“Reflection is one of the most important building blocks and drivers of human learning.” (Higgins)

Teaching, in my opinion, is a vocation that requires continuous reflection and progress. As an educator, every classroom experience is an opportunity for self-evaluation and development. In this blog, I will use Boud’s model of reflection to discuss my experience working in a secondary school, with a special emphasis on teaching drama students. With a focus on encouraging creativity and a love of the performing arts, this blog will delve into the complexities of classroom dynamics, instructional tactics, and personal development during my experience.

The stage in the drama classroom serves as a canvas for creativity and personal development. However, it is not uncommon for students to have emotions of self-doubt and uneasiness, especially when confronted with the intimidating possibility of performing in front of their classmates. Through this blog article, we’ll look at a real-life example in which a student revealed emotions of inadequacy and unwillingness to perform, as well as how I dealt with this difficulty, utilising Boud’s reflective cycle to guide my approach. 

Description: 

Boud’s concept of reflection is divided into three stages: returning to the experience, attention to your feelings and finally, re-evaluating the event. I am going to look at each level through the perspective of teaching drama and supporting a drama teacher in a secondary school setting. Boud was heavily influenced by the work of David Schön, Schön’s model of reflection describes two types: reflection-on-action and reflection-in-action. (Munby) Reflection-on-action in my opinion is like retracing the steps we took, reflecting on prior events to gain insights and the lessons we have learnt. We can ask ourselves what went well, what could have been improved and what we may do differently the next time. In contrast to this, reflection-in-action is a form of thinking on our feet, the constant movement of adaptation and creativity that occurs while teaching or doing any other task. It is the ability to change and respond to the constantly shifting classroom situation. I feel that having an understanding of Boud’s model of reflection prior to working in the school offered me a better insight into how I conducted myself and how to approach certain circumstances. 

Returning to Experience: 

Returning to my experience in the drama classroom, I’m reminded of each student’s lively energy and limitless potential on stage. Every lesson, from introducing Shakespearean plays to learning Brechtian techniques and concepts of the Stanislavski method, provided opportunities for artistic expression and personal growth.  One memorable moment was when an A-level class performed a student-driven improvised play on current societal issues, which sparked significant debates and inspired empathy in the audience. However, there were some difficulties such as managing everyone’s individual ideas and how they would like to perform the play. Reflecting on these experiences, I recognise the value of flexibility and adaptation in responding to students’ ever-changing requirements and beliefs. 

One incident occurred during an A-level class rehearsal for their group performance that would be graded for their final exam. As the children avidly practised their scenes, I watched one student, let’s call her Sarah becoming more aloof and apprehensive. When I approached her, she confided in me about her anxieties of not being good enough and feeling overwhelmed by the expectation to perform. As I listened to her concerns, I couldn’t help but feel empathy for her vulnerability. It was a heartbreaking reminder of the emotional intricacies of the creative process, as well as the significance of fostering a supportive and nurturing environment in which students feel comfortable taking risks and exploring their artistic potential. 

“Consulting students enhances student commitment and capacity for learning through strengthening self-esteem” (Cook-Sather)

Attention to Feelings:

Teaching drama stimulates a wide range of emotions, from excitement to frustration, as teachers and educators, it is vital to navigate the highs and lows of the creative process. Witnessing students’ moments of breakthrough and self-discovery gave me a sense of pleasure and fulfilment, knowing that I helped develop students’ confidence and talent. However, there are moments of doubt and uncertainty, especially when dealing with unanticipated setbacks, such as nerves and student disinterest. This is something I noticed a lot in the younger classes, as drama is a compulsory subject in first and second-year groups. In these situations, it is critical to accept and confront feelings of anger or disappointment constructively, viewing them as catalysts for growth rather than barriers to success. 

