EDUCATION HEAD VIEW
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A living tradition
Why drama and the performing arts play such an important part in a child’s education, by Antony Faccinello, Senior Deputy Head at Alleyn’s School, Dulwich
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oday’s educational theorists emphasise the importance of the creative mind and ‘emotional intelligence’ – the need to develop the whole personality and children’s imaginations especially. Howard Gardner, the Hobbs Professor of
Cognition and Education at Harvard University, opines that the overloading of subject matter (recalling facts, figures, formulae, definitions, dates, etc) is at the expense of learning to think in a disciplined manner and of appreciating distinctive ways of thinking about the world. Education can inadvertently militate against creativity. It’s often said that too much of GCSE work is factual (estimates often cite 85 per cent) and that the curriculum squeezes out opportunities for creativity. For Gardner, the most creative mind is that of the five-year-old child, with its tireless curiosity. The challenge for teachers and parents is therefore to keep that creativity alive. Providing opportunities to experience new ways of thinking is one answer. My own discipline of English is
it is exploration and curiosity that are at the heart of the playfulness that drama allows for. This keeps that child-like sensibility alive. This ability of the performing arts to embrace all subject
“Drama in school allows
centrally concerned with seeing the world through the eyes of others. The sharing of perspectives with other cultures, ages, genders, races and faiths leads to greater empathy and respect for difference and diversity. Thinking outside the box of our own prejudice or uncritical first responses is also what gives drama its power to liberate the mind. This is the subject where there really are no right answers. Drama in school, whether building on English work, in its own
children to try out another point of view, to recreate situations using other
perspectives and to reach new conclusions”
dedicated curriculum-drama time or, as I’ve seen it increasingly being used, cross-curricular to supplement science lessons, allows children to try out another point of view. They can recreate situations using other perspectives and reach new conclusions. Doing that collaboratively, trusting others by sharing our thoughts and being open – and in return being respectful through constructive criticism – is what makes drama so effective in developing the whole child and adolescent. While collaboration is the central principle where all involved share responsibility for the effectiveness of the finished piece in performance,
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disciplines and social activities empowers pupils with the skills needed to communicate more effectively in whatever profession they end up involved in. This was Alleyn’s School’s decisive argument in securing planning permission for our new Edward Alleyn Building, home to a magnificent performance and exhibition arena. In his Appeal Decision, the Government Planning Inspector gave “significant weight to the evidence that the performing arts are important in the provision of a broad, liberal education.” At a time when government subsidies and private sponsorship for the arts are under pressure, this appreciation of the central linkage between the arts and a rounded education was a welcome endorsement of the role schools should play. Alleyn’s School boasts a welter
of thespian alumni who have forged careers in film and theatre. They include Jude Law, Sam West (currently in the West End show Enron) and National Theatre producers Felix Barrett and Angus MacKechnie. Felix Barrett is also director of
the groundbreaking, immersive theatre group Punchdrunk, while Peter Darling’s choreography of Billy Elliot won a Tony Award on Broadway. The success of these highly creative individuals could partly be explained by the fact that at Alleyn’s we encourage all our pupils to see playing and performing as part and parcel of school life. The house music competition involves every house member in stage-filling choirs, while frequent charity shows, concerts and gigs are outlets for developing talents. The annual St John’s Smith Square Concert showcases the depth of musical talent at the school. These events help to produce confident young people who are able to project an opinion, to perform or to listen to what others have to say. They are well equipped to become creative and rounded adults. %
SUMMER 2010 FIRST ELEVEN 21
PHOTO:
ISTOCKPHOTO, EDUARD HÄRKÖNEN
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