Water, V. D., & McAvoy, M. (2015). Drama and Education: Performance
Methodologies for Teaching and Learning. London and New York: Routledge, 190 s.
 McCarthy, K. F., Ondaatje, E. H., Zarakas, L., & Brooks, A. (2004). Gifts of the
Muse. Reframing the Debate About the Benefits of the Arts. Santa Monica: RAND
Corporation.
44
 Moore, R. C. (1990). Childhood‘s Domain: Play and Place in Child. MIG
Communications.
 NCERT (2008). Syllabus of Art Education Retrieved on March 12, 2017 from
http://www.ncert.nic.in/rightside/links/pdf/syllabus/ Art_Educationfinal_syllabus.pdf.
 NCF (2005). Position Paper. National Focus Group on Arts, Music, Dance and
Theatre. NCERT: Delhi.
 Tagore, R. (1917). The Personality. New York: Macmillian Company. Vogel, R. M.
& Feden, P. D. (1993). Methods of Teaching: Applying Cognitive
 Science to Promote Student Learning. McGraw Hill: New York.
 Vygotsky, L. S. (1967). Play and Its Role in the Mental Development of the Child.
Soviet Psychology 5:6–18.
 Waldorf Education Retrieved from http://en.wikipedia.org/wiki/Waldorf_education
on May 2, 2017.
45
UNIT 3 DRAMA AND ART FOR PEDAGOGY
Contents
3.1 Objectives
3.2 Learning outcomes
3.3 Introduction
3.4 Drama as ‗Critical Pedagogy‘
3.5 Drama and Art for Creative Expression
3.6 Drama and Art for Self-realisation
3.7 Using Drama and Art for Creating Inclusive Classrooms
3.7.1 Purpose and Benefit
3.7.2 Selection of Drama/Art Expression according to Special Needs
3.7.3 Adaptation and Modification during Training Sessions
3.7.4 Inclusive Art Expression
3.8 Let Us Sum Up
3.9 Check your progress
3.1 OBJECTIVES

 understand drama as ‗critical pedagogy‘ in classrooms;
 understand drama and art for creative expression;
 learn the role of drama and art in self-realisation;
 understand drama/art expression for students who have challenges due to
 their special needs;
 understand adaptations and adjustments during training sessions;
 know inclusive art expression in classrooms.

 apply drama as ‗critical pedagogy‘ in classrooms;
 appreciate drama and art for creative expression;
46
 discuss role of drama and art in self-realisation;
 select the drama/art expression for students with special needs;
 make adaptations and adjustments during training sessions;
 promote inclusive art expression in classrooms.
3.3 INTRODUCTION
In Unit 2 of this course, we have already discussed need of drama and art in education. We
have also learnt how different art forms such as visual arts (drawing, painting), performing
arts (dance, drama, and music) and traditional art and crafts etc. can be used in the classroom.
The importance of multidisciplinary approach in integration of drama and art in school
curriculum has also been emphasised. We have also learnt to appreciate drama as a problem-
solving process.
In this Unit, we will be focusing on role of drama as ‗critical pedagogy‘, using drama and art
for creative expression and self-realisation, and also for creating inclusive classrooms.
Teachers consciously or unconsciously use drama and art for various purposes. While we are
discussing use of drama and art for various purposes, keeping a learning log and recording
your experiences and reflections will provide a rich learning resource for you as a teacher.
The documentation of these experiences will help you in revisiting many incidents or
classroom situations which can make you think and reflect in this journey of teaching-
learning.
3.4 DRAMA AS „CRITICAL PEDAGOGY‟
Educational drama is defined as ―drama in which there is no external audience, no prepared

script, and in which the teacher frequently takes on roles with students‖ (Wihelm &
Edmiston, 1998, p.4). Educational drama utilises skills across the range of dramatic activity,
everything from teacher-in-role to normal theatrical conventions of audience and spectator.
Wilhelm & Edmiston (1998) espoused that every teacher in every subject area, no matter
what his or her background, should consider making drama a part of their teaching repertoire.
Particularly rooted in the field of education, drama is effective in deepening students‘
comprehension in the area of social justice because it serves as a vehicle for deeper
understanding of concepts and culture through enactment, dialogue, and exploration.
Drama theorists and practitioners such as Boal (1979), Heathcote (2000), McCaslin (1996),
O‘Neill (1995), and Wagner (1998) contend that drama can be used to encourage social
change and development because drama:
• is suspended by time, place, and identity;

• is a social activity driven by rules; and
• uses stories to explore human significance.
47
As prejudice and social constructions of identity are formed on a deep emotional level,
Ressler (2002) argues that drama with its kinesthetic component can help students reflect
upon prejudices in ways that other classroom pedagogy cannot. Educational drama when
used as ‗critical pedagogy‘ can enrich teaching and learning in the areas of social justice.
Hence drama can be effectively used to remove misconceptions and promote positive attitude
among students.
Drama is an umbrella term which includes use of many techniques such as games, story
dramatisation (pieces of literature enacted, improvisation) and process drama. Process drama
techniques have already been discussed in detail in the Unit.
Augusto Boal‘s work with Brazilian peasant population forms the basis for ‗Theatre of the
Oppressed (TO)‘ which is now being used all over the world for social as well as political
activism, for resolving individual and group struggles, community building, therapy and
treatment, and also in the making of government legislations. Theatre of the Oppressed (TO)
is based on the vision of Paulo Freire and his landmark work on education, Pedagogy of the
Oppressed. Theatre of the Oppressed (TO) is about analysing and questioning as opposed to
accepting and giving answers. It is also about using the body to ‗act‘ rather than just talk,
discuss or debate. In Theatre of the Oppressed (TO), the audience is not made of spectators
but ‗spect-actors‘. Everybody is involved to participate and explore the issues at hand. The
techniques used in Theatre of the Oppressed (TO) include:
1. Image Theatre: In this technique, participants are given an idea or theme and in
response, they create with their bodies, a shape, and a statue. Participants are expected to
respond quickly without thinking much. The Image Theatre can be with individuals, in pairs
or in small groups. Participants discover a lot about themselves through Image Theatre.
2. Forum Theatre: It is an interactive theatre which helps a community to explore

multiple strategies in response to a problem presented on stage. Forum Theatre poses a
problem, not a solution. Spectators are invited to participate in the performance – not through
suggestions, advice or discussion but by replacing one of the actors in the play, and then
acting on the stage in his place. Forum Theatre provides an opportunity to people to try out
strategies that they may not get an opportunity to try in real life. Forum Theatre is an
extremely popular form of Theatre of the Oppressed (TO). Forum Theatre is coordinated by
an ‗anchor‘ who is called a ‗Joker‘.
In Forum Theatre, a group identifies an oppressive problem that it shares in common (e.g.,
discrimination of students on the basis of their socio-economic status in an educational
institution) and creates a play to show how that problem actually occurs. The play is
constructed around one main character, or protagonist, who encounters this problem in the
persons of one or more antagonists (oppressors) who oppose or block that character‘s
legitimate desires for greater empowerment in his or her life (e.g., equal opportunities for
learning, freedom from discrimination, etc.). These blocks may be active resistance or mere
indifference, yet the effect on the protagonist is the same. The tension in the play builds
48
through several escalating conflicts between protagonist and antagonists and then
deliberately ends with no improvement in the situation. It is a ―tragedy‖ in Boal‘s words
(Boal, 1993). The play is performed by a small number of members of the group for the rest
of the group.
3. Invisible Theatre: It is one of Augusto Boal‘s Theatre of the Oppressed Techniques,

and it has been used around the world in many different settings. This technique is performed
in a public place. The objective is to unsettle passive social relations and initiate critical
dialogue among the spectators, who never realise that they are a part of a play. Invisible
theatre requires actors to remain in character even when the action takes unexpected and
challenging directions.
After discussing different techniques of Theatre of the Oppressed (TO), let us explore the
meaning of ‗Critical Pedagogy‘ in detail.
―Critical pedagogy is both a way of thinking about and negotiating through praxis the
relationship among classroom teaching, the production of knowledge, the larger institutional
structures of the school, and the social and material relations of the wider community, society
and nation state‖ (Breunig, 2005). Critical pedagogy is a cultural-political tool that takes
seriously the notion of human differences, particularly as these differences relate to race,
class, and gender. In its most radical sense, critical pedagogy seeks to unoppress the
oppressed and unite people in a shared language of critique, struggle and hope to end various
forms of human suffering.
Critical Pedagogy as Consciousness
In teaching, critical pedagogy is considered as an approach to foster a more empowered

