Upload
others
View
12
Download
1
Embed Size (px)
Citation preview
University of Ghana http://ugspace.ug.edu.gh
UNIVERSITY OF GHANA
USING CREATIVE DRAMATICS FOR VOCABULARY DEVELOPMENT IN
PUBLIC BASIC SCHOOLS
BY
BLESS ISSIDORA AMA AHIAKU
(10396877)
THIS THESIS IS SUBMITTED TO THE SUBMITTED TO THE UNIVERSITY OF
GHANA, LEGON IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE
AWARD OF MASTER OF PHILOSOPHY DEGREE IN FINE ARTS
JULY, 2016
University of Ghana http://ugspace.ug.edu.gh
DECLARATION
Candidate’s Declaration
I hereby declare that this dissertation is the result of my own original work and that no part of it
has been represented elsewhere with all references duly acknowledged.
Bless Issidora Ama Ahiaku ………… ……………
Student Signature Date
Supervisors Declaration
I hereby declare that the preparation and presentation of this dissertation were supervised in
accordance with guidelines on supervision of dissertation laid down by the University of Ghana,
Legon.
Dr. Grace Uchechukwu Adinku ………… ……………
Supervisor Signature Date
Dr. Regina Kwakye Opong ………… ……………
Supervisor Signature Date
i
University of Ghana http://ugspace.ug.edu.gh
ABSTRACT
The process of teaching and learning is old as human beings. Teaching has been carried out by
human beings to disseminate information, knowledge and skills for successful development.
Psychologists and Educationists have designed several teaching and learning methods to provide
effective ways of teaching and learning. Among other teaching methods one can mention
Creative Dramatics teaching method. This method has been tested in the USA and European
Countries, and proven to be effective and efficient teaching method. The objective of this study
was to test the effectiveness and efficiency of Creative Dramatics teaching method. By
comparing it as well as using it as an alternative to the Direct Instruction in the Ghanaian teaching
environment. The study was also to identify challenges faced by teachers using Direct Instruction
in Basic Schools in Ghana Education Service (GES). To carry out the study of Creative
Dramatics, teaching experiments were conducted and quizzes as well as class tests were
administered to assess pupils/students. With the marks obtained from students, descriptive
statistics were computed and conclusion drawn. Questionnaires were also administered to
teachers in some selected Basic Schools in the GES. It was established that Creative Dramatics is
an effective and efficient teaching method which can be adopted in the Ghanaian contest. The
main barriers to the use of Creative Dramatics in Basic Schools in GES borders on the fact that
GES teachers have little understanding and mastery of Creative Dramatics, and faced with the
inadequacy of resources.
ii
University of Ghana http://ugspace.ug.edu.gh
DEDICATION
This work is dedicated first to the Almighty God who provided the strength and ability to put this
study together. I also dedicate it to my daughters, Aseye and Esinam Voegborlo, my mum, my
siblings and Dr. Akua B. Sakyiwah.
iii
University of Ghana http://ugspace.ug.edu.gh
ACKNOWLEDGEMENT
This dissertation could not have been done without some lecturers, colleagues and friends, who
advised me on how to improve this dissertation, gave me financial, material and moral support.
On account of this, I wish to express my special thanks to my supervisors Dr. Grace Adinku and
Dr. Regina Kwakye Opong. Their considerable experience in guiding me in writing this
dissertation has made their contribution invaluable. I am indebted to Dr. Akua B. Sakyiwah for
her immense contribution to my work. She was always ready to read the draft of this dissertation
and made invaluable technical contribution concerning the Creative Dramatics aspect of this
work. I am also grateful to my Drama in Education lecturer, Mr. Sandy Arkurst of School of
Performing Arts, University of Ghana, Legon. He is the reason for my interest in the teaching of
Creative Dramatics in our public schools.
My heartfelt appreciation goes to my brother Dr. Francis Ahiaku, Ms. Patience Pomary and
Gertrude Awuletey for their financial support during my MPhil in t h e Theatre Arts programme.
I owe special thanks to my course mates, for their moral support. I can never forget my lecturers
who encouraged me never to give up when I needed their counselling. To all my friends in the
School of Performing Arts who urged me on even though vertebra pain in my back restrained me
from working fast, my thanks. For Awuah and Seyram, of the Dance Department, God bless and
reward you bountifully. My gratitude goes to Marcus Adomey, Pamela Pomary, Solomon
Mensah, Lydia Quayson, Ebenezar Asime and Valeria for their input to this dissertation. Thanks
to my truest friends: Voegborlo Aseye and Esinam, who are my lovely daughters for their
tolerance as Mum was always spending much time and finances on this dissertation.
Obed Asamoah, thanks for programming my questionnaire and scores, keying them into the
SPSS for analysis.
iv
University of Ghana http://ugspace.ug.edu.gh
TABLE OF CONTENTS
Content Page
DECLARATION i
ABSTRACT ii
DEDICATION iii
ACKNOWLEDGEMENT iv
TABLE OF CONTENTS v
LIST OF TABLES ix
LIST OF FIGURES x
LIST OF ABBREVIATIONS xi
CHAPTER ONE
1.1 Overview 1
1.2 Background of the study 2
1.3 Problem Statement 5
1.4 Objectives 6
1.5 Research Questions 6
1.6 Significance of the Study 7
1.7 Delimitation 7
1.8 Limitations 8
1.9 Organization of the Study 8
vii
University of Ghana http://ugspace.ug.edu.gh
CHAPTER TWO
2.1 Introduction 9
2.2 Overview of Concepts of the Study 9
2.3 Effective teaching and learning 10
2.4 Teaching Methods 17
2.5 Direct teaching methods and vocabulary in English Language 30
2.6 Creative Dramatics 34
2.8 Concluding Remarks 42
CHAPTER THREE
3.1 Introduction 43
3.2 The Research Philosophy 43
3.3 Research Design 46
3.4 Population and Sample of the Study 48
3.5 Teaching Experiments 49
3.6 Data collection and analysis 50
3.7 Conclusion 52
CHAPTER FOUR
4.1 Introduction 53
4.2 Results Analysis 54
4.3 Suitability of Creative Dramatics 77
vii
University of Ghana http://ugspace.ug.edu.gh
4.4 Resources (Teaching and Learning Materials) 78
4.5 Test Scores Analysis 82
4.6 Conclusion 86
CHAPTER FIVE
5.1 Summary 87
5.2 Other Findings 88
5.3 Conclusion 89
5.4 Recommendations 89
REFERENCES 91
APPENDIX 95
viii
University of Ghana http://ugspace.ug.edu.gh
LIST OF TABLES
Table 1: Teaching experiment 49
Table 2: Characteristic of Respondents 55
Table 3: Teaching Techniques 59
Table 4: Teaching Subjects 64
Table 5: Definition of Creative Dramatics 67
Table 6: Use of Creative Dramatics 69
Table 7: Characteristics of Creative Dramatics 73
Table 8: Suitability of Creative Dramatics 77
Table 9: Resources 78
Table 10: Comments 81
Table 11: Demographics of Pupils 83
Table 12: Evaluation Scores for Primary Level 84
Table 13: Evaluation Scores for the JHS Level 85
ix
University of Ghana http://ugspace.ug.edu.gh
LIST OF FIGURES
Figure 1: Current Stage (Class of Teaching) 58
Figure 2: Teaching Techniques 59
Figure 3: Category of Creative Dramatics User 68
Figure 4: Number of Times Per week of Creative Dramatics Application 74
Figure 5: Time Allocated for the Creative Dramatics Method 75
Figure 6: Expectation about Creative Dramatics Compared to its Outcomes 76
x
University of Ghana http://ugspace.ug.edu.gh
LIST OF ABBREVIATIONS
ANT - Accra New Town
BECE - Basic Education Certificate Examination
CD - Creative Dramatics
D/A - District Authority
DI - Direct Instruction
DISTAR - Direct Instruction Systems in Arithmetic and Reading
DT - Direct Teaching
ELT - English Language Teaching
GES - Ghana Education Service
JHS - Junior High School
L1 - First Language
L2 - Second Language
SGRP - Simulation, Games and Role Play
SPSS - Statistical Package for Social Scientist
St - Saint
UNICEF - United Nations International Children’s Emergency Fund
USA - United States of America
xi
University of Ghana http://ugspace.ug.edu.gh
CHAPTER ONE
INTRODUCTION
1.1 Overview
Despite the hard work by teachers in the Ghana Education Service (GES) towards educating and
enlightening basic school pupils in the proper way of communicating in English, most of them
find it extremely difficult to express themselves in the English Language. Observing a cluster of
school children on break, between 9:30am and 10am, 5th November 2013, at the La-
Nkwantanang Cluster of Schools, Redco, Madina, pupils communicated with ease amongst each
other in the local lingo, (that is their first language (L1) and English language being their second
language (L2) serves as the medium of instruction and should be practiced as they interact in
class or at break. Their interpersonal engagement often stems from using Twi, Ga, and Hausa for
social activities such as: purchasing food, playing football, playing Ampe, and chatting on the
school pavements. The use of English language was however spoken by a few pupils in
comparison to the number that communicated in the local (indigenous) languages.
