Describes a project in which eight students from the Drama department at Exeter University created a "poetry show" based on poems in English for children, and gave performances in schools and teachers' colleges in Poland. Discusses the project's aims and the principles followed in expressing the meaning of drama in each poem; highlights…

Describes Readers Theatre, a presentation of prose or poetry that is expressively and emotionally read aloud by several readers. Describes how students work collaboratively to adapt their favorite books, poems, or stories to a Readers Theatre script. (RS)

Questions who decides what a culturally literate person needs to know and its social implications. Comments on the lack of dance references in E. D. Hirsch's book, "Cultural Literacy." Discusses what a person needs to know about dance. Analyzes dance as art in the context of cultural literacy's requirements. (KM)

Explains how to perform a booktalk as a readers' theater script and offers guidelines for staging. Two examples are given, one for a picture book and one for a novel; and nine booktalks are provided for historical books that are suitable for adaptation as readers' theater scripts. (LRW)

Describes how the 1998 Multiculturalism and Diversity in Drama/Theatre Education: A Preconference came about, and briefly describes its activities and success. Offers ideas for future activities, and reminds readers of the critical necessity for action around issues of multiculturalism and diversity that transforms dreams into reality. (SR)

Describes how the author facilitates drama experiences in the foundations of education courses that she teaches for preservice teachers. Suggests the course helps students gain an understanding of the philosophies of education, the rationale for arts in the curriculum, as well as multiple perspectives of dramatic art, by learning through…

Argues that a reconsideration of what theatre or drama research actually is, and who undertakes it, is essential for the spark of life to fully enter the world of educational theatre. Discusses practical applications of research. Argues that research, like theatre, is for all, including students and teachers, and that controversy and…

Argues that student ownership of drama/theatre work encourages an unparalleled level of commitment and collaboration. Discusses four criteria signifying student ownership; teacher reluctance towards student ownership; effective roles for the teacher; and student benefits from ownership in drama work. (SR)

Using research conducted at an urban youth theater program, this paper demonstrates how young artists play organizational roles and act with a sense of agency comparable to that of the corporate world. The paper helps those working in school- and community-based after-school programs see new partnerships and programs as both possible and…

The Crossover Project of the Aurora and Denver (Colorado) areas is a networking and resource nonprofit organization that delivers multicultural programs to attempt to create social transformation through the arts. The Project sets up an environment to support personal, group, neighborhood, community and social change through its educational,…

This guide is designed to encourage the participation of seniors in the classroom by engaging young and old in joint ventures to reconstruct artistically their own, their families', and their communities' cultural heritage in writing, theater, and visual arts projects. Intended for both teachers and artists working in the schools, the book…

Many educators concerned with the quality and quantity of arts education believe that collaboration among the disciplines is necessary to improve conditions. Current probable visions for the future of visual art education are cloudy because of ambiguity surrounding the concept of collaboration. In order to explore this concept, this paper is…

The second of three documents on Project SEARCH (Search for Exceptional Abilities Reachable among Children with Handicaps) describes the development of a systematic procedure for assessing the gifts and/or creative talent potential of handicapped students. It is explained that of 278 special education students evaluated by an adaptation of the…

The author describes a performance-oriented music program, and suggests that performance-oriented skills should play a major part in the general music curriculum; when teachers demonstrate the value of performance-oriented objectives to administrators and the community, general music programs are less likely to be cut. (KC)

Summarizes seven documents on oral interpretation from the ERIC system, and states that they can be used to show students the importance of reading aloud with skill. Cites that they also provide suggestions for using oral interpretation in the study of many types of literature and contexts. (MM)