consciousness among participants. The notion of ‗consciousness‘ refers to individuals‘
perceptions and understandings about themselves and the world around them—perceptions
and understandings that have been shaped during their entire lives by their upbringing,
culture, social class, education, and so on. The reason for transforming people‘s
consciousness is that without sufficiently empowered consciousness, participants will not be
able to change the oppressive or limiting circumstances of their lives as they are limited by
the way they see and understand their circumstances.
Therefore, critical pedagogy aims to transform and empower the consciousness of learners.
Once individuals have empowered consciousness, they can make efforts to transform their
lives and can make efforts to create more social justice in our society. Critical pedagogy itself
is based on what is widely called a problem-posing approach to education. It first helps
learners identify the externally imposed problems and issues that they face in their lives. But
there are two most important aspects of critical pedagogy: (i) to critically analyse the causes
behind those issues, particularly powerful and oppressive forces that block learners‘
legitimate desires for greater happiness and freedom, and (ii) to explore strategic solutions to
49
improving those situations, ideally as a prelude to learners actually putting those strategies
into action in their daily lives. In this approach, the teacher does not provide answers for
learners, but rather helps the group analyse and strategise together, in a questioning, Socratic
way.
Theoretical basis of using Process Drama as a form of Critical Pedagogy
Critical pedagogy is interested in replacing the rehearsal room with an active engaged
curriculum that enables children to question, challenge and remake their reality. Remaking
this reality is possible within the imagined worlds of process drama (discussed in Unit 1 of
this Course).
Vygotsky‘s (1933) concept of ‗dual affect‘ whereby the person is directly engaged with what
is happening in the drama, and at the same time is distanced from it, as he or she watches his
or her own engagement with the drama. This is central to an understanding of process drama
as a form of critical pedagogy. The educative function of role taking in process drama relies
on the ability of the drama participant to also be the participant of their action (Bolton, 1986).
Bolton saw this ‗dual affect as the tension which exists between the concrete world and the
―as if‘ world, sometimes leading to contradictory emotions‘ (1986, p. 87). The dual affect is
possible in process drama because participants simultaneously experience and empathise
with the roles they are playing. As themselves, they are able to enjoy, and analyse the
different emotions they experience. Process drama provides the possibility of distancing and
empathetic responsiveness, within the same action.
Many drama practitioners as well as teachers will recognise the layout of a circle as a starting
position for the lesson. This configuration is in contrast with traditional layout of a classroom
where teacher positions at the front of the class with the learners facing towards them. In a
circle, the participants are encouraged to be inclusive and equal, with both learners and
teacher sharing the space. Although, in this class too teacher can be identified as different
and retains his power but still learners have a chance to negotiate their position.
3.5 DRAMA AND ART FOR CREATIVE EXPRESSION
After discussing the role of drama as ‗Critical Pedagogy‘, let us now move to the next section
in which use of drama and art for creative expression will be discussed.
What is creative work?
It is an imaginative activity, original and has a value.
When a student composes a song, writes a poem, choreographs a dance, writes lyrics of a
song, sketches a landscape, invents games, invents words, builds sets for a theatre
50
performance, or improvises a piece of music with peers, the student has a chance to imagine,
wonder, create, and learn.
Underline the common traits of creative artists:

Playful Independent Practical Collaborative
Perceptive Reflective Curious Imaginative
Focused Determined Thoughtful Inventive
When children are involved actively in an interesting art or drama activity, then they are able
to make a little more sense of the experienced world and their evolving place in it, by
manipulating materials, by playing with ideas, and through exploring impulses, feelings and
emotions. In such learning situations, children are able to use their imagination to transform
knowledge and understanding. The experiential approach used is not exclusive to art
education but many art educators have promoted this approach. Prentice (2003) suggests that
central to learning in art is the concept of lived experience. Understanding is created and
recreated through a process of construction and reconstruction of events (not as a result of
climbing another rung of a ladder)‘ (Prentice, 2003, p. 37).
Role of a Teacher in Encouraging Creative Expression
A teacher must understand that creativity is a process and they need to open their all channels
of allowing, accepting and turning over some control to the children themselves. Moran
(1988), suggests that teachers should:
 Emphasise process rather than product. Let children explore, experiment and make
mistakes, correct themselves and then finally arrive at something. The process is more
important in this case.
 Provide a classroom environment that allows children to explore without undue
restraints. Therefore, a teacher must allow students in open-ended tasks so that they can
engage in experimentation, role-play, problem-finding and problem-solving.
 Adapt to children‘s ideas rather than trying to structure the children‘s ideas to fit the
adult‘s.
 Accept unusual ideas from children by suspending judgement of children‘s divergent
problem solving.
 Use creative problem solving in all parts of the curriculum, Use the problems that
naturally occur in everyday life.
 Allow time for children to explore all possibilities, moving from popular to more
original ideas.
3.6 DRAMA AND ART FOR SELF-REALISATION
In the last section, we discussed the role of drama and art in creative expression. Motivation
plays a very important role in creating new ideas, works of art etc. If a human being is
51
lacking this strong determination, will or dedication then no creative process/expression can
be completed. In other words, creative expression is the most fundamental component of
self-realisation of man. What is self-realisation? How is it different from self-actualisation?
Let us discuss it in detail.
How is self-actualisation different from self-realisation?
The term ‗self-actualisation‘ was first introduced by Kurt Goldstein. It refers to realising
one‘s full potential, expressing one‘s creativity, pursuit of knowledge and desire to give
society back are some examples of self-actualization. According to Carl Rogers (1951), self-
actualisation is the basic drive in personality development. Self-realisation means to know
oneself. Both terms mean to realise the potential of man but self-actualisation takes world
view into consideration whereas self-realisation considers inner self as world.
A person should receive unconditional positive regard – an uncritical acceptance and feeling
of warmth, which enables the person to be true to his or her feelings. This is not a creed of
pure selfishness, however – other goals which should be obtained include congruence (the
harmony of self with experience), and empathic understanding (the ability to perceive the
needs and feelings of others).
Therefore, the ultimate goal is that everyone should be allowed the freedom to express
themselves and be true to themselves without hurting others. Rogers (1951) argues that often
desires are compromised, and people are forced into doing things they may not like doing
because that is the only way they will obtain affection or reward from authority figures, such
as parents or teachers. This is known as conditional positive regard (i.e. positive responses
will only be given for certain acts). Such situations can create an internal conflict (e.g. the
boy likes to play cricket, but his parents forbid it, so he stops, but this creates an inner tension
because his wish has not been given its due). Their ideal self is thereby determined by others
based on these conditions, and they are forced to develop outside of their own true
actualising tendency; this contributes to incongruence and a greater gap between the real self
and the ideal self.
Therefore, drama and art activities provide an outlet for expressing emotions, feelings and
discovering our hidden talents and desires which otherwise may remain undiscovered.
Drama and Art for Self-realisation
The highest goal of any art form is ‗self-realisation‘ – knowing, observing, awareness, and its
growth – a living and growing conscious individual (National Focus Group Position Paper on
Arts, Music, Dance and Theatre, 2005). Different forms of art including drama, helps the
learners in self-expression followed by discovering themselves meaningfully especially when
the environment is safe and supportive. Different art forms such as paintings, songs,
ceramics, puppet making may mean different things to different people. Art making
52
embraces emotions which could be happy, love filled feelings or sad, feeling neglected and
uncared or unheard. And in a society where we are scared of expressing our true emotions,
art provides an escape.
According to Oscar Wilde, art is the most intense mode of individualism that the world has
known (Source: https://en.wikiquote.org/wiki/Oscar_Wilde). Therefore, art can help a person
in exploring and discovering new things about him/her. As Eisner (2002) reminds us,
―among all the fields of study in our schools, the arts are the forefront in the celebration of
diversity, individuality, and surprise‖ (Eisner, 2002). It still holds true after one and a half
decade in a society where there are pressures to express feelings, emotions and thoughts in a
way that challenges, celebrates, appreciates and respects individual‘s expression as well as
others who may or may not have the same perspective. The arts generate a way to
communicate and make meaning in a diverse world.
Self-realisation (seeking truth)
Nature
and other
surroundings
(creation)
Human relations and

bonds of love
Own and others‘ sensitivity
Fig. 2.1: The Sensitivity Pyramid through Drama