Sarah’s admission evoked a range of feelings in me, including worry for her well-being and a sense of obligation as the person she chose to trust. It was clear that her self-doubt was preventing her from properly engaging with the content and restricting her creative expression. In response, I attempted to affirm her emotions and reassure her of her intrinsic worth and potential. We talked about tactics for dealing with performance anxiety, such as deep breathing exercises and visualisation techniques, and I stressed the value of self-compassion and resilience in overcoming disappointments. I believed that by listening to Sarah’s sentiments with empathy and understanding, I could help her concerns and recover her confidence as a performer. 

Re-evaluating the Experience: 

 Re-evaluating my experiences as a support teacher in a drama classroom entails critically reviewing the results of my efforts and identifying areas for growth. Did my teaching methods effectively engage and promote students’ knowledge of dramatic techniques? Were there missed opportunities to include multidisciplinary links or real-world applications? These questions invite more consideration of the relationship between instructional objectives, methods of instruction, and student learning results. Furthermore, soliciting feedback from students and teachers gives useful insights and perspectives for improving instructional practices to create a more inclusive, supportive, and comfortable learning environment for both students and teachers. 

Reflecting on my engagement with Sarah, I couldn’t help but wonder if there were lost possibilities for proactive intervention or additional support. Did I effectively express the importance of her distinct perspective and contributions to the ensemble? Were there underlying causes of her self-perceived inadequacy that were unaddressed? These questions pushed me to reconsider my approach to promoting students’ emotional well-being and establishing an inclusive and accepting atmosphere in the drama classroom. Moving forward, I am determined to incorporate proactive measures for fostering self-esteem and resilience in my pupils, as well as to prioritise open and honest communication in dealing with any problems or challenges they may have.  

Personal Growth and Professional Development: 

Beyond the classroom, my experience as a support drama teacher and preparing for my future career has been defined by personal and professional growth. Participating in ongoing professional development opportunities such as doing workshops in local primary and secondary schools in my hometown, has broadened my teaching strategy repertoire and improved my grasp of theatre education. Furthermore, participation in peer observations and reflective discussions with classmates has given me significant feedback and helped in hone my teaching style. As I continue to develop to cultivate a culture of creativity, and inclusivity in the drama classroom. 

Reflection is fundamentally a growth catalyst—a voyage of self-discovery that moves us ahead on the path to becoming better educators. By embracing reflection, we can get deeper insights, finer details, and greater connections in the way we teach.  We become more aware of our students’ needs and aspirations, more skilled at navigating the complexity of the learning environment, and more resilient in the face of difficulties.  With each moment of thought, we become closer to our objectives for perfection, armed with the wisdom gained from our experiences and the bravery to face change.

It is critical to view reflection not as an afterthought, but as an indicator that lights our path to growth and satisfaction as educators.

Finally, teaching drama at the secondary school level is a dynamic and diverse endeavour that necessitates ongoing reflection, adaptation, and development. By returning to experience, paying attention to feelings, and re-evaluating the results of our efforts, we can obtain useful insights into teaching practice and find areas for growth. We can instil a lifetime love of performing arts in students by committing to cultivating creativity, encouraging empathy, and empowering them to find their voice on stage and beyond.

Navigating moments of vulnerability and self-doubt is an important component of the drama classroom teaching and learning experience. By returning to experience, paying attention to feelings, and reassessing our interactions with students, we may foster a supportive and nurturing environment in which students feel encouraged to embrace their authenticity and express themselves creatively. Through empathy, compassion and a commitment to cultivating resilience, we can help children like Sarah overcome their concerns, find their voice and shine on stage and beyond.  As I continue my path towards becoming a teacher, I will rely on courage, conviction, and reflection.   I believe that through teamwork, driven by the wisdom of reflection, I am capable of making a difference in the lives of students and the setting of the school as a whole.

Bibliography

Cook-Sather, Alison. “”I Am Not Afraid to Listen”.” Prospective Teachers Learning From Students, Theory Into Practice (2009): 176-183.

Higgins, David. “Why reflect? Recognsing the link between learning and reflection .” Reflective Practice (Routledge) (2011).

Munby, Hugh. “Reflection-in-action and reflection-on-action .” Current issues in education (1989): 31-42.