Early Childhood Education Student Teachers Cross the Cultural Borders Between Science and Shadow Theatre

Transcription

1 Early Childhood Education Student Teachers Cross the Cultural Borders Between Science and Shadow Theatre Vasilis Tselfes, Antigoni Paroussi University of Athens (Greece) Abstract In this paper we attempt to study the dynamics of the transformation which is undergone by scientific content, when early childhood education student teachers are expressly called upon to cross the borders between two different cultural systems and present scientific content related to light, utilising the expressive media of Shadow Theatre. This exploration is based on the hypothesis that, if student teachers acquire a laboratory experience regarding the scientific representations of light and are then called to structure and present a shadowtheatre theatrical study centred on one of the scientific ideas concerning light they learnt, then there is a possibility that ways will appear through which to: express scientific ideas theatrically, and make conceptual connections between scientific theories and shadow theatre techniques, since the latter concern ways of handling light and can thus be interpreted by, or result from, the scientific theory. Working in small groups of 3-5 people, the students were able to create and publicly present thirteen aesthetically satisfying theatrical studies, structured as episodes of a final show whose referent was the birth, journey and transformations of light. The results show that the theatrical studies that were essentially based on speech significantly transformed the scientific entities and concepts in animistic directions, whereas the theatrical studies that were based mainly on theatrical image represented the scientific concepts and models adequately. Finally, the theatrical techniques of Shadow Theatre were learnt empirically and, despite the teachers' insistent efforts, were used efficiently by the students without them being connected to the scientific models. 1. Introduction Ιn the context of compulsory education and especially in Greece, there is an effort to cross the borders that traditionally exist between different teaching-learning subjects [1]. This effort has great research interest in the field of early childhood education, where the purpose of teaching focuses mainly in the socialization of children as well as their preparation for the next grades of compulsory education [2]; a fact directly affecting the education of student teachers. The future teachers must be able to address knowledge of different fields, adjust it to the age of their students and unify it within their teaching procedures. This last ability doesn t seem easy to accomplish, at least not without submitting part of this knowledge to significant transformation [3]. For example art and science activities seem to be, culturally [4], educationally [5] and probably cognitively [6], two almost incompatible fields. Nevertheless in nursery school they must coexist and interact without any of them suppressing the other. This short analysis produces easily the, admittedly, broad question: In which ways can the teaching and learning of science coexist efficiently with other educational subjects? In this paper we attempt to

2 study the dynamics of the transformation which is undergone by scientific content, when early childhood education student teachers are expressly called upon to cross the borders between two different cultural systems and present scientific content related to light, utilising the expressive media of Shadow Theatre. 2. Structure and content of a cross-disciplinary teaching-learning sequence The overall duration of the teaching-learning sequence s classes and activities was 12 six-hour blocks of time (two three-hour sessions a week) and took place over an academic semester in the Early Childhood Education Department of the University of Athens. All 46 student teachers who participated in the class had successfully completed at least one course in Science Education (SE) and an introductory Shadow Theatre (ST) course in preceding years of study. They worked in groups that were made up gradually and voluntarily and which remained stable at a minimum for the entire duration of organising the performance. During the first stage of the course laboratory science classes were held on the theme of light, as well as application and practice classes in the techniques of ST. These classes took place separately and took up four six-hour periods. The remaining six-hour periods were taken up with activities of the groups of student teachers for the purpose of getting together a performance (5 six-hour periods), preparation (rehearsals) for the final performance (2 six-hour periods) and an evaluation of the entire course (1six-hour period). Classes, activities for getting together a performance, rehearsals and the evaluation discussion were videotaped and transcribed. The data collected were analysed in accordance with the analysis framework developed in order to accomplish an investigation of the transformation of scientific content. The unit of the science laboratory classes contained activities that attempted to describe and investigate a series of scientific and technology issues concerning light. These issues were: artificial sources of light and light beams, construction of images/ shadows, interactions of light with various materials with the help of a laser beam and formulation of hypothesis as what and how we see. Where the content of the ST classes was concerned, the unit included a series of activities that gradually familiarised student teachers with the use of light sources and the creation of shadows, within a framework of creating rudimentary story crafting. The periods of joint meetings of the student teachers with both class supervisors were a decisive and innovative segment of the course, in which a performance was put together. The encounters began with the topic of deciding on a unified theme for the performance, which would include small, connected episodes. Discussions led to a theme that could be described as The History of Light : The birth of light, its voyage and transformations or otherwise (using more scientific terminology) production, transmission and interaction of light with matter. Within this framework we created 13 groups made up of 3-4 individuals each, which undertook to find an initial individual idea (within the general theme), around which they could structure each of the linked episodes of the performance. They also undertook to write the relevant scripts, construct the materials and organise the studying of each episode (bound by the commitment that its length would not exceed 6-7 minutes). 3. Analysis Framework Each individual episode in the performance was considered to be a single analysis unit. The data we collected were transcribed and analysed according to:

3 a. the position each episode held in the theme of the final performance and the properties of scientific content/ ideas presented therein. We consider that the results of this segment of the analysis were interesting from the point of view that they could show us to what extent the scientific properties of the content survive under the pressure of theatrical narration and its public performance, or whether the student teachers everyday empirical ideas would win out in the end. b. the expressive medium utilised to represent the basic theme/ ideas of each episode. Specifically, analysis focused on the expressive media of words and images. This was not an easy task, since in ST expression the objects, the motions and the speeches produce meanings that combine in different ways, and the meanings deriving from any one of them reflect on the other two. This process is facilitated by analogy with the represented life beings; in them, the looks, the movements and the voice expressions are inseparable [7]. From this analysis we expected to observe which system of representation (words or images) offers more opportunities for successful crossing of borders. c. the constructs and techniques utilised to complete each episode before it took up its position in the performance. From this analysis we expected to observe the capabilities offered in the process of crossing borders by intervention portion of student teachers activities. Furthermore, we expected to observe to what extent student teachers utilised certain of the scientific representations in organising their interventions or whether they managed their interventions in an empirical fashion. 4. Results and discussion a. Several episodes (5/13) were developed along themes that were somehow connected to the birth/ production of light. In four of these episodes the birth/ production of light was dealt with on the basis of its appearance in the universe and in the fifth it was connected with its production by an everyday artefact (a torch). Three of the episodes whose theme was connected with the appearance of light in the universe utilised ideas from myth narratives and in one of these the student teachers took their topic from the scientific theory of the big bang. Based on these data we can assert that the attempt to cross borders on the theme of light production, brought forth to the narrative stage a scientific theory similar to a great narrative of cosmogony and a story-crafting connected to a technological product. We can state that topics connected purely with light transmission did not appear. Light transmission appears to have played a role in four episodes. In two of these light is connected with the Sun, and in the end its transmission plays a role in the relationship of the Sun with the other heavenly bodies. Overall we have to say that light transmission did not appear to interest our students as an independent topic. This evidence indicates that scientific topics based on timeless questions (such as which geometrical representation describes light transmission or what is the velocity of light) are suffocated by the narrative process. The topics of light interacting with matter appear to dominate the episodes presented by the students. In most episodes the interactions of interest do not constitute the backbone of the scripts. They appear mainly to intercede to restore relationships between the heroes, whose life and adventures dominate the scripts. The Sun gifts the Moon with shadows through light or embraces Earth with its light as part of a love story. The miserable life of a firefly changes when visited by light and a shadow comes to life because of light. A painter constructs silhouettes using light and a scientist is startled to see the insides of his body when illuminated by X Rays. Only in two episodes is light, in the form of a ray of light, the central character, and its interactions with clouds or coloured films change its life. b. According to our data transformations of scientific content take place when connected to the process of theatrical narration. Specifically, various episodes are imbued with an anthropomorphic personification of natural entities (sun, earth, ray of light, torch, etc.) or the description/ existence of