(Source: National Focus Group Position Paper on Arts, Music, Dance and Theatre, 2005)
Different art forms help in refinement of human nature – evolving from lower to higher
forms of energy
How can Drama help in self-exploration?
A key approach in using drama in education that allows identity exploration is the process of
metaxis (Boal, 1995). Metaxis is a pedagogical approach used in character formation where
the student is encouraged to perform a character while simultaneously retaining a sense of
themselves: in essence, maintaining their own identity while playing another. Researchers in
drama education have claimed that metaxis grows and deepens empathic engagement in
learning in this art form. For example, a student playing the role of a scientist is metaaxically
engaging in the character of scientist but simultaneously reflecting on that process as a
53
student. This is a kind of reflection-in-action in which the student draws from their own
dramatic skills while reflecting on the identities of other characters. Through metaxis,
identity becomes critical as an exploration of the ‗other‘, including other characters and other
student identities within the class.
Drama learning provides a space to learners to critically reflect on their own identity. In other
words, a learner can experiment with different identities or with different aspects of his/her
own identity. A useful example of this moment would be an exchange through improvisation.
It is a technique by which participants adopt a role different to the socially and formally
agreed one identified at the beginning of the discourse. Participants are able to enter a
temporary moment of transformation and it is in this moment that, following Holland et al
(1998) ‗identities‘ can be negotiated through dialogue and action. In other words, they
engage in the process of ‗rewriting‘ themselves and repositioning themselves in the narrative
of their everyday life.
Let us take an example here from a classroom.
A teacher who was very annoyed with students who were late in reaching school especially a
girl student ‗B‘ who was a regular offender. Student ‗B‘ always missed school assembly in
the morning. Therefore, to emphasise the importance of punctuality, teacher conducts
‗Improvisation‘ in the class involving many students. In the improvisation, teacher plays the
role of a student who reaches late in the examination room and misses examination. Teacher
feels bad.
T: Why do we get late?

S 1: I get up late in the morning? S
S 2: My bus was late.
S 3: It hardly makes any difference.
T: Can we avoid it?
S 4: We have to learn to be punctual.
S 5: I missed singing opportunity in assembly yesterday because I was late.
After the improvisation, a discussion was held in the class on what is punctuality? Why is it
important?
Student ‗B‘ also involved herself actively in the discussion and shares reasons for being late.
Teacher finds a change in the behaviour of the student ‗B‘ after this activity.
54
Points for Reflection:
When we play different types of roles in drama, it helps us to empathise with others and to
consider life from their viewpoint. It allows us to walk in other people‘s shoes, to walk the
path they tread and to see how the world looks from their eyes.
You see a short play in which a driver ‗A‘ is honking unnecessarily making others on the
road uncomfortable, Now, there is another vehicle whose driver also honks repeatedly
making driver ‗A‘ uncomfortable. Driver ‗A‘ stops honking. He realises his mistake.
 Has drama helped you to empathise with others?
 If yes, then what did you learn?
 Choose a topic from your discipline, which has social relevance, to create sensitivity
amongst your students through dramatisation.
3.7 USING DRAMA AND ART FOR CREATING INCLUSIVE CLASSROOMS
Creating an ‗inclusive classroom‘ means a classroom which is safe and welcoming for all
learners and where individual differences of all learners are valued, and embraced. All
children are unique and each possesses unique qualities of intellectual capacities, aesthetic
interests and personality traits and there cannot be a better vehicle for accommodating
individuality than arts.
There are learners in class with various disabilities who can benefit from the arts. Children
may have intellectual and learning disabilities or may have some sensory disabilities such as
visual and hearing impairments. Some may have physical difficulties. In your, Course BES-
128 on ‗Creating an Inclusive School‘ you must have gone through Block 1 on ‗Diversity
and Inclusion‘ and Block 2 on ‗Strategies for Creating Inclusive Classrooms‘. You are
advised to go through both the blocks and relate with the purpose and method of using drama
and art for creating inclusive classrooms.
3.7.1 Purpose and Benefit
According to National Focus Group Position Paper on Arts, Music, Dance and Theatre
(2005), for the disabled child, the drama experience is both educational as well as
therapeutic. The creativity of the entire process of drama using imagination to be ‗someone
else‘. integrating dance, music, speech and action is often ‗left out‘ of the educational
experience of the child with special needs. Drama has an immense potential to break through
our stereotypes about disabilities. For example, planning a drama activity starts with:
 Choosing a topic: for involving children with special needs having severe limitations in
drama activity, the topic may be chosen, where such children can play characters as
55
plants, animals, flowers, etc. For example, a child using wheelchairs can become a
flower, a bird or use mask of an animal.
 Writing drama script: children with special needs can be actively involved in writing
script of drama. They may be encouraged to suggest their creative ideas regarding writing
script of the drama.
The whole idea is to provide them opportunities to succeed, gain confidence and self-esteem.
3.7.2 Selection of Drama/Art Expression according to Special Needs
Selection of the different dramatic modes and activities needs to be done keeping in mind the
respective disability of each child.
According to National Focus Group Position Paper on Arts, Music, Dance and Theatre
(2005) for physically challenged children, we can use
 Narration, story-telling, and speech-related activities

 Sound and music
 Puppetry
 Formal drama with clear plan and instructions For visually challenged children, we
can use
 Narration, story-telling, and speech-related activities
 Sound and music
 Playing musical instruments
 For emotionally disturbed and neurotic children, we can use
 Role-play
 Improvisation
 Music and movement
 Preparation of masks and puppets
3.7.3 Adaptation and Modification during Training Sessions
Adaptations take into consideration the specific needs of the child. It could be easier access
and use of the props. The modifications allow all children to engage in and benefit from
dramatic play activities. Before making any adaptation, we need to assess the specific needs
of the children and then identify the modifications that are needed. For example, a child who
has visual impairment may face a problem in locating props. Children using wheelchairs may
face a problem in navigation so provide wide entrance and plenty of empty space to move
around.
Teachers need to be patient while involving children with special needs in drama activities.
We need to keep in mind the limited or no exposure of these children with natural
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environment, animals, birds etc. Therefore, drama needs to be broken down into small steps
and then such children must be familiarised with the basic idea of drama, its characters etc.
so that they understand the nuances of the drama completely. Children who cannot hear or
understand the verbal instruction, can be shown the visual instructions regarding the various
steps of a drama activity.
While doing rehearsals, it is the general tendency of all of us to underestimate children with
special needs and most of the times teachers enact a movement, posture or speak dialogues in
a particular matter expecting them to imitate. But the whole idea is to provide them an
opportunity to use their imagination. The most important aspect is to respect their beliefs,
feelings, attitudinal states and allow them to work independently. Having a faith in the ability
of the child is a prerequisite for involving them in such creative drama and art activities.
3.7.4 Inclusive Art Expression

Because art, drama, music classes are based on creative expression instead of test scores,
they are usually the first choice for inclusion. In this case, even students with special needs
can assist the teacher with organisational duties. Students with special needs can work with
other students in groups for creative art work. The best part is there is no ‗right‘ answer and
they all appreciate each other‘s work. They get an opportunity to learn from each other.
Using art forms in classrooms provide the best strategy for inclusion i.e. social inclusion.
Teachers can plan activities keeping in mind their age, interests, abilities, talents and specific
needs and cultural context.
3.8 LET US SUM UP
In this unit we discussed the role of drama as ‗critical pedagogy‘ and different techniques of
the Theatre of the Oppressed (TO) such as image theatre, forum theatre and invisible theatre.
Role of different art forms in creative expression and self-realisation was also discussed. Art
helps in refinement of human nature, which is moving from lowest to highest form of energy.
Using drama and art for creating an inclusive classroom is very important. Art provides
opportunities to children with special needs to learn with general students in a group. Teacher
plays an important role in identifying the special needs of these children and then making
modifications in the classroom so that they succeed and entire experience becomes positive
for them.
1. Choose a topic from your discipline and divide students in groups to write a drama
script followed by dramatisation (Hint: Let each group write the script based on their
personal experiences on that topic. The teacher can act as a facilitator in the entire process)
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2. What are the various roles of art forms in the life of a human being?
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
3. How can drama and art help in creating an inclusive classroom?

