Citizenship, History and the Enquiring Mind: Innovations Using Drama Methodology. Issue 2 (1st January 2011)

• Record Type: Journal Article
• Authors: Dodwell, Cherry
• Is Part Of: History education research journal. Volume 9:Issue 2(2010)
• Page Start: 31
• Page End: 35
• Publication Date: 2011-01-01
• Subjects: History -- Study and teaching -- Periodicals; History -- Research -- Periodicals; 907
• DOI: 10.18546/HERJ.09.2.05
• Languages: English
• ISSNs: 2631-9713

Abstract

This paper attempts to explore some hopefully new terrain on the edges of the firm landscape of current established cross curricular ties between history, citizenship and drama. The intention is to raise questions about and possibly chart, tentatively, a few directions in the inculcation of moral sense and social justice: mapping ethical understanding and a consideration of virtue from the perspective of observers on the fringe. The starting point: the view from this outpost is one of a pluralist, largely secular and materialist society hell-bent on a strangely apathetic self destruction. Can historical learning and teaching impact upon shredded moral fibres? Could citizenship, employing awareness of good and bad societies and individuals - elements of historical (factual?) context - create good citizens or (maybe better still) students who are value-enhanced and are able to think morally. I do not propose to offer historical exemplars/villains on conventional citizenship themes- legal rights, responsibilities, social diversity, political/criminal systems (not to be confused), social change, financial/consumer issues, media, Europe and globalisation - rather I hope to raise radical approaches to these and other social and moral dilemmas through the theoretical description of and an outline praxis of a dialectic drama. Given suitable topic selection for which history or citizenship practitioners have 'a feel', drama techniques embodying a thesis-anti thesis-synthesis structure are able, I shall claim, to draw out 'felt virtues' and imbue participants with personal moral engagement (an analytically sound definition of politics articulated by G. A. Cohen, 'If You're an Egalitarian, How Come You're So Rich?' (Edinburgh University Gifford Lectures 1996). Extending key notions of dramatic impetus found in Brecht and Boal, drama can bring to life both paradoxes e.g.good/bad, universal/ethnocentrism or particularism and a democratic process, search for solutions and resolutions, and locate students in a moral discourse. In a rapidly changing socio-cultural landscape drama provides a space for construction and deconstruction of identities/genders/universal themes, micro-societal dilemmas. Ideally the right techniques at the right time, e.g. on local issues, can sustain commitment and motivation in young people used to swift feedback and gratification. From citizenship themes and historical contexts, events and imaginative projects, even protests, can be created, effecting experiences of real participatory democracy and (hopefully even!) real change. Drama raises the possibility and potential of changes in individual attitudes and choices - the very cornerstone of bringing about equality and social justice.