Amankwah, C. (2013) duly observes in a newsprint article:
A total of 182,000 students, who sat for the Basic Education Certificate Examination (B.E.C.E) in June 2013, could not be placed in any of the Senior High Schools in the country. This was due to failure in core subjects – Mathematics, Social Studies, Integrated Science as well as English Language, the instructional medium.
Amankwah’s story buttresses the current argument expressing the difficulty some students have
communicating in English.
1
University of Ghana http://ugspace.ug.edu.gh
At the Madina D/A ‘1’ Primary, on the Madina ‘1’ Cluster of schools compound, the Head of the
school and five other teachers revealed (through an interview) that teachers do their best to impart
knowledge to the pupils/students without adequate teaching and learning resources (see Appendix
3). The minimal teaching and learning resources available include: illustrations on manila cards,
textbooks, workbooks and teachers manuals and a few classrooms structures. Edmund Mingle,
(2013, p.10), in a newsprint article, Second Lady Calls for Quality Teaching to Rural Students,
has also duly noted the inadequacy of comprehensive educational resources in the classrooms in
the GES sector. As part of my field engagement, I had a discussion with some of the
pupils/students express their difficulty in the English language being used as content. It is evident
that the failure of most pupils and students in public schools is related to lack of effective
communication, understanding and writing in English and the methods and processes used to
impart the knowledge to the students.
In addition, inadequate material and non- material resources confronting the teaching and
learning process(es) of the teacher and the learner, also make it difficult to achieve good
impartation of the English Language.
1.2 Background of the study
The process of teaching and learning is an effective means to the dissemination of information,
knowledge and skills to students for successful adjustment in the society. According to
Moumouni (1964), cited in Aboagye, P.K. (2002, p.5),
Learning in the traditional system was simply done through observation, imitation and participation. This was achieved by engaging children in participatory education through ceremonies, demonstrations, and imitations. They were also involved in practical farming, fishing, cooking, knitting and other activities. Recreational subjects comprised, dancing, drumming, racing, hide and seek, and
2
University of Ghana http://ugspace.ug.edu.gh
among others. Intellectual training included the study of local history, environment, poetry, reasoning, riddles, proverbs, and storytelling.
All the experiences that the Ghanaian child had in this type of education that Moumouni claims h
a d been effective came about during periods of informal teaching. Thus when considering that
learning in a practical and participating manner still achieves results, then it is prudent for
Aboagye stating that ‘traditional education is therefore an integrated experience’ (Aboagye, 2002
p.5).
The use of Creative dramatics (CD) involving the learner is learner-centred and teacher friendly.
The child feels comfortable because the teacher believes he or she can perform, hence, the learner
is motivated to learn by using creative drama to achieve this aim. The pupils in the formal context
should be given the chance to talk and converse with vocabulary learnt whether during the
reading of comprehension passages or during the spelling of words during class periods. The
learner who is made to learn through role play method does a lot more interaction than in an
indirect instruction. Thus, a lot more interaction in due time with the role play approach serves as
a mechanism to start speaking the language naturally as declared by linguist Noam Chomsky
(1966).
Effective teaching according to Kyriacou (1997) is essentially concerned with how best to bring
about the desired pupil’s learning by some educational activities. He also confirmed that until the
1960s, research on effective teaching was largely dominated by attempts to identify attributes of
teachers, such as personality traits, sex, age, knowledge and training which might have a bearing
on their effectiveness. After the 1960s, research on effective teaching has focused on activities in
the classroom, in particular on the interaction between teacher and pupil. This means
3
University of Ghana http://ugspace.ug.edu.gh
participation between teacher and pupil is paramount in the learning process thus, making it
child-centered.
Appropriate teaching and learning strategies are used by the teacher/facilitator to effect active
participation by learners. A Chinese proverb which states that; “Tell me and I will forget. Show
me and I will remember. Involve me and I will understand.’’ The practical use of the five senses
- hearing, seeing, and smelling, tasting and touching through movements, expression of words,
body language expressions, builds the learners' potentials and skills whilst role playing.
(Devishaj, 2014)
Creative Dramatics (CD), a learner-centered teaching method with different teaching techniques,
has been tested with pupils, students and children in the United States of America, Canada, and
Europe and, as well as parts of Asia. It has proven to be an effective teaching method which is
still utilized by their teachers.
A final discussion with pupils/students of the University of Ghana Staff Village Basic School of
the Ghana Education Service (GES) revealed that instructors sometimes use drama topics in their
English Language textbooks lessons though rarely using the role playing aspect. Gogovi, et al
(2004) found that the technique has been ignored by teachers, even though teachers who were
interviewed said that drama is utilized in imparting knowledge.
Creative Dramatics which includes role play, simulation, dramatic play, story enactment,
miming, puppetry, theatre games, music and dance is usually reserved for children’s skill
development. “Let’s pretend” is not just a child’s game, but the norm in a creative drama class.
Children naturally act out their perceptions; try out roles and play “pretend.” This process is
among the primary ways very young ones learn about their world. Creative Drama activities are
4
University of Ghana http://ugspace.ug.edu.gh
structured in a way that pupils/students are able to explore their topics experientially (Buchanan,
2006).
1.3 Problem Statement
The standards of spoken and written language in general among our basic school learners have
fallen greatly. However, the Ghanaian educational training institutions are capacitated
enormously to train teachers to be adequately knowledgeable in all taught subjects at our public
basic schools. It is noteworthy though to consider a few challenges that stems from the child’s
early development. An observation could be made that most Ghanaian families due to several
factors do not engage their children in the speaking of English language. This, as a result, does
not help the learners to practice the second language (L2) in the home environment considering
the non-practice also during school break periods. Hence, the lack of L2 practice between home,
school and community affects the English language fluency.
A primary investigation noted earlier revealed that despite the efforts of the teachers most pupils
still find it difficult to employ the use of the English language. The poor understanding of the
application of the English language by pupils and students in the basic public schools may be due
to the teaching method. The required knowledge and skills employed by teachers to impart the
lessons could be the challenge to good performance. Kyriacou (1997) has expressed an idea to
effective teaching and has thus stated that “teaching which successfully achieves the learning by
pupil as intended by the teacher.” Teaching is essentially concerned with how best to bring about
the desired pupil’s learning by some educational activities. Kyriacou’s postulation drives the
researcher to believe that the application of an effective teaching method is the answer to
effective learning.
5
University of Ghana http://ugspace.ug.edu.gh
A cursory look at two of the class performances (interaction between teacher and pupils, and
between the pupils in and outside class reveals that learners do not find it easy using the English
language in building vocabulary, spelling, reading and writing when learning other subjects as
well as when communicating in it. The teaching method as well as the process employed by
teachers therefore needs to be reviewed.
1.4 Objectives
The objectives of the study are to:
i. Identify the problems associated with the teaching of vocabulary in English Language
using the direct teaching methods.
ii. Assess the impact of the creative dramatics technique in teaching English vocabulary.
1.5 Research Questions
The following research questions will be answered:
i. What are the problems associated with the teaching of English vocabulary using the
direct teaching methods?
ii. How far can the use of creative dramatics as an instructional tool improve upon
students’ performance in English vocabulary?
iii. What are the challenges of implementation of the creative dramatics method to the
GES teacher in the public school?
6
University of Ghana http://ugspace.ug.edu.gh
1.6 Significance of the Study
The study seeks to test the effectiveness of Creative dramatics method of teaching English
vocabulary. The study will also serve as a resource base for the Ghana Education Service and to
provide a guide to policy formulators to the adoption of effective method of teaching. Moreover,
the study is aimed at aiding teachers to improve their methods and skills of teaching.
Creative dramatics is what children do best. Through this means, the children engage all the
human senses in the process of learning and teaching. For this reason, formal and informal
teaching done through play will stimulate children's sense of touch, taste, sight, hearing and
smelling. This process, to a larger extent, can serve as a conduit to ease the stress of teaching and
learning which are usually associated with other strategies such as discussion, questioning,
brainstorming and other ways of engagement (Buchanan, 2006). The research work hopes that
the result of the study will serve as a reference point for further research in the area of improving
reading competence.