___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
4. Why is art education the best strategy for social inclusion of children?
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
_________________________________________________________________________
5. Suggest drama and art activities keeping in mind different disabilities.

___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
__________________________________________________________________________
6. Suggest adaptations for children with different disabilities.

___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
• Boal, A. (1979). Theatre of the oppressed. New York: Theatre Communication Group.
• Boal, A. (1993). Personal communication.
• Boal, A. (1995). The rainbow of desire: The Boal method of theatre and therapy.
• New York: Routledge.
• Boal, A. (2002) Games for Actors and Non-Actors. New York, Routledge Kiadó.
• Bolton, G. (1986). Emotion in drama. In D. Davis & C. Lawrence (Eds.), Gavin Bolton:
Selected writings (pp. 108–132). London & New York: Longman.
• Edmiston, B. (2003). What‘s my position? Role, frame, and positioning when using
process drama. Research in Drama Education, 8(2), 221-229. Grady,
• S. (2001). Drama and diversity: A pluralistic perspective for educational drama.
Portsmouth, NH: Heinemann.
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• Eisner, E. (2002). The arts and the creation of mind. New Haven & London: Yale
University Press.
• Goldstein, K. (1934). The organism: A holistic approach to biology derived from
pathological data in man, New York: Zone Books.
• Heathcote, D. (2000). Contexts for active learning: Four models to forge links between
schooling and society. Drama Research, 1(4), 31-45.
• Heathcote, D. & Bolton, G. (1995). Drama for learning: Dorothy Heathcote‘s Mantle of
the Expert to Education. Portsmouth, NH: Heinemann.
• Holland, D., W. Lachicotte, D. Skinner, and C. Cain. 1998. Identity and agency in
cultural worlds. Cambridge, MA.: Harvard University Press.
• Moran, J. D. III (1988). Creativity in Young Children. ERIC Digest. ERIC Number
ED306008. ERIC Clearinghouse on Elementary and Early Childhood Education,
Urbana, IL.
• McCaslin, N. (1996). Creative drama in the classroom. New York: Longman.
• Ministry of Law and Justice (2016). The Rights of Persons with Disabilities Act, 2016.
Retrieved on May 15, 2017 from http:// w w w. d i s a b i l i t ya f f a i r s . g o v. i n /
u p l o a d / u p l o a d f i l e s / f i l e s / RPWD%20ACT%202016.pdf
• NCF (2005). Position Paper. National Focus Group on Arts, Music, Dance and Theatre.
NCERT: Delhi.
• O‘Neill, C. (1995). Drama worlds: A framework for process drama. Portsmouth, NH:
Heinemann.
• Prentice, R. (2003). Changing places in Addison, N. and Burgess, L. (eds). The
Curriculum for 7-11 year olds. London: Paul Chapman Publishing.
• Ressler, P. (2002). Dramatic changes: Talking about sexual orientation and gender
identity with high school students through drama. Portsmouth, NH: Heinemann.
• Rogers, C. (1951). Client-centered therapy: Its current practice, implications and theory.
London: Constable.
• Vygotsky, L. S. (1933/1966). Play and its role in the mental development of the child.
Voprosy psikhologii, 6. (C. Mulholland, Trans.). Retrieved from
https://www.marxists.org/archive/vygotsky/works/1933/play.htm
• Wagner, B.J. (1998). Educational drama and language arts: What research shows. New
Hampshire: Heinemann.
• Wilhelm, J.D. (2002). Action strategies for deepening comprehension. New York:
Scholastic, Inc.
• Wilhelm, J.D., & Edmiston, B. (1998). Imagining to learn: Inquiry, ethics, and
integration through drama. Portsmouth, NH: Heinemann
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UNIT 4 DRAMA AND ART FOR SOCIAL INTERVENTION
Contents
4.1 Introduction
4.2 Objectives
4.3 Learning outcomes
4.4 Understanding Social and Environmental Issues through Drama and Art
4.5 Understanding Local Culture through Drama and Art
4.5.1 Role of Art in Enculturation
4.5.2 Cultural Functions of Drama
4.5.3 Interactions with Artisans
4.6 Understanding Global Culture through Drama and Art
4.7 Let Us Sum Up
4.8 Check your progress
___________________________________________________________________________
4.1 OBJECTIVES
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• understand social and environmental issues through drama and art;
• learn local culture through drama and art;
• know other‘s culture through their drama and art;
• understand interactions with local artisans;
• understand role of visiting exhibitions, local fair and local theatres; and
• learn global culture through drama and art.

• explain social and environmental issues through drama and art;
• explain local culture through drama and art;
• appreciate other‘s culture through their drama and art;
• organise interactions with local artisans;
• appreciate role of visiting exhibitions, local fair and local theatres; and
• explain global culture through drama and art.
4.3 INTRODUCTION
In the previous Unit, we discussed the role of drama in raising a voice against social
injustice, and reflecting on various issues by using it as a ‗critical pedagogy‘. We have also
seen how a personal experience - an important aspect in forming our identity – is showcased
through Drama. We also discussed the role of drama and art activities in developing creative
expression of a child. We know that the highest goal of any art form is ‗self-realisation‘ –
knowing, observing, creating awareness –all of which is developed via drama. As discussed
in Unit 3 we have also seen how Drama focuses on growth of an individual – a living and
growing conscious individual (NCF, 2005). The previous units have also emphasised the role
of drama and art in creating an inclusive classroom.
Now in this Unit, we will discuss how drama and art can play an important role in
understanding social and environmental issues as well as in understanding of local and global
culture.
4.4 UNDERSTANDING SOCIAL AND ENVIRONMENTAL ISSUES THROUGH

DRAMA AND ART
A teacher may face many challenges in discussing social and environmental issues in a
classroom but these issues can be explored easily through drama and art. For example, when
a student is involved in a role-play on some social issue, she feels ownership in a problem
and automatically that social issue becomes more relevant. A teacher can involve students in
various imaginary situations and environments which can create a new awareness for the
students. Students in a drama perform the role of some other person and are not threatened by
the problem because it does not seem as personal as it would in real life. Playing different
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characters in a drama can affect a student‘s judgement, provide insight into a problem and
develop better understanding of a situation.
Dewey (1985) believes, ―The freeing of the artist in literary presentation … is as much
precondition of the desirable creation of adequate opinion on public matters as is the freeing
of social inquiry‖ (p. 183). Drama and art provide unique opportunities in the curriculum for
enhancing learners‘ ability to handle social issues by providing outlets for expression,
developing a particular perspective on an issue and reflecting on these real issues. Visual arts
can be easily used for depicting social issues. Examples of some of the burning social issues
are poverty, hunger, issues related to population, religion, education, health, ethnic conflict,
immigration, etc. Examples of some of the environmental issues are pollution, use of natural
resources, land use, extinction of species, and disposal of waste, energy issues, conservation,
renewable and non-renewable resources.
Let us explore how drama and art can be used for understanding social and environmental
issues. A number of examples have been presented here for your better understanding on
practice of drama and art. Assessment Sheets/ Worksheets are also included in every
example.
Example 1: Visual Teaching Aid in raising awareness about an ‘Environmental Issue