4 entities which in scientific language are not considered to exist but to be abstractions or images (e.g. darkness, night, sky). However, through the discourse of these episodes, scientific representations were presented that: described in a satisfactory manner the scientific version of the life of a star; described macroscopically the transformations of light from its interaction with clouds and the creation of a rainbow; described in an entirely satisfactory manner the way light rays change colour when passing through coloured semi-transparent materials. Transformations of scientific content appear that are connected to the theatrical image. Specifically, transformations appear wherein the representations diverge from those of science, mainly under pressure from alternative ideas held by student teachers. For example, in the background of their cosmic representations light appeared as a diffuse entity with blue tinges towards the top and green tinges towards the bottom. Transformations also appear where the representations deviate from those of science under pressure from the requirements of a script. For example, rays of light are represented by long thin figures or by laser spots which move in the direction of the line segments, but which can also stop when the script or the layout of the stage requires this. In the majority of episodes, however, the image representations are faithful to the scientific content. c. The performances utilised techniques that could be supported by the scientific content. In certain episodes, they also utilised special techniques, which we could assert were derived from the field of science. Even though attempts were made to support the sum of the techniques theoretically through scientific content, it was learned effectively and to a satisfactory standard on a practical level, without, in most instances, making any substantial connection to the underlying scientific theory. Even a case of image formation with the use of a curved-in mirror, which was the result of the science classes, was learned and utilised on a practical level. This fact was further ascertained during the evaluation procedure, where the students had a hard time in justifying scientifically the functionality of the practices they utilised. 5. Concluding remarks Overall, the above results provide encouraging evidence supporting a continued attempt in the direction of a combined use of the two subjects, at least within the framework of pedagogical application for educationalists and children of pre-school and early school-going age. They also dictate, however, a series of differentiations, which it is worthwhile to try out. For example, our results indicate that the attempt to cross borders between science and ST, as this was accomplished, did not particularly promote the theoretical ideas that represent the entity of light, instead it mainly promoted ideas concerning its interaction with matter. This can be ascribed to the content of the science classes that took place before the joint classes. Consequently, if for example in these classes we discussed ideas concerning light as derived from the history of science, then maybe the corresponding results would be different. The results indicated also that successful crossing of borders was accomplished by using images. This event is justified by the fact that, either way, the powerful representational characteristic of ST is its imagery and story-crafting. In any case, the use of discourse was limited through the critique provided by the lecturers, either from the point of view of theatrical or of scientific expression. In this instance, we consider that suitable use of established texts, which are both artistic and scientific (for example Galileo s texts), could differentiate the situation. Finally, there remains an open question as to how these productions and those who worked to produce them will interact with children in a nursery educational environment.

5 References [1] Develaki, M. (2008). Social and ethical dimension of the natural sciences, complex problems of the age, interdisciplinarity, and the contribution of education. Science & Education, 17, [2] Hellenic Ministry of National Education-Pedagogical Institute (2004) A cross-thematic curriculum framework for compulsory education. Available via eng.php, Accessed 28 December [3] Tselfes, V. & Paroussi, A. (2009). Science and Theatre Education: A Cross-disciplinary Approach of Scientific Ideas Addressed to Student Teachers of Early Childhood Education. Science & Education, 18, [4] Snow, C. (1964). The two cultures and a second look. Cambridge University Press, Cambridge. [5] McManus, I. & Furnham, A. (2006). Aesthetic activities and aesthetic attitudes: influences of education, background and personality on interest and involvement in the arts. British Journal of Psychology, 97, [6] Hudson, L. (1974). Contrary imaginations. Penguin, Harmondsworth. [7] Veltrusky, J. (1983). Puppetry and acting. Semiotica, 47,