1.7 Delimitation
English Language is a subject of study and although its aspects (phonics, words, spelling,
reading, dictation, comprehension, grammar, composition, etc) are many, the study will highlight
only the use of vocabulary in conversation. The data collection and the level of the study will be
Basic School classes, that is, either class three or six in the primary section and Junior High
School students in form three. The field data will be collected from the Accra Metro Metropolis,
Ayawaso Sub-district schools as well as the La-Nkwantanang Municipal schools.
7
University of Ghana http://ugspace.ug.edu.gh
1.8 Limitations
Availability of teachers and students at certain days and time of the school year is a challenge to
researchers. School time-table for the term is normally crowded with sports activities, holidays,
and other unplanned eventualities. These activities, to a greater extent, inhibit the continuity of
teaching and learning and can delay the research work. In most public schools visited, pupils and
students felt comfortable communicating in the local Ghanaian languages instead of the English
Language which is the standard medium of instruction in the schools.
1.9 Organization of the Study.
The thesis is presented in five chapters. The first chapter constitutes a general overview of the
whole study, that is, the background of the study. Chapter two concentrates on the review of
relevant literature. Chapter three provides the Methodology of the study, which is the research
design, population, sampling and sampling techniques, and data collection. Chapter four
concentrates on the analysis of the data, presentation of the results of the investigations and the
discussion of the research findings. The final chapter focuses on the conclusion, suggestions and
recommendations for further research.
8
University of Ghana http://ugspace.ug.edu.gh
CHAPTER TWO
LITERATURE REVIEW
2.1 Introduction
This chapter deals with the review of relevant and related literature on the topic of study. It
focuses on the conceptual issues which are affecting effective teaching, direct teaching method
(also known as traditional teaching), effective learning, and creative dramatics. Due to the
direction of the study, emphasis will be laid on creative dramatics (also known as creative drama,
participation drama, dramatic activity and plays) and further delve into its technique as a teaching
methodology for effective transmission and assimilation of knowledge.
2.2 Overview of Concepts of the Study
Discussions below are based on the concepts: effective teaching, teaching method, direct teaching
method, creative dramatics and effective learning. These concepts become relevant to the study
because of the need to understand why the method of instruction used in the public schools is not
producing the expected outcomes in the Basic Education Certificate Examination (BECE),
especially, with the English Language subject. Apart from the fact that English language is a core
course in BECE, it is also the official language in Ghana and the medium of instruction in GES.
This situation calls for a closer look at the English Language subject and the methods of teaching
same in Ghana Education Service (GES). T h e d i s c u s si o n s a lso cover the role of the
teacher and the pupil/student, who are the main participants in this case. Teachers’ approach to
teaching is analysed to determine its effectiveness.
9
University of Ghana http://ugspace.ug.edu.gh
2.3 Effective teaching and learning
The conceptualization of teaching as well as effective teaching has been well debated and
documented in literature (Lahey, 2004; Singer and Revenson, 1997; Kyriacou, 1992, 1997;
Freeman and Richards, 1993; Chauhan, 1979).
Perrott (1990), for instance, has revealed that teaching without doubt is a complex task and
cannot be defined because the criteria for teaching differ from every teacher and every
instructional situation. In this line, Perrott (1990) stated that teaching [and learning] is achieved
when knowledge, skills and attitudes are deemed to have increased, improved or changed for the
better.
The implications for the differing criteria for teaching, as alluded to by Perrott, would usually
depend on the group of people being taught. For instance, play-based learning has enormously
shown to be somewhat effective among children both in the formal education system and in the
homes. Sadly however, the focus on the value of play is rather limited and the researcher strongly
advocates for the need for parents and teachers to review the focus and place of play-based
learning amongst children. That will obviously impact on the complexity in teaching as alluded
to by Perrott. Dewey (1899) a s c i t e d b y Mooney (2013:16), for instance, recommends that
“education [thus teaching and learning] should be child centred; … must be both active and
interactive; … must involve the social world of the child and the community”.
Lahey (2004) adds to it by stating the point on permanent change. He explains the above
definition with Aristotle’s (1985) view referring to the mind of infants as blank tablets, on which
experiences leave their mark through learning. As more classroom topics/lessons are imparted
through Play, more enactive experiences fill the child’s mind/memory aiding retention of
knowledge, as indicated by Aristotle. In addition, Aristotle states that human beings are active
10
University of Ghana http://ugspace.ug.edu.gh
participants and not passive or blank tablets in the flow of life.
Consequently, claiming that people passively allow experiences to teach and make them what
they become, hence the “permanent change” observed in behaviour. Lahey further concludes
that, using dramatic activity to encourage learning creates better memory retention for the
child/pupil /learner.
Knowles (1997) indicates that; adults do not come to any learning environment with blank tablets
because by the time they become adults, much experience is gained in life through learning hence
confirming Aristotle’s thoughts that a child learns and grows through experiences.
Teaching is characterized by communication, process, dissemination and motivation (Chauhan,
1979). According to Chauhan (1979), communication between two or more persons is a
mechanism by which person(s) influence each other by their ideas and learn something in the
interaction. A process is also when a learner, teacher, curriculum and other variables are
organized in a systematic way to attain some pre-determined goal; whilst dissemination is the
way the mind of the learner is filled with information and knowledge of facts for future use. The
information and knowledge acquired, in turn, motivates the learner to learn more.
Freeman and Richard (1993) also perceive teaching as an art or a craft which is employed
through teacher personality and skill. They cited Zahorik (1986) who asserted that a good teacher
is a person who assesses the needs and possibilities of a situation and creates and uses practices
that have promise for that situation.
In a 2000 report of UNICEF International Working Group on Education, teacher education
curriculum which is child-centred and relevant to present day teaching methods and skills was
advocated to be utilised. It also noted that teaching that projects only knowledge is a limited type
of teaching strategy which no longer suits current ideas of how and what students
learn. 11
University of Ghana http://ugspace.ug.edu.gh
According to Singer and Revenson (1997), Piaget (1973) expressed that the child plays an active
role in his/her own growth of intelligence and also learns by doing. Piaget regarded the “child as
a philosopher who perceives the world as he has experienced it” For example; a class can play a
‘Market Scene’ where children apply negotiation skills of bargaining. This helps children to
develop problem solving skills; they understand the monetary value and can apply them to
numbers. They also develop the appropriate vocabulary that enables them to express themselves
through words.
Additionally, the ability to construct sentences rightly during the creative drama process is
developed through the assistance of the teacher. Marley, S.C, Levin J.R. Glenberg, A.M. (2010)
noted that the theoretical reasons of cognitive development provided by Bruner (1964) highlights
the importance of activity, imagery, and symbolic reasoning. The process of negotiation the
children enter as explained above bears on Bruner’s theory of cognitive development.
Undoubtedly, Bruner’s thought that all humans correspond mentally to their environment when
using actions, imagery and language.
Bruner’s cognitive development theory lends credence to the GES curricula that lays emphasis on
children’s cognitive engagement; therefore as the learners are offered the opportunity to develop
their cognitive aptitudes, they fulfill the GES requirement.
Modality usage had age-related differences, and with younger children greater cognitive benefits
which were derived are higher when enactive representations are present. The uniqueness of
human beings when learning is brought to bear when the ‘play’ lesson is used in the enactive
modality. The researcher therefore reasons with Bruner when the former asserts that some
pupils/students learn through the activities or movements of the play. Enactive muscle memory
has been used synonymously with psycho-motor learning; it is also used to describe the
12
University of Ghana http://ugspace.ug.edu.gh
observation that various muscle-related tasks seem to be easier to perform after previous practice,
even if the task has not been performed for a while. It is as if the muscles remember.
Further, in the iconic situation, the children become more skilled at representing their
environments through visual memory going through creative dramatics. Visual memory is a form
of memory which preserves some characteristics of our senses pertaining to visual experience.
The researcher believes that, it is easy to place in memory, visual information which resembles
objects, places, animals or people in a mental image. This process involves both the mental
storage of such information and the ability to retrieve it. The process of recalling visual
information is typically considered to be different than other types of memory.
Again, it is the observation by the researcher through other studies on the subject that, language
memory expands through the use of expressions in the social environment. It includes how
people think, remember, learn and perceive.
Language memory is a large part of the cognitive psychology of man, which is portrayed in the
symbolic modality Marley et al. (2010).
Per discussions thus far, it is apparent, and the researcher affirms that combination of ‘play’ and
learning as designed in this research helps the children to develop holistically. Through this play-
learning process the children are able to develop physically, emotionally, psychologically,
socially and cognitively.
When employing creative drama technique, to a concept/subject matter such as ‘Fires in
government public buildings’, for students in Junior High form one /class seven for example,
either as a class or in groups; Learners brainstorm; discuss, suggest and argue out issues
surrounding ‘The causes that lead to these fires; as well as its solutions’. Words that are crucial
13
University of Ghana http://ugspace.ug.edu.gh
to such occurrences in communication will be discussed and practiced. Through the process of
arguing and discussion, a new knowledge is arrived at and this becomes their solutions to the
issue. This sets the readiness for dialogue and movements for play acting.
As aptly put by Keller (1988) the various processes; reading, discussion, brainstorming,
composing a storyline, voluntary auditioning and acting of the subject matters, help the pupil.
With regards to the various processes suggested by Keller (1988), it is true that the learner gains a
lot of experiences through interaction/play to gain knowledge, skills and attitudes. Hence, the
learner who plays in the ‘market scene’ uses the life skill experience in any trading environment
now and in the future. The learner in the ‘fires in public buildings’ will also tend to pay more
attention to fire extinguishers in buildings, allowing easy access to emergency routes in a
building, switching off plugs when they are not in use.
Consequently, in the play-lesson method, the child with the support of his/her classmates and the
facilitator, exercise critical thinking skills as they brainstorm, discuss and argue the various issues
in class, thus a team spirited group is promoted.
These processes as exemplified above, are culminated into a teaching method which is known as
creative dramatics. The researcher believes that, with the application of creative dramatics, a
learner in class or group, is given a topic, such as ‘Embolden the teenager against rape in
Mpatakrom’. Students/group preparation in the community will be to carry out interviews to
arrive at some possible causes that lead to such occurrences’ in the community. When the
group/class gets together, they break down issues concerning the topic, with the teacher’s
guidance. The subject matter assists pupils/students to develop a storyline; after that voluntary
participants from the class get the story played. The facilitators, participation audience as well as
the participants engage in debriefing the play. Debriefs help learners to think critically and apply
14
University of Ghana http://ugspace.ug.edu.gh
alternate thoughts/results for better practical replays or outcomes.
As facilitators/teachers consider the needs of the learners and apply an active learning technique
it results in group participation and teamwork by learners. The educator will avoid what has been
considered by Carron & Chau (1996) in quality education in the UNICEF, (2000) report, stating
that teaching styles of the mid twentieth century (traditional teaching method) still remains a
technique used in today’s world, which is teacher-centred, fairly rigid and even authoritarian.
Hence, teachers should consider affecting child-centred teaching and learning strategies to reduce
memorisation or rote learning, whereby supporting their ability to remember what is taught. The
teaching technique evident in the GES public classrooms is the traditional teaching method, and
that is subsequently reviewed.
Further, the UNICEF report suggested that learners, environment, content, process and outcome
are components that lead to quality teaching in education (UNICEF, 2000). The processes are
means through which trained teachers use child-centred teaching approaches in well-managed
classrooms to facilitate learning and reduce disparities.
The researcher finds the following explanations of the variables mentioned by Kyriacou quite
revealing. Firstly, Kyriacou provides that context variables, in a classroom-based lesson, refer to
all those characteristics of the context of the learning activities, which may promote the success
of the learning activity. In those variables, one could name:
a) teacher’s characteristics - such as sex, age, experience, social class, training,
personality
b) pupil’s characteristics - such as ability, values, personality, age, social class
c) class characteristics - such as size, range of ability, social class mix
d) subject characteristics - such as subject matter, level of difficulty, general interest
15
University of Ghana http://ugspace.ug.edu.gh
e) school characteristics - such as size, building facilities, ethos, disciplinary policy,
proportion of high ability intake
f) Community characteristics - such as affluence, population density, geographical
location
g) Occasion characteristics - such as time of the day, preceding lesson, weather and
period of academic year.
Although all the above characteristics form the basis for most of the argument advanced by the
researcher, the researcher finds characteristics a), b) and c) very much aligned to the case for
creative dramatics. The experience, training, personality variables in characteristics a) for
instance will inform the instructor/teacher what method to employ in other to meaningfully
impart knowledge to the students/pupils.
Kyriacou (1997:5-7) in his effective teaching framework, defines effective teaching as that
“teaching which successfully achieves the learning by pupils as intended by the teacher.” It is
essentially concerned with how best to bring about the desired pupil’s learning by some
educational activities. Kyriacou opines that Context variables, Process variables and Product
variables constitute the basic framework of effective teaching. (Kyriacou 1997). The researcher
finds Kyriacou’s framework akin to that of Freeman and Richard (1993), Perrott (1990), Chauhan
(1979).
Secondly, Process variables refer to all those characteristics of teacher and pupil behaviour and of
the learning task and activities which take place in the classroom which may have some bearing
on the success of the learning activity. The characteristics of the learning task and activities are
the resultant of the teacher perceptions, strategies and behaviour and of the pupil perceptions,
strategies and behaviour.
16
University of Ghana http://ugspace.ug.edu.gh
Finally, Product variables refer to all those educational outcomes which are desired by teachers
and which have formed the basis of the teacher’s planning of the learning activities and/or of the
objectives or criteria which can be used to consider and monitor effectiveness. Many of these
outcomes can be translated into variables based on tests, such as external examinations or national
examinations and aptitude tests; other variables are based on more subjective forms of assessment,
such as a teacher's opinion.
2.4 Teaching Methods
The “process” mentioned by Chauhan (1979) and UNICEF (2000), and “teacher’s strategies” in
the Process Variables of Kyriacou (1997) is also known as Teaching Methods or Teaching
techniques. According to Kyriacou, Teaching Methods are ways of presenting instructional
materials or conducting instructional activities. They can be thought of as a combination of
activities supported by the use of appropriate resources to provide a particular learning
experience. Since the criteria for every instructional situation differ and every teacher differs
(Perrott, 1990), it is important to draw the attention to the fact that Zahorik (1986), cited by
Freeman and Richard (1993) is of the view that “instructors methods should not be generalized
instead teachers should be given the freedom to analyze the happenings in the classrooms”, so
that after realizing the options on the ground, the instructor chooses the best or alternative skill to
be effective in that instance. It is realized by Carron and Chau (1996) in the UNICEF report that
imparting knowledge only, is not holistically beneficial to the learner. Therefore, dramatic
application of the traditional teaching will enhance the method. For example, a storyline taken
from a passage read in the class five English Textbook entitled ‘Dangerous drugs’, and discussed
to arrive at ‘Drug abuse among the youth’ for the Creative dramatics topic is brainstormed,
discussed to form a play for the lesson.
17
University of Ghana http://ugspace.ug.edu.gh
It is, therefore, obvious that teachers, who are prepared/ skilled with the application of different
or alternate methods, will solve the teaching and learning needs of the GES pupils/students for
good results. Some of these methods are: direct instruction and creative dramatics. These two
teaching methods are further examined.
2.4.1 Direct Teaching
According to Kozloff et al. (1999) Backer and Engelmann designed direct teaching for teaching
elementary through secondary language, reading, mathematics, higher-order thinking (reasoning),
writing, science, social studies, and legal concepts.
Lindsay (2014) refers to Zig Engelmann, an expert in instructional theory, for declaring that
Direct Instruction (DI), also known as Direct Teaching (DT) has been observed to be a very
popular and effective teaching technique, utilized by teachers to impart knowledge. He claims the
technique works, it provides rapid gains that persists and increases learners’ self-esteem.
Rosenshine (2008) also states that direct instruction can be taken in five different ways if the
writers use the word without indicating how its meaning should be operational. Rosenshine
further states that some authors even use the term without realizing that it has different meanings.
He defines direct instruction as instruction that is led by the teacher and moreover, suggests the
five ways that the term overlaps when being used and what it means to its readers:
Academic instruction that is led by a teacher regardless of the quality of instruction.
The instructional procedures that were used by effective teachers in the teacher effects
research.
Instructional procedures used by teachers when they taught cognitive strategies to
students.
18
University of Ghana http://ugspace.ug.edu.gh
Instructional procedures used in the Direct Instruction Systems in o Arithmetic and
Reading. (DISTAR)
Instruction where direct instruction is portrayed in negative terms such as settings where
the teacher lectures and the students sit passively.
The first bullet referred to an assumption that in DI, a teacher models and demonstrates a skill but
readers are denied any instructional specifics therefore, in this general sense they infer their own
meanings. The second referred to specific patterns of instruction that emerged from experimental
studies that identified instructional procedures used by teachers whose students made greatest
gains in achievement as against those who made the smallest gains. This study became known as
the teacher effectiveness/teacher effects or the process-product research.
In the next bullet researchers around 1968, started referring to their works in cognitive strategies
as well as for the instructional procedures used to teach higher level cognitive tasks with the term
‘direct instruction’. The fourth use was in reference to the specific instructional procedures in the
curriculum packages that DISTAR developed. The final usage was represented as an undesirable
method of teaching, which had a negative prescription such as “fact accumulation at the expense
of thinking skill development” stated by Edwards (1981), cited by Rosenshine (2008).
According to Engelmann’s (2007) theory of instruction DI is the most used teaching strategy by
teachers to impart knowledge. He points out that an instructor facilitates the following features as
noted below in the teaching process:
Introduction and Review of lesson/topic: Topics or information to be learned is
presented to the learner or review of information to set the platform for teaching and learning.
This is done to capture the learners’ attention as the goal/outcome’s
19
University of Ghana http://ugspace.ug.edu.gh
relevance is revealed as previous knowledge is reviewed as well.
Development: Once the goal is known, clear explanations, descriptions, examples, or
models of what is to be learned are communicated to learners. After this step, learners’ need,
informs and assures instructor of pupils/students understanding. To double check pupils/students
understanding, key questions related to topic are elicited. Teachers also use ‘prompts’ such as
(visual aids, multimedia presentations, etc.) to motivate successful information processing by the
learners.
Guided Practice: Activities or tasks are given to the learners once teacher is confident
enough explanation and examples of the material to be learnt have been provided with sufficient
positive pupils’ response to the instruction. Close teacher monitoring is affected at the
practice/tasks period. Also, assistance at this stage is available to the learners’ who have not
mastered the lesson that is, more ‘direct
instruction’ is given and step two is repeated. Bullet Two on the above page -
Development.
Closure: It is the final step to the model. Teacher wraps up what is covered in the
lesson through recap. This part reminds learners of the lesson’s goal and prepares them to
complete the independent practice tasks assigned by the instructor.
Independent Practice: Assignments for reinforcement of lesson without teachers’
prompts and monitoring. This signifies that the pupils have had ample competency at the Guided
Practice. (Homework can be classified as independent practice without assistance from the class
teacher.)
Evaluation: To assess pupils/students, progress evaluation tools like (classroom
assignments, worksheets, etc.) or (tests, projects, etc.) are used to any
given lesson. This provides feedback to both the learner and the teacher and this can
20
University of Ghana http://ugspace.ug.edu.gh
be used to determine whether expected learning outcomes were achieved or have to be
revisited in future lessons. (Engelmann, 2007).
Interestingly, a review of the curricular of the GES and further observer studies, Engelmann’s
prepositions become valid in the context of the Ghana Education Service. Most of the
teachers/instructors, the researcher observed, for instance develop their lessons notes as spelt out in
the curricular provided by the supervisory body- the GES. The instructors are then expected to
religiously follow all the steps and as expected, to achieve the anticipated result. Some instructors,
may, out of their own accord and experience use a different teaching method(s) in achieving the
same results. Even with such non-conformist, there may be traces of Engelmann’s features as
enumerated above. The researcher therefore to a large extent agrees with the features propounded
by Engelmann and finds it very valuable.
Engelmann and Carnine (1982) were cited by Kinder and Carnine (1990) in a study of Teacher –
controlled instruction that if environmental (community, class, parents etc) variables are under
control then; instructional materials, plus teacher’s delivery on topics would promote “faultless
communication” through clear and unambiguous interaction with learners.
Though controversy was not ruled out by their study, the researchers realized that D1 was a
method that becomes useful to the learner when teaching, practice, evaluation are consistent over
time and across instructional settings.
Therefore, teachers were expected in their duty to churn out effective instruction which will then
achieve expected outcomes.
21
University of Ghana http://ugspace.ug.edu.gh
The findings in their study further showed that the use of D1, its application of D1 principles in
teaching basic and high – order skills (high school etc) established DI’s effectiveness when
utilized. “Follow Through” Studies that were employed to sustain practice with D1evidently
showed that low–income students taught with the right materials to foster effective information,
made significant gains. In the same manner, where its instructional materials and approaches
were effectively done, it worked marvelously with individual learners with mild to severe
handicaps in language, reading, math and community-living skills. In brief, experiment and
quasi-experiment studies also equally supported D1 use on special education populations. These
populations refer to learners/individual learners who have disabilities in learning.
It is therefore obvious that if effective instructional impart is delivered right, as well as behaviour
of teacher’s approach to teaching being also right, then method of delivery, content of instruction,
teacher or computer, basic skills or high order skills will achieve the expected goal/outcome.
Stebins et al. (1977) are quoted in another “Follow Through” project report by National
Commission on Reading by Anderson et al. (1985). In that project, Stebins et al concluded that
economically disadvantaged students made significant progress reading comprehension measured
on National Standardized test. They again cited Gersten et al. (1984) indicating that these
students in the project maintained their elementary school gains in comprehension through high
school.
Engelmann, 2007 commended the use of DI, other scholars on the other hand expressed their
inhibitions about its use. When “Follow Through” originated in the late sixties (60’s) Anderson et
al. noted Maccoby and Zellner (1970) articulated that extremely structured teaching would stifle
students learning. Resnick (1981) also noted that the method impedes teachers’ creativity and
ultimate effectiveness in class. Likewise, a group of researchers at the University of
22
University of Ghana http://ugspace.ug.edu.gh
Oregon, delved into a study to examine the applicability of direct instruction; for teaching reading
comprehension to intermediate and secondary levels. The results after 600 hours of reading
instruction observed in grades 3 to 6, Durkin (1983) allowed the leader of the group to conclude;
comprehension instruction was not employed but comprehension assessment took place for most
part of the lesson through interrogation. His concern in addition was that, the answers given by
children whether wrong or right did not have the due attention. Time was also much spent,
completing and checking assignments consumed large part of the observed periods; and as a
result Durkin thought this was a challenge to the teaching of reading comprehension.
A recent work reported in Jone’s (2001) article done at the Siefert Elementary in Milwaukee
Public School and mentioned in Linsay’s (2014) study, proves that; pupils/students scored better
grades in state’s standardized tests using DI. According to Jones, the percentage of fourth graders
rose from 22% in 1907-’98 to 57% in 1999-2000 in reading; in math the score increased from
11% to 48% over the same period; Social studies score rose from 13% to 61% and he described it
as “amazing gains”. Although, other scholars in the review declare how successful the technique
is; teachers in the basic public schools within the Ghana Education Service, (GES) are not having
the expected or maximum outcomes, as they implement the direct teaching. As professionals in
the public schools, teachers should adhere to the technique effectively, because Linsay proclaims
that the study that ever gave the best of results in DI was the “Project Follow Through”. To him,
it was a true Direct Instruction, meaning teachers implemented the technique in the study to the
letter.
Consequently, direct teaching is effective in other areas like the USA and Europe, they have their
limitations in particular as revealed in the literature, such as; 1) their schools do not apply direct
teaching effectively. 2) Where they do, schools do not receive enough resources to enable them
impart the teaching adequately. Hence, results like the ones we see in our children’s 23
University of Ghana http://ugspace.ug.edu.gh
BECE are attained. GES teachers therefore, should impart the knowledge, skills and attitudes in
their learners, applying the right attitude to teaching, whilst the GES also provides better teaching
and learning resources.
Incidental and Explicit teaching are strategies which have been seen to have achieved very good
results in learning outcomes as compared to when teachers apply each strategy in isolation. It is
therefore prudent for instructors to apply other creative techniques of teaching and learning so as
to achieve excellent outcome. As previously noted, Sonbul and Schmitt (2009) advocated that
when the instructors used both techniques in the teaching and learning of vocabulary it achieved
better results. Therefore, no one method should be satisfactory in the teaching and learning
programmes of learners by their instructors.
With the above information, the researcher perceives that using direct instruction is useful and so
should not be totally written off as some scholars advocate. To strengthen the teachers and
learners capacity, other equally good methods should be added to or made available to the GES
teacher; so that when the teacher evaluates the teaching situation and realizes it is best to use an
alternate technique to augment, he/she will have the skills to utilize for excellent outcome. The
above discretion by the researcher is supported by Freeman and Richard (1993) along with
Sonbul and Schmitt (2009) as previously noted in the review.
Therefore, Creative dramatics, that is; enacting the lessons as an alternative technique should
enable pupils to learn by ‘doing’ lessons creatively. This method will aid pupils/students to learn
through the application of the five senses; hearing, seeing, smelling, touching and tasting when
acting the scenarios of the play. If the above technique is channeled to the classrooms, the
learners’ involvement will result into permanent education as posited by Way (1967). He also
advocates that, when the play technique is utilized, the use of the five major senses is boosted
24
University of Ghana http://ugspace.ug.edu.gh
during the process through the activities of (hearing, seeing, smelling, tasting, and touching).
Also, imagination at the various stages of the strategy strengthens creativity in the learner. Hence,
this method should be promoted within the GES public schools to provide the learner critical
thinking abilities and aid the effective teaching and learning processes for good examination
outcome.
2.4.2 Creative Dramatics
Courtney (1965:6) once said “Drama is a most effective method for improving the clarity and
fluency of children’s speech.” Subsequently, Chenfield (1978:195) acknowledged that “creative
drama includes all forms of improvised drama created by all children, such as story
dramatization, dramatic play, puppetry, and pantomime.” She continues to reveal that the
technique’s activities stimulate planning, discussion, the give-and-take of ideas, and cooperation.
Therefore, as children use language, their bodies, imagination, intellects and emotions to play the
stories out; they become more fluent in their personal expression and communication and as well
enjoy the learning.
Clipson-Boyles (1998:4) expresses that “drama assists the learning process by enabling children
to engage actively with their subject matter.” She explains, for instance; in the ‘home corner’,
children play out adult roles and encounter situations from new perspectives; and they interact
and develop new thoughts and responses encountered in the process.
In addition, Schickendanz, et al (1990) cited by Gelfer and Perkins, avers that creative drama is a
process of perceiving and communicating thoughts and ideas. It is a thoughtful, as well as a
facilitator/teacher directed effort to aid pupils/students retell a story in a dramatic form.
Finally, Winifred Ward (1957), states that creative dramatics is an expression used
interchangeably with playmaking, and since it is a general term meaning the activity in which
25
University of Ghana http://ugspace.ug.edu.gh
informal drama is created by the players it is not conventional. That is, its dialogue and action are
extemporized rather than written and memorized.
To this end, creative dramatics, the researcher suggests, can be likened to what children in the
Ghanaian society informally engage in and call it ‘Maame ne Paapa’ thus ‘Let’s play Mother and
Father!’ The action employed by the children comes to them spontaneously because they have
been going through the experiences with mother, father and siblings at home.
From the definitions on the technique, it is realised that creative drama depends on the
participants’ ability to interact; and interacting in a second language (L2) situation, one needs to
sharpen the oral nature of the L2 before learning to read and to write. It is also observed by the
researcher that in our kindergartens where beginners of the basic school start school, good
articulation and good fluency depends on how the child learns the spoken medium first.
As Clipson-Boyles (1998:4) explains above, during the ‘home corner’ session the child engages
with the subject matter by playing adult roles through interaction first; in so doing the learner
encounters new perspectives and learns new thoughts from creative drama. The beginner in the
public school should be spared the agony of either writing or reading to learn the language (L2),
if even it sometimes works.
Rivers (1964) an audio linguist, states that language is primarily speech, for that reason, the
learner’s activity is first confined to its gestural and visual expression of language behaviour. The
underlying principle advocated by Rivers pronounces that language skills taught in the target
language is to be done in the spoken form before the written. The researcher believes that it will
be in the interest of authorities in GES to promote the spoken language in any language study the
children get involved, even the foreign languages, such as French, Spanish, Chinese and others in
our educational institutions.
According to the Children's Theatre Association of America, one can look at all Dramatic26
University of Ghana http://ugspace.ug.edu.gh
Activity as existing on a continuum with Drama in its Natural State (the kind of dramatic play all
children and indeed all humans engage in) at one extreme and formal Theatre at the other.
Between the extremes, there is Creative Drama and Participation Theatre. These forms do not
exist as discreet/reserved disciplines, but rather as flexible points on a continuum, (Drama in its
natural state --- Creative Dramatics --- Participation theatre --- Theatre).
Continuum
Drama in its natural state will be the inborn ability of a person/child to mimic actions by people
around and begin to play with, for instance, ‘Let’s play house!’ … ‘Let’s play boats!’ … ‘Let’s
play cowboys!’ … and others. Lease and Siks (1952). As mentioned earlier, Ghanaian children
also engage in a similar type of play called ‘Maame ne Paapa’.
It can be interpreted to mean “Let’s play family!” where roles are assigned by a
self-imposed/voluntary leader amongst them. As indicated previously, these children go through
these experiences at home. Therefore, it now becomes a demonstrational skill being portrayed
creatively through role play.
This natural ability mentioned is applied both in creative dramatics (child drama/drama) as well
as in participatory theatre (child theatre/theatre). The major contrast is that if the group
implementing it is itself the participating audience then it is creative dramatics. Nevertheless, if
the group using the technique is a professional/or amateur group who are not themselves audience
to their own show then it is theatre. Therefore, the type of drama promoted in the classrooms is
spontaneous and it is called creative dramatics. The peculiar characteristics between creative
drama and participatory theatre are discussed subsequently in the review.
Creative Drama is an improvisational, non-exhibition, process-centred forms of d ram a i n
whi ch pa rt i ci pant s ar e guided by a facilitator/leader to imagine, enact, and reflect upon 27
University of Ghana http://ugspace.ug.edu.gh
human experiences (Buchanan, 2006). The consequent statement is a suitable reference to child
drama. Basically, the more the focus of the Drama activity is on the PROCESS, the closer it is to
achieve Creative Drama, whilst the more the focus is placed on the PRODUCT, (the performed
work and its impact on an audience) the closer it is to formal theatre/child theatre. In the
application of these two techniques these various differences occur in creative drama, which is
(also known as child drama within Drama in Education) and participatory theatre (also known as
child theatre within theatre in education).
Tatar (2002), draws the attention to the fact that, although several terms have been used to refer
to “classroom drama” such as creative dramatics, educational drama, theatre games, socio
dramatic play, role drama, and role playing, the terms “creative drama” and “drama in
education,” they are umbrella concepts which embrace all the various types of improvised and
informal drama used in classrooms.
According to Lease and Siks (1952:2) the broad field of drama for children disclose two distinct
divisions namely; drama for the child audience and drama for the child participant. They continue
with the explanation that Children’s theatre depict drama purposed for child audience. It is a play
carefully staged by competent actors for the child audience and this affects the child in a
sensational manner with breadth taking moments. In this play, a qualified director engages these
talented actors, who learn the lines of a play written by a playwright, where actions and
interpretations are influenced by the director. Since the end product is a major value to theatre for
children, staging and costuming are vital concerns of a play to be theatrically staged for children
audience.
In contrast to children’s theatre, Lease and Siks (1952) state that Creative dramatics is the term
given to the type of drama for the benefit of the child participant. They claim it is “playing with
28
University of Ghana http://ugspace.ug.edu.gh
purposeful group planning and significant evaluation and it affects each individual who actively
participates in this art experience.” Words are formulated by the children and used in the play but
not memorized as in the children’s theatre. The process rather than the product is vital and as
well, an end in itself from the standpoint of child growth and child development; nevertheless to
the children creating the play, it is significantly important. Due to the description above staging
and costuming are of little concern. Meanwhile, the teacher, who is taken as the facilitator guides
rather than teach the children through the process of creative playing/drama.
Besides, Buchanan, Lease and Siks (1952) and other scholars of creative drama believe strongly
“It is aimed toward the development of the whole child, socially, emotionally, intellectually,
physically, and spiritually.” In that vein, the technique is teaching pupils holistically. Neither
concerned with training children to become actors, nor in creating plays as in Theatre in education,
which is for ‘show’. He finally indicates that, Creative Dramatics makes use of the participant’s
experience as the goal because it discovers learning in different contexts. In theatre, the intention
or aim is to present to an audience a show, and showing is the goal. Creative Dramatics, usually
reserved for children, can include dramatic play, story enactment, miming, puppetry, theatre
games, music, and dance. “Let's pretend”, is the norm in creative drama class, not just a child's
game (Buchanan, 1952).
Furthermore, Courtney (1968) also expresses that Rousseau (1762), spoke against the rigid way
of imparting knowledge to children in schools... that is (In the teaching and learning of arithmetic,
reading and writing; children were almost inflexibly forced to learn.) This led Rousseau, to
encourage play in schools. He advocated that “a child’s early education should be almost entirely,
play” (p.20). He believes that running, skipping and playing are of value at such ages since
natural instincts should be motivated to grow instead of being repressed.
Rousseau equally promoted that “Nature desires children to be children before being men, and 29
University of Ghana http://ugspace.ug.edu.gh
that in case we prevent the order, we shall produce precocious fruits which will have neither
ripeness nor taste and will soon go bad…” (p.20) He also reckons that childhood has its own
ways of seeing, thinking, feeling, which are suitable to it, and that it is best and reasonable for a
teacher to substitute his/hers at the appropriate time.
Therefore, Courtney’s expressions go without saying that the child’s concentration during any play
learning environment can be channeled by the teacher into a class teaching environment. This will
become the basis of real, holistic and permanent education, propagated by some educational
scholars. It is observed that when a person concentrates on a thought or activity it is difficult to
call the one’s mind off the activity. Dramatic Education is not stage training but a child playing
dramatically.
The researcher finds that as pupils/students role play in creative dramatics, they engage in various
kinds/registers of language expressions which help them through the learning processes. This
improves their language fluency as well as competency in the English Language expressions. To
conclude this section, Aristotle confirmed the Chinese proverb by saying, “Tell me and I will
forget. Show me and I will remember. Involve me and I will understand” cited by Devishaj
(2014), suggests that when children learn through enactments they understand the topic and
improve better.
2.5 Direct teaching methods and vocabulary in English Language
Rosenshine’s (2008) study reveals that some state departments of education in the U.S.A use two
other synonyms for the term direct instruction; they are: direct teaching or explicit instruction. He
throws more light on Direct 1nstruction (DI), indicating that the strategy is a teacher directed,
with a definite structure and specific steps guiding learners to achieve defined learning outcomes.
Throughout the teaching process, maintaining pupils attention, the teaching itself,
30
University of Ghana http://ugspace.ug.edu.gh
the management of the entire learning environment are all in the control of the teacher. Due to the
structure, delivery of large volumes of information is possible within shorter reasonable periods
and it has been seen to be developmentally, suitable to pupils’ ages and stages and the model is
teacher directed.
For second language (L2) learners, Richards (1976) states that unlike syntax and semantics less
attention is given to vocabulary development these days. In his work, he tried to look at various
approaches through which a teacher may attempt vocabulary teaching. Preparatory measures
towards vocabulary teaching he says shall be addressed from a point of view of making the lesson
begin with a rich concept of vocabulary. That is; knowing that words entail close associations with
other words either in contrast, pronoun, verbs, synonyms, adjectives, meanings and many more. A
teacher therefore has the option to choose interesting variations of words in such groups to teach. A
few set of the responses that he had in his study to the following words are below taken from
Slobin (1971) cited in (Sonbul and Schmitt, 2009).
Stimulus Typical response Word links
Born die By contrast/antonym
Apple peach By coordinate classification
Animal Dog By subordinate classification
Blossom Flower By similarity/synonym
The various methods Richards (1976) made available to teachers through the assumptions in the
study, is to encourage teachers to make their word development goals to go beyond covering a
number of words on a word list.
Another study by two lexical researchers, Sonbul and Schmitt (2009) ELT Journal,
employed direct teaching using vocabulary after reading. The two approaches of
learning vocabulary that 31
University of Ghana http://ugspace.ug.edu.gh
was used were, ‘Incidental learning’ and ‘explicit learning’. The former denotes learning
vocabulary as a by-product of any language vocabulary learning activity, such as reading, whilst
the latter is, learning vocabulary when the focus is on the words to be learnt.
They cited suggestions from the following scholars, (Nagy 1997,) saying that first language (L1)
learners benefit extensively from incidental learning. Though this method reflects in second
language (L2) instruction, it comes with relative small gains and after repeated exposure. However,
Waring and Takaki (2003) state that with extensive and sustained reading, the cumulative learning
can be substantial. Nation (2001) hinted that learning activities focusing on the word itself (explicit
learning) are vital for vocabulary acquisition for L2 learners because he warns that in an incidental
learning scenario, many of the L2 learners do not experience the conditions that are needed for this
kind of learning to occur. Therefore, the study by the two scholars reveal that when L2 learners are
taught both constantly with the incidental and explicit learning method, pupils are able to recall the
word forms, their meanings and find recognition of word items also easier.
Whereas Rosenshine (2008) also advocates that direct instruction (DI) method has been tested
and research proves it works, the following scholars in his study believe the contrast. Rosenshine
states their disapproval by noting that McKeen et al (1972) do not appreciate the technique the
least, they describe the method as “authoritarian”. He remarks that Borko & Wildman (1986)
claim the strategy is too “regimented”, he also mentions that Edwards (1981) perceives the
technique is “fact accumulation at the expense of thinking skill development”, whilst Nicholls
(1989) detest its “focusing upon tests”. Becher (1980) as well, portrays it as a “passive” mode of
teaching, and finally Brown and Campione (1990) suggest it is the pouring of information from
one container ‘the teacher’s head’ to another container, ‘the student’s head’.
Although, the above scholars dislike the direct teaching for the various reasons given, the
32
University of Ghana http://ugspace.ug.edu.gh
researcher also thinks it is noteworthy that, the teacher considers the following when
disseminating knowledge, for instance, “the teacher who imparts knowledge should acquire; (the
right skills, high content level, improved teaching attitudes), usage of appropriate teaching and
learning materials, engaging child-centred teaching techniques, to acquire best results. These
mentioned would endeavour a teacher to achieve results that are appreciable using the (DI)
method (Perrott 1990).
The critics cited above concluded by proposing in the study that, teachers should use techniques
that are “student centered” or activity-based instruction in place of direct instruction; or in
addition to it. The suggested methods advocate role playing strategies, which by definition is
creative drama, a form of learner centered and activity based technique. (Sonbul and Schmitt;
2009, Waring and Takaki; 2003, Nation; 2001 and Nagy 1997). The suggested methods falls
within role playing strategies, which by definition can be in the domain of creative drama, a form
of learner centered and activity based technique.
The Educational Teacher Training institutions in Ghana impart this lecture type of teaching
method to its trainees. These practitioners therefore; profoundly use the method in the public
schools. Although, Engelmann declares the direct teaching method as the most popularly used
and other scholars in the review also think it is effective; for our public schools BECE results are
not encouraging as indicated in the first chapter by the Education Minister, Naana Jane Opoku -
Agyeman in the Ghanaian Times. ( Amankwah, 2013). Therefore, Ghana Education Service
(GES) being the highest employer of these professional trainees who complete training in the
various educational institutions, should adequately consider the teaching method.
In spite of the benefits of using direct teaching method shown by some experts, its use in our
classrooms for all these years now shows a nose dive in results of school leavers in the Junior
33
University of Ghana http://ugspace.ug.edu.gh
High school. Also difficulty in the expression of the oral and written English Language could be
the parameter promoting the fallen standards in their performances. Pupils/students need teaching
processes that encourage more practical/active and interactive strategies of teaching to improve
class and examination performances.
2.6 Creative Dramatics Method and Teaching of Vocabulary in English Language
Drama for education or as a technique for learning was previously perceived by purists a dilution
of the art form and an erosion of its status. They sought to maintain it as ritual and as
entertainment sources than educational means to impart knowledge. (Clipson-Boyle, 1998). The
resistance of movements in that era finally gave way to schools having the go ahead to
implement educational drama, (creative drama). According to Connors (1984), Creative drama in
second language, (L2) learning provides drama of society’s lives. It gives meaning and motivates
the teaching and learning of English as a second language (L2). She also views it as a technique
used as a small part of a regular class lesson plan.
Clipson - Boyles (1998:11) says educational drama; “ is an interactive, living art form which
reflects a variety of styles, genres and approaches…There are as many ways of teaching drama
as there are teachers teaching…”. Hence Connors teaching design was employed in this format.
She made sure that during the course of the children’s enactments, trust, sensitivity and
awareness, physical exercises, games, combine with actor training strategies such as role play and
improvisation are featured in the behaviour of the planning and execution of the educational
drama. The activity begins with physical warm-ups which culminate into group improvisation or
the collective creation.
Activity 1: Machine (non-verbal warm-up) – Connors (1984:73)
Purpose: to aid listening comprehension and encourage spontaneous response to new words and
English instructions given by the animator. (Animator: facilitator)34
University of Ghana http://ugspace.ug.edu.gh
Procedure: Have the participants sit cross-legged in pairs on the floor and face each other. Get the
pairs attuned by having them take three deep breaths while holding hands and keeping eye
contact. Next, ask one member of each pair to be a mirror and simultaneously imitate exactly
what his partner does, then have those reverse roles. After the exchange, have students stand up
and continue to mirror each other’s movements; then, ask them to take turns creating
complementary and/or opposite movements with their arms, legs and eventually whole bodies.
After approximately four minutes, call FREEZE.
Discuss the reactions to this exercise by asking such questions, such as:
1. Does a player need to concentrate to imitate the action of the other participant?
2. An inaccurate action cannot be said to be mirroring. True or False?
3. Without voice the movements are (signs, symbols or mime).
It is best to prepare a set of questions beforehand to stimulate and initiate conversation.
Activity 2: Story Lines (vocabulary expansion and narration)
Purpose: To tap the students' creativity in representing a simple object verbally and/or through
body language and further develop this initial reaction to a more evolved narration.
Procedure: Have the group sit in a large circle on the floor and throw a common object such as a
running shoe into the centre. Ask for volunteers to quickly rush up and transform the item and its
usage into something entirely different.
For example, one student may use the shoe as a telephone receiver and carry on a conversation
with a friend or as an iron and proceed to press clothes. The group is encouraged to guess and
interpret the actions and the nature of the object. Change objects every four times. Another
approach to this exercise is to use the first 'creation' as the opening line of a story. Each person
who can come up with a follow-up line goes to the centre and says the line. If you want
everyone to participate, pass the object from one to the other around the circle and have each 35
University of Ghana http://ugspace.ug.edu.gh
person give a line as he receives the object. The object; the shoe can be used as a telephone
setting a conversation around a hospital scene. Madame O’Brien’s daughter has fallen sick in
school and has been rushed to the nearest hospital. Topic
Key Words: Facilitator will help with the meanings and pronunciation of words that learners are
not sure off. Brainstorm, discussion, explanation and argument will be utilised to get a good
storyline.
Activity 3: Hospital Scene (representation & simulation)
Purpose: To develop narrative skills further and implement them so as to experience their
dynamic 'live' form.
Procedure: Still sitting in a circle, discuss with the group their understanding of the English
terms: doctor, consultation room, nurse, hospital/folder, prescription, malaria fever, temperature,
thermometer, sponge, tablets, injection, medicine, drugs and others.
Some brainstorming to develop vocabulary would fit in nicely here with columns for such
categories as, Hospital’s name, Location, Time of year, Consultation, Treatment Room,
Dispensary, clinic etc, listed on the blackboard. When the student’s interest has been sufficiently
aroused, divide participants into groups of five or six and using the topic ‘Hospital Scene’ have
each group prepare a short improvisation which they will subsequently perform. Within their
groups, students should first exchange ideas about their interpretation of the theme as in the
following examples:
- To me it refers to going for a review.
- I imagine a kitchen accident that can result in visiting the hospital.
-When there is an outbreak of a disease and school children are asked to visit the hospital.
Members then pick one or more of the most original and popular ideas and organize and expand
36
University of Ghana http://ugspace.ug.edu.gh
them to encompass a story which is acted out.
Allot 15 minutes for the discussion among the groups to ensure that there are no problems. After
the presentation, encourage the students to make comments and ask questions related to each
other's sketch.
Connor’s study concludes by repeatedly reminding the (players, facilitator) again that creative
drama activities should always embody the principles of respect, sensitivity and caring in dealing
with both the subtle and more energetic student displays of emotion, personality and occasionally
the private territory of inner feelings and lives as well most important of all, for the participants
to enjoy the experience. (Connors, 1984:73)
It is vital to consider that, the facilitator/teacher guides throughout the teaching method except
playing the roles. The involvement of the learner in the activities easily identifies setbacks,
therefore, giving feedback to all during the application of the technique, so that all participants
will be part of the debriefing.
Creative dramatics uses strategies such as storytelling, games, puppetry etc to impart knowledge
through play. Games, one of the strategies used are a controversial medium to use when
teaching; this is Oblinger’s (2006, p.1) assertion below.
She claims and supports that
Exploring games and education is inherently controversial. Games can seem un-educational; they are typically associated with play and childhood. Even the name implies that games are the opposite of work. Assertions that those games must be used to make learning ‘fun’ ignore the fact that students who are deeply engaged in learning consider it both fun and hard work
Also, according to Kim (1995:35)
There is a common perception that all learning should be serious and solemn in nature and that if one is having fun and there is hilarity and laughter, then it is not really learning. This is a misconception. It is possible to learn a language as well as enjoy oneself at the same time. One of the best ways of doing this is through
37
University of Ghana http://ugspace.ug.edu.gh
games…
Lee Su Kim adapts some games from the radio and television sector of the British Broadcasting
Corporation, (BBC) for his language classes in Selangor, Malaysia – Universiti Kebansaan. The
example of teaching games through role playing (dramatic play) used by Kim (1993) for his
language classes in Selangor, was successfully tried out in class and the students thoroughly
enjoyed themselves, whilst using and practicing the language. The games were aired over the
BBC many years ago, and are highly entertaining. This is how two of the games are formatted
and played in Kim’s class.
1. “JUST A MINUTE.”
Divide the students into groups. Get each group to give themselves a name.
The objective of each group is to get as many points as possible.
The task is to speak on a topic for a minute. The referee (the teacher) will provide the
topics.
The competition members of the other groups should try to “wrestle” the topic away from the person who is speaking on it. There are three ways to do this:
i. Hesitation: When a student pauses for too long a break, it is considered a hesitation.
ii. Repetition: When a student keeps repeating a particular word or phrase, it is
considered repetition.
iii. Deviation: When a student digresses, he can be faulted for deviation
The timekeeper will ring the bell once the minute is up. The person who is speaking
when the bell rings will win 10 points.
The group with the most points is the winner.38
University of Ghana http://ugspace.ug.edu.gh
The teacher should determine the topics based upon the students' level of proficiency. Some examples of topics are:
i. My Family
ii. My Childhood
iii. My Favourite Things
iv. Ghosts
v. My Ideal Partner
vi. Teenagers
vii. A Country I'd like to Visit
viii. If I had three wishes, I’d like…
ix. My Favourite Food
The choice of topics would also depend on what is being taught in the lesson for the day. For
example, if the teacher is conducting a lesson on describing people and places, s/he could
provide topics such as My Mother, Someone I Admire, A Teacher I'll Never Forget, My
Hometown, or My School. This game is suitable for oral communication skills/as well as
vocabulary training. It is also useful as a pre-writing or pre- reading activity. It can be
effectively utilised when teaching topics such as describing, narrating, expressing viewpoints,
agreeing, disagreeing, and describing procedures.
The second game is quite a well-known one. As explained she has tested the games in her
classes. You can play it with as many teams as you like, preferably keeping it to a maximum of
four or five teams.
2. “Win, Lose or Draw”
Instead of giving the students the words to draw, I find it even more effective if you get the
students to concoct the words themselves. The words should not be too easy or too difficult.
Give the groups about 10-15 minutes to come up with the words; then the teacher should 39
University of Ghana http://ugspace.ug.edu.gh
go round to the different groups to check out the words. Tick out those that are suitable and try t o
offer alternatives for those words that a r e considered unsuitable. Each topic should then be
written out on a small piece of paper which can be rolled or folded up. The teacher/ facilitator
then take all the folded topics and place them in separate boxes in front of the class.
A member of each group will come to the front of the classroom and pick out a piece of paper
containing a topic given by members of the other groups. S/he then has to draw the topic on the
blackboard once the timekeeper gives the “begin” signal.
Appoint someone to keep time. A student has a maximum of 60 seconds to draw the object.
This can vary according to your students' abilities.
The objective is to try to score as few points as possible.
The task is for group members to try to guess what the student is drawing in as little
time as possible.
The student doing the drawing cannot talk, make any sound, nor act out the word. Only
when his/her group members have guessed the word correctly, can s/he indicate or gesticulate that
they have done so.
The teacher has to be alert and listen carefully whilst the students try to guess what
their friend is drawing. Once they have guessed the topic correctly, the teacher stops the action.
The timekeeper announces the time taken and records it on the board.
After this, the next group takes its turn. The game can be played for many rounds. Students
in each group should take turns drawing.
At the end of the game, the scores are tallied. The group with the fewest points is the
winner.
40
University of Ghana http://ugspace.ug.edu.gh
This game is suitable for vocabulary items, but phrases or sentences can be given. For example,
“singing in the rain,” “a school of fish” “the fat woman fainted,” …etc. Tenses and sentence
structures can also be introduced through the game. it is important that the teacher be creative
and innovative in his/her job. Dare to deviate occasionally from the humdrum routine and do
something refreshing and different in the class. It does not require too much effort, and the
rewards are plenty-the joy on the students' faces, the mirth, the hilarity, and the enthusiasm
generated. Finally, when playing the game, teachers should be totally committed and
enthusiastic.
According to Keller (1988) facilities provided for the average public school for teaching
conventional drama are somewhat makeshift; therefore for creative drama facilities are non-
existent. She mentions that, the two are subjects’ education officials do not structure into the
architectural drawing of the school building.
However, Keller believes, to introduce creative dramatics teaching in a class, its apparatus are
easily available and less expensive than the conventional drama. No auditorium/stage is needed,
scenery and costume are not necessary.
The facility a creative drama teacher/facilitator needs is:
1) an empty room with tables and chairs instead of