Deforestation’
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Fig 3.1: Visual Teaching Aid (in the form of four pictures)
Reference: ‗Deforestation: Causes & Effects‘ in Chapter 17: Forests: Our Lifeline of Subject
Science, Class VII.
For teaching topic ―Deforestation: Causes & Effects‖, science teacher prepares a visual
teaching aid consisting of four pictures. The first picture shows the environment as in a
forest, where plants and animals live together in an interdependent relationship. The next
picture consists of a man cutting down a tree and then the causes of deforestation are also
explained in a pictorial manner. Thereafter in the third picture, we can see the effects of
deforestation and then in the last picture an individual‘s role in the conservation and
protection of forest is shown. Such visual aids can help in making teaching-learning fun.
Assessment of learning can be done by using a Worksheet as given here.
Worksheet
Topic: Deforestation: Causes & Effects
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Class: VII
1. Observe all the four pictures and write your observations.
a) .........................................................................................................
b) .........................................................................................................
c) .........................................................................................................
d) .........................................................................................................
2. How can we help in restoration of our environment?
a) .........................................................................................................
.........................................................................................................
b) .........................................................................................................
.........................................................................................................
c) .........................................................................................................
.........................................................................................................
3. What is soil erosion? How is it caused? How can it be avoided?
.................................................................................................................
.................................................................................................................
Example 2: Pictorial Representation of ‗Water Cycle‘ and learning about Conservation of

Water (Environmental issue)
Reference: ‗Conservation of Water through understanding of Water Cycle‘ in Chapter 16:

Water: A Precious Resource of Subject Science, Class VII
The pictorial representation of water cycle shown in Figure, traces the journey of two drops
of water from ocean. First ‗Evaporation‘ of these two drops takes place due to sun‘s energy.
Water vapours rise higher and higher and as a result become cooler. This cooling causes
‗Condensation‘. Condensation is the cooling of vapours until it becomes a liquid. As the dew
point is reached, water vapours form tiny visible water droplets. Then these droplets form the
clouds which collide, grow, and fall out of the upper atmospheric layers a ‗Precipitation‘.
Some precipitation falls as snow or hail, sleet, and can accumulate as ice caps and glaciers,
which can store frozen water for thousands of years. Most water falls back into the oceans or
onto land as rain, where the water flows over the ground as surface runoff. A part of this
water enters rivers which ultimately flow towards the oceans. A part seeps down into the
ground forming groundwater.
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Fig. 3.2: Pictorial depiction of 'Water Cycle Story'
Water Management: Water is a very precious resource and most of the water which we get
as rainfall just flows away. This is a waste of precious natural resource. The rainwater can be
used to recharge the groundwater. This is referred to as water harvesting or rainwater
harvesting. A farmer using water in the field can also use water economically. A farmer can
use drip irrigation. Drip irrigation is a technique of watering plants by making use of narrow
tubings which deliver water directly at the base of the plant. Assessment of learning can be
done by using the Worksheet given here.
Worksheet
Topic: Conservation of Water through understanding of Water Cycle Class: VII
[Suggest a plan of action so that Rain Water can be harvested in your locality [Think –
when does it rain in your area, what preparation would you need to start rainwater
harvesting, what strategies would you use to minimise wastage (regular cleaning of drains,
desilting, garbage collection), who should take responsibility, who should monitor,
where should that water be used?]
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Example 3: Role-play to create awareness about ‗Global Warming‘ (Environmental Issue)
Reference: ‗Global Warming‘ in Chapter 18: Pollution of Air and Water of Subject Science,
Class VIII.
We know on the one hand, CO2 is continuously being released because of human activities.
On the other hand, area under forests is decreasing. Plants utilise CO2 from the atmosphere
for photosynthesis, thereby decreasing the amount of CO2 in the air. Deforestation leads to
an increase in the amount of CO2 in the air because the number of trees which consume CO2
is reduced. Human activities, thus, contribute to the accumulation of CO2 in the atmosphere.
CO2 traps heat and does not allow it to escape into space. As a result, the average
temperature of the earth‘s atmosphere is gradually increasing. This is called global warming.
Global warming can cause sea levels to rise dramatically. In many places, coastal areas have
already been flooded. Global warming could result in wide ranging effects on rainfall
patterns, agriculture, forests, plants and animals. Majority of people living in regions which
are threatened by global warming are in Asia. A recent climate change report gives us only a
limited time to keep the greenhouse gases at the present level. Otherwise, the temperature
may rise by more than 2 degrees Celsius by the end of the century, a level considered
dangerous. Global warming has become a major concern for the nations worldwide. Many
countries have reached an agreement to reduce the emission of greenhouse gases.
‗Oxygen‘ and ‗Carbon-di-oxide‘ both gases are talking to each other. They started
discussing the issue of global warming. One student plays the role of oxygen gas
and second student plays the role of carbon-di-oxide gas and third student plays the
role of human being. Moderator introduces the role-play to the audiences
Oxygen (O2): Hello, CO2, how are you? Carbon-di-oxide
(CO2): Hello O2, I am good.
O2: Yes, I see you everywhere these days.

CO2: Dear O2, thanks to the human community for this. They burn fossil fuels, cut trees and
do many other things which increases my presence everywhere.
O2: Oh! I know that and I also know that increase in your amount leads to increase in
temperature of earth.
CO2: Yes, this is the saddest part of the story. I am increasing and hence temperature of earth
is also increasing.
O2: But how come you are responsible for that.
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CO2: Look O2, my primary function is trapping outgoing sunlight/sun‘s radiation which gets
reflected from earth‘s surface.
O2: O.K., so your increased amount leads to increased trapping of outgoing sun‘s radiation.
CO2: And the atmosphere of earth gets overheated leading to increase in its temperature.
This is called global warming.
O2: So ultimately humans are responsible for this global change. I think they should take
some preventive measures.
Human being enters the room and then turns towards O2 and CO2. Human being: Well,
humans have signed many treaties and agreements. O2: What kind of treaties and agreements
are signed by you?
Human being: Apart from CO2, methane, nitrogen oxides etc. also lead to global warming.
Therefore, countries have signed agreements and treaties
where they promise to cut down emission of such gases called greenhouse gases.
CO2: Yes, human beings must reduce the emission of greenhouse gases. The increase in
earth‘s temperature by less than 10 degrees will lead to melting of ice caps and the sea-level
will rise.
O2: This would also lead to sinking of coastal areas.
CO2: Yes, very correct. Ecological shift will also take place.
O2: But, CO2 something should be done to prevent global warming.
CO2: Yes, something should be done but it is not you or me that can do anything about
global warming. The human beings who are responsible for the problem should take
preventive measures.
O2: What preventive measures?
CO2: We have human beings here; let us ask them what they would like to do on individual
basis to reduce global warming.
Assessment of learning can be done by using the Worksheet given here.

Worksheet
Topic: Global Warming Class: VIII
1. Review one treaty that is signed to prevent global warming. How can your city
contribute towards that treaty?
Example 4: Role-play to create awareness about Social Issue ‗Gender Stereotypes‘ which
are commonly visible in Indian Society.
Refer: ‗Creating Stereotypes‘ in Chapter 2: Diversity and Discrimination of Subject Social

Studies, Class VI.
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We are born different and unique. We differ in complexion, speak different languages,
belong to different religions and follow different traditions. In our society, we must have
heard elders saying that ‗boys do not cry‘, ‗girls must learn cooking‘; girls should opt for soft
career options like teaching‘. These are called gender stereotypes. Making generalisations
about the characteristics of an entire group based on gender.
Teacher calls some tall boys of the class for hanging the charts on the wall. T: Boys, please
hang the charts on the wall.
T: Boys, please hang the charts on the wall.

T: I have to give names of the students from the class for various co-curricular activities.
T: Raise your hands if you are interested in sports activities. G1: Teacher, please write my
name for basketball.
T: But you are a girl. Girls should participate in music, dance, knitting etc. T: Hoping to get
names of boys for basketball. Boys, please raise your hands. B 1: Teacher, I would like to
learn Bharatnatyam dance. I really love it.
T: Are you in senses? Boys do not look nice doing Bharatnatyam dance. B1: Starts crying.
T: Boys do not cry. Do not cry. Were you never told this by your parents at home.
This small role-play can be followed by a discussion on ‗Gender Stereotypes‘ in the society.
Worksheet
Topic: Creating Stereotypes Class: VI
1. Revisit your school days and share your experiences about gender stereotypes.
2. What is the impact of gender stereotypes?
3. Why are women expected to be pretty?
4. Are family care and domestic responsibilities shared equally by men and women in
your family?
Example 5: Role-play to create awareness about Environmental Issue ‗Clean India, Green
India‘
Reference: ‗Vermicomposting‘ in Chapter 16: Garbage in, Garbage out of Subject

Science, Class VI.
Here we are presenting the ‗Story of Sapna‘ in the form of a role-play. Sapna is visiting her
grandparent‘s house in the village. She is very excited to meet them because she enjoys their
company. Carefully read the following conversation:
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Sapna: (running around the mud house) Grandma, where are you? An old lady walks out of
the house with a stick in one hand.
Grandmother: Oh! Look who is here? How tall you have grown Sapna? (hugs her fondly)
Sapna: Where is grandpa?
Grandmother: He has gone to the Village Panchayat meeting. He will be home soon. In the
meanwhile, you can change and wash your hands. I have prepared your favourite dishes for
lunch.
Sapna meets her grandfather and goes for a walk with him in the village. Sapna : Grandpa,
what is this foul smell ?
Grandfather: It is coming from the garbage dump. (Pointing towards the heap of garbage
lying near the road)
Sapna : Why is the garbage lying on the road? Don‘t you have a compost pit in the village?
Grandfather: What is a compost pit?
Sapna : It is a pit where we can convert plant and animal waste into manure. This not only
helps in keeping our surroundings clean but the green manure can be later used in the crop
fields too.
Grandfather: What about the garbage from the kitchen?
Sapna: You can also put fruit and vegetable peels, egg shells, waste food in the pit.
Grandfather: Is that how you collect the garbage in the cities?
Sapna: In the city, we have two separate dustbins in our colony. We call it the dry waste and
the wet waste. The green one is used to collect kitchen and other plant or animal wastes. The
blue bin is used for materials that can be used again such as plastics, metal and glass.
Grandfather: That is a very good idea. I will discuss it in the meeting tomorrow. (Next day, at
the Village Panchayat meeting)
Grandfather: I have an idea to keep our village clean and disease-free before the onset of
monsoons. But I need your help.
Villager 1: How can we help? (asking curiously)
Grandfather: First of all, we have to stop throwing garbage anywhere we like.
Villager 2: Where do we throw it then?

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Grandfather: We dig a pit and put it in there.
Villager 2: I don‘t understand. How will that solve the problem?
Grandfather: The garbage will mix with the soil and turn into manure to grow rich crops for
us.
Villager 3: (thinking) That will also help us save the money we spend on chemical fertilizers.
Grandfather: We also have to stop burning the crop waste. This produces smoke and gases
harmful to our health and the environment.
Villager 1: When do we start?
Grandfather: If you all agree to this; we can start tomorrow.
(The villagers all answer in unison and promise to keep their village clean).
Hope the role-play must have developed the concept of ‗vermicomposting‘ and clarified the
doubts of the students. The students can be asked to do the worksheet as given here.
Worksheet
Topic: Vermicomposting Class: VI
Given below are items we usually find in the garbage. Sort the garbage items in the
respective dustbins.
Banana peels, egg shells, leftover bread, tea leaves, newspapers, dry leaves, paper bags, pieces
of torn clothes, polythene bags, broken glasses, aluminium wraps, old shoes, broken toys, old
invitation cards, bottles, shoes, toothbrushes, combs, cow dung, coconut husk, wool
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4.5 UNDERSTANDING LOCAL CULTURE THROUGH DRAMA AND ART
In this section, we will discuss how drama and art can help us in understanding local culture.
First let us understand the meaning of culture. The first highly influential definition of the
term ‗culture‘ came from Edward Taylor (1871) who defines culture as ―that complex whole
which includes knowledge, belief, art, morals, and law, custom and any other capabilities and
habits, acquired by man as a member of society.‖ Ellwood (1927) says that ―culture includes
man‘s entire material civilization, tools, weapons, clothing, shelter, machines and even
system of industry‖. The culture of people is the way of life of those people, the things its
people value, the things they don‘t value, their habits of life, their work of art, what they do
and what they like. By material elements is meant the whole of man‘s material civilization,
tools, weapons, clothing, machines and industry. By non-material elements is meant
language, art, religion, morality, law and government.‖ Anthropologists often view culture as
a mental template or blueprint by which life is to be conducted. Human beings need culture
because their genetic endowment does not provide a complete programme for coping with
the totality of experience that can be had in the world. Whereas animals operate almost
exclusively on their instincts, this is not the case for humans. Humans rely heavily on the
accumulated learnings of others encoded as culture. The culture could be:
 Individual/personal culture: personal traits such as likes, dislikes, interests, modes of

thinking and patterns of social behaviour constitute individual/ personal culture
 Local/communal culture: Similarly, different communities have their different

customs, traditions, beliefs and styles of living which is known as local/ community
culture.
 National culture: Each nation has some distinct patterns of ideals, values, modes of
thoughts and behaviour. Such national traits are known as national culture.
 World/Global culture: Today life is not limited by geographical boundaries. World

has shrunk into a unit due to use of technology. In the twenty-first century, we are
growing in a transformed world or growing up globally. We are sharing common
values of life such as cooperation, empathy, sympathy, social services, social
awakening and social sensitiveness which is termed as world/global culture.
Art and drama activities help to reveal and enhance the identity – the unique, meaning and
character of a community. Understanding of our own culture and a sense of identity is a
prerequisite for showing respect for diversity of cultural expression and openness towards
other cultures. In the next section, we shall be discussing how drama and art can help in
understanding the local/community culture.
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4.5.1 Role of Art in Enculturation
Enculturation refers to the process through which we learn about the culture we live in.
Through enculturation, we learn what behaviours, values, language, and morals are
acceptable in our society. We learn by observing other members of our society, including our
parents, friends, teachers, and mentors. Enculturation is learned through communication in
the form of speech, words, and gestures. We also learn through the unique images, objects,
places and experiences that are characteristic of different cultures.
Art forms convey a lot about a particular culture. These art forms are used as outlets for
expression, voices for change and also as creativity for giving life to new ideas. Learning
about different art forms helps in the process of enculturation thereby passing on the existing
culture to the next generation. A work of art also has multiple meanings, including the artist‘s
embodied meaning(s). Because of its non-verbal nature, discussions about works of art or
craft are, of necessity, acts of translation. The deciphering of their meaning depends not only
on the ability to think philosophically and to express these thoughts coherently, but also on
the understanding of the cultural conventions that the works of art or craft refer to, as well as
the understanding of the cultural context in which they had been created (Robert & Williams,
2005). Art forms provide opportunities to think and unfold the new deeper layers of
meanings. These enriched experiences can become part of our thinking repertoire as
‗reference points‘ and resources.
Let us visit Bhimbetka caves in Madhya Pradesh. (While travelling from Bhopal to
Hoshangabad). What can we learn from these cave paintings? When were these made? Can
we learn something about the life of man from these paintings?
Fig. 3.3: Bhimbetka caves (UNESCO World Heritage Site) in Bhopal District
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(Source: http://www.mptourism.com/tourist-places/bhimbetka-caves-rock-shelters.html)
Bhimbetka caves: Oldest Art Gallery
The way the paintings were made over the period of time, gave the archaeologists the insight
into the progression of the Homo sapiens also. Bhimbetka caves are considered as the oldest
art gallery of India. These cave paintings datingback to approximately 30,000 years. These
rock shelters were home to humans‘ millennia ago. These caves are surrounded by rich flora
and fauna. Bhimbetka has 243 rock shelters. The paintings found in the rock shelters here
have a striking resemblance to the ones discovered in Kakadu National Park in Australia; to
the cave paintings of Bushmen in Kalahari Desert and Upper Palaeolithic Lascaux cave
paintings in France. In Bhimbetka natural art gallery, paintings are etched in red and white
colours having occasional green and yellow tints. The paintings depict daily life of the Early
men like hunting, household work, horse riding, animal rearing. These paintings provide
glimpses of the life of the oldest dwellers. The colours used by the cave dwellers were
prepared by mixing manganese, hematite, soft red stone and wooden charcoal, perhaps
animal fat and extracts of leaves were also used in the mixture.
4.5.2 Cultural Functions of Drama
Drama makes use of a number of situations and settings and cultural understanding develops
due to sharing and negotiating within a range of these situations and settings. We need to
understand that there are similarities and differences between cultures. Participants identify,
explore and express a multiplicity of diverse viewpoints and perspectives and ‗new ways of
being‘ through authentic engagement in collaborative, communal drama processes and the
negotiation and re-negotiation of different identities in role (Anderson, 2012; Nicholson
2005; O‘Toole & Dunne, 2015). Storytelling (discussed in Unit 1 of this Course), as a
dramatic form, has particular potential for exploring intercultural dimensions within drama
classes.
For example, a teacher can start the class with a tale (2-3 minutes) and then can encourage
the students to tell a tale (folktale) from their culture. They are given sufficient time to think
and rehearse. They can share their tale with their friends. Sharing stories in the classroom
increases their confidence level and they get an opportunity to learn about others‘ cultures as
well.
Learning about Bishnoi community through Storytelling
Bishnois of Rajasthan, believe in just one religion i.e. conserving nature. This religion is 500
years old and followers are over 10 lakhs. For these 10 lakh people, protection of all living
beings is a way of life. We can visit Jodhpur to find these followers. This religion was founded
by Lord Jambheshwar who is believed to be an incarnation of Lord Vishnu, the preserver of
73
all that‘s created on earth. The life of Bishnois is governed by 29 principles but the most
important of them all is ‗praan daya‘ or compassion for all living things. For close to 525
years, every Bishnoi, young and old, has lived and even died for this spirit of compassion.
The Bishnois consider trees as sacred, but their empathy extends to every living being on earth.
So they protect the entire ecosystem that exists in their villages. Animals like blackbucks and
chinkaras, and birds like vultures, partridges, peacocks and even the endangered Great Indian
Bustard, find the Bishnoi village a safe haven.
Excerpt from The Land of The Bishnois – Where Conservation Of

Wildlife Is A Religion! (Retrieved from https://www.thebetterindia.com/5621/
the-land-of-the-bishnois-where-conservation-of-wildlife-is-a-religion/)
Figure 3.4: Showing the Cenotaph commemorating the Bishnoi people who died in 1731
AD protecting trees, Khejarli, Jodhpur
After learning about Bishnoi community of Rajasthan through storytelling, let us now learn
about the ‗Matrilineal system‘ prevalent in Meghalaya State.
Patrilineality is the system which is mostly followed in the world. In this system father‘s
family name is adopted. But in matrilineality system, the origin is traced through the mother
74
and her ancestors, and usually inherit property. The Khasi, Jaintia and Garo people (along
with the Nair and Bunt castes) practice this unique system and form one of the biggest
communities in the world that believes in matrilineality.
Students can be familiarised with this unique system of ‗Matrilineal Society‘ through
storytelling or through dramatization.
Meghalaya ... The Matrilineal Society

Meghalaya lies in the extreme north eastern region of India. It is the only state in the entire
northeast which is matrilineal and takes the identity solely from the mother. Meghalaya women
are very lucky in this way, because they are treated with equal rights but the head of the
family is always Father. The occurrence of illegitimate child or child abandoning in this
society is rare except for a few stray cases. Offsprings whether male or female are treated
alike. On the whole, the society is unique, devoid of complexes and the much feared and
dreaded bride burning or Dowry system.
In this matrilineal society, let us take the Khasis for example, the blood relations on the
mother‘s side are known as the ―Cognates‖ (Ki Kur) and ―Agnates‖ (Ki Kha) refer to the
paternal side. The cognates trace their origin from a common ancestress and their lineal
descent is from mother to daughter, just the opposite from other societies.
Marriage is also strictly exogamous, i.e., outside the cognates. There cannot be a greater sin
ever committed than an intimate physical relationship between members of the cognates,
which is an unforgivable sin. In the olden day‘s violation of such an act was considered
sacrilegious and the persons involved were ostracised.
Source: Heritage of Meghalaya by Minimon Laloo (Retrieved from http://

megartsculture.gov.in/herit_volI.htm)
4.5.3 Interactions with Artisans
Looking at the socio-economic and cultural diversity of the country, it would be all the more
essential for the schools, parents and teachers to be able to use the local regional arts and
craft traditions both visual and performing in the developmental stages of school education.
All the schools should provide experience to children to work with the community, beyond
the four walls of the school (NCERT, 2008). One way of doing this is to provide
opportunities to children to interact with local artisans. Artisans invited from the community
or from far off areas can conduct workshops and help students in learning about our culture.
Theoretical understanding about designs, crafts does not help in learning them. Working with
our hands makes us aware of different patterns, symbols and also connects with our culture.
When we see any traditional design in a craft work, we observe various geometrical shapes,
motifs, colours and learn about their meaning in a particular craft work and through them we
connect with the culture. In schools, students can be made to connect with craft work by:
75
• inviting artists for workshops on madhubani paintings, worli art, weaving, embroidery
work, puppet making, pottery, tie and dye, candle making and ceramic making etc.;
• encouraging students for making rangoli and alpana during various celebrations at home
or school;
• creating mosaic work on walls by using glass, stone and tiles; and
• celebrating ‗State weeks‘ or ‗State day‘ in the school where students of every house can
depict folk dance, art forms related to state theme alloted to that house.
Fig. 3.5: Showing Mandana made during Rajasthan week celebration
Arranging lively meetings of students with artists and creators and exposure to their works
and cultural environments are other ways of making students aware of their culture. These
activities help them become aware of the basis of the practice of art, and their cultural
environment. They develop a deeper understanding of artistic works.
76
Figure 3.6: Showing Display Board made during Rajasthan week celebration
4.6 UNDERSTANDING GLOBAL CULTURE THROUGH DRAMA AND ART
After discussing the role of drama and art in understanding of local culture, we will be
discussing role of drama and art in understanding of global culture in this section. Why do
we need to understand global culture?. Human life is no longer limited by geographical
boundaries as the world is changing rapidly Technology made dissemination of information
anywhere, and anytime. Arnett (2002) has argued that young people worldwide now develop
a bicultural identity that integrates their local identity with new elements derived from their
exposure to and interpretation of global culture. Therefore, understanding of global culture is
also required along with the understanding of local culture. Let us discuss the role of drama
and art in understanding of global culture.
Art forms can open a dialogue between diverse groups thereby providing a safe haven for
engagement. It acts as a bridge between diverse cultural groups. Art forms provide voice to
those who are never heard. The art forms are derived from the surroundings. What is going
around us? What materials are accessible? When children are exposed to art forms they have
never seen and make connections then it opens up doors to new forms of learning e.g. Greek
pottery, Persian art of calligraphy, and terracotta army in China.
Art forms are created by different artists belonging to different cultures. An artist chooses to
share an experience with others even if they perceive the world in radically different ways.
What makes it worthwhile that you decide to share this experience with others? Art provides
you an opportunity to disagree and these disagreements are celebrated. Art work provides
77
nourishing grounds to intuition, uncertainty and creativity and to search for new ideas. Artists
from different communities have one similarity that they all look for unconventional ways
for approaching conventional problems existing in the society. Therefore, art can engage the
world to change the world.
When we visit any art museum or art exhibition where artists from different parts of the
world put up their work, the art forms bring us together to share, discuss and thereby making
us more tolerant of differences and of one another. The encounter with art and with others
over art – can help us in understanding others and also expands our notions of ‗we‘.
Let us take the example of painting Mona Lisa, created by the Italian painter, draftsman,
sculptor, architect, and engineer Leonardo da Vinci, probably the world‘s most-famous
painting. This painting is one of the most discussed topics in the works of art. A renowned
Indian Painter M. F. Hussain‘s art work drew inspiration from epics such as the Mahabharata
and Ramayana, and characterised Gods and Goddesses in modernist style.
Example 6: Ukiyo Art of Japan
Reference: ‗Print in Japan‘ in Chapter 8: Culture and the Modern World of Subject Social
Science, Class X.
Kitagawa Utamaro, born in Edo in 1753, was widely known for its contribution to an art form
called ukiyo (‗pictures of the floating world‘) or depiction of ordinary human experiences,
especially urban ones. These prints then travelled to US, Europe and influenced artists like
Manet, Monet and Van Gogh. The paintings inspired artists in many countries and especially
breaking the barriers in the field of art. This art was appreciated due to their beauty and small
size.
Artists in Japan produced woodblock prints and paintings of such subjects as female beauties;
kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and
landscapes; flora and fauna; and erotica (Retrieved from https://en.wikipedia.org/wiki/Ukiyo-e
on Oct. 10, 2017).
Student Engagement: Students can be given a project to collect information on ukiyo art
which originated in Japan and how it influenced art and artists in other parts of the world.
These art works introduce students to a shared heritage and enable them to understand the
role of art in society. These art works produced by artists symbolise worldviews, reflecting
traditions and vision of the artists regarding universal or contemporary problems of the
society.
Storytelling can also play an important role in making students aware of the global culture,
Storytelling as a dramatic form can make audience aware of histories, religions and cultures
across the world. Audience can learn about the histories, beliefs, values and identities of
78
others in the form of a story that brings them closer to that cultural group e.g. culture of
United States is shaped by the cultures of Native Americans, Latin Americans, Africans and
Asians and that‘s why it is one of the most culturally diverse countries in the world. But the
most important part is developing empathy, tolerance, cooperation, feeling of sharing and
social sensitivity towards each other.
4.7 LET US SUM UP
In this unit we discussed how drama and art can play an important role in understanding
social and environmental issues. Drama and art provide unique opportunities in the
curriculum for enhancing learners‘ ability to handle social issues by providing outlets for
expression, developing a particular perspective on an issue and reflecting on these real issues.
Visual arts can be easily used for depicting social issues. Involving students in environmental
or social issues through visual or performing arts develops in them a sense of responsibility.
Drama and art can also be used for developing an understanding of local as well as global
culture. Different art forms convey a lot about a particular culture. These art forms are used
as outlets for expression, voices for change and also as creativity for giving life to new ideas.
Learning about different art forms helps in the process of enculturation thereby passing on
the existing culture to the next generation.
Question No. 1. Drama can help in enhancing learners‘ ability to handle social issues
by providing outlets for expression, developing a particular perspective on an issue and
reflecting on these real issues. Discuss.
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
_______________________________________________________________________
Question No. 2. We can learn about the culture of others by visiting different places (in
your country or some other country). Share your experiences about the culture of at least two
places visited by storytelling.
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
Question No. 3. Have you ever participated in any art or drama activity at school level?
Share your experiences? Has it benefitted you? How?
___________________________________________________________________________
___________________________________________________________________________
79
___________________________________________________________________________
___________________________________________________________________________
Question No. 4 What is the role of visual art in enculturation?

____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
Question No. 5: Have you ever visited any art exhibition/museum? If yes, then how was your
experience?
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
Question No. 6: Inviting local artists for various workshops in any educational institution helps in
connecting learners with their culture. Share your experience.
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
Question No. 7: Why should we know about the global culture?
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
Question No. 8: Give two examples of visual art forms from different parts of the world.
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
Question No. 9: How is storytelling effective in learning about the cultures of others?
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
• Anderson, M. (2012). Master class in drama education: Transforming teaching and

learning. Sydney: Bloomsbury.
80
• Dewey, J. (1985). The Public and its Problems. Athens, Ohio: Swallow Press.
• Ellwood, C. A. (1927). Cultural Evolution (New York: D. Appleton, Century Company,
1927, p. 9) as quoted by Francis J. Brown, Educational Sociology, (Prentice Hall, Inc.,
Englewood Cliffs, N.J. Charles E. Tuttle Company, Tokyo, Second Education, Modern
Asia Edition, 1970), pp 69-70.
• NCF (2005). Position Paper. National Focus Group on Arts, Music, Dance and Theatre.
NCERT: Delhi.
• Nicholson, H. (2005). Applied drama: The gift of theatre. New York: Macmillan.
• O‘Toole, J. & Dunn, J. (2015). Pretending to learn: Teaching drama in the primary and
middle school (e-book edition). Brisbane, Australia: Drama Web Publishers.
• Robert, F. & Williams. M. (2005). Unlocking Creativity: A Teacher‘s Guide to Creativity
Across the Curriculum, Taylor and Francis.
• Tylor, E. B. (1871). Primitive Culture: Researches into the Development of Mythology,
Philosophy, Religion, Art, and Custom. Volume 1 (2nd Ed.), J. Murray.
81

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School of Performing and Visual

PROGRAMME COORDINATOR(S) BLOCK PREPARATION TEAM

Dr. Mohd. Tahir Siddiqui, SOPVA, IGNOU, Contributor(s)

@ Indira Gandhi National Open University, 2021

After reading this unit we will be able to

1.2 LEARNING OUTCOMES

After having studied this unit, you will be able to:

1.4 MODES OF EXPRESSION

The major modes of expression adopted by children are given below.

1.5 VISUAL ARTS

1.5.1. Two Dimensional or Pictorial Arts

1.5.1 Two Dimensional or Pictorial Arts

15.1.1 Drawing and Painting

Materials and Techniques for Two-dimensional Drawing

Water Paints and their Uses

1.5.1.2 Print Making

1.5.1.3 Collage Making

Miscellaneous Collections for Collage Work

1.5.2 Three Dimensional Arts

1.5.2.1 Clay Modelling

b) Oil Clay or Plasticine

Important Tools and Equipment for Clay Work

Working with Clay

c) Pottery and Ceramics

1.5.2.2 Mask Making

1.5.2.3 Model Making

The major modes of expression adopted by children are given below.

1.6.2 Dance and Rhythmic Movements

Dance is a performing art form consisting of sequences of movement, either improvised or

1.6.3 Creative Drama

Making a Hand Puppet

“Steps for making hand puppets”

1.7 ROLE OF A TEACHER

1.7.1 Motivation and appreciation

1.7.2 Display and exhibition

1.7.3 Continuous and comprehensive evaluation

Evaluation or assessment is a very important part of the teaching-learning process. Without

Evaluation in Art Education must be continuous and comprehensive. Continuous evaluation

1.8 LETUS SUM UP

1.9 CHECK YOUR PROGRESS

Question No. 1: What is the differentiate between Painting and Printing?

1.10 REFERENCES AND SUGGESTED READINGS

UNIT 2 APPLICATION OF DRAMA AND ART IN EDUCATION

After reading this Unit, you should be able to:

2.2 LEARNING OUTCOMES

 use art and drama in school education

BOX 1: ART, DRAMA, MULTIPLE INTELLIGENCE IN CURRICULAR AREAS

1. Read the story

2. Create a visual backdrop of the cottage.

Questions for your reflection:

2.5 DRAMA AS A PROBLEM-SOLVING PROCESS

Drama, which involves imaginative transformation and reflection on experiences, helps

2.6 TYPES OF DRAMA

2.6.1 Linear Drama

b) Spotlighting & Sharing

Another commonly used technique in linear drama is allowing students to improvise –

2.6.2 Process-oriented Drama

a) Mantle of the Expert - The method was propounded by Dorothy Heathcote.

b) Facilitation: Another technique used in process-oriented drama is facilitation.

c) Role Play: In this technique participants create believable and realistic

2.7 ART AS AN EXPERIENCE: DEVELOPING AESTHETIC SENSIBILITY

2.8 INTEGRATION OF DRAMA AND ART IN SCHOOL CURRICULUM

2.9 ORGANISATION OF DRAMA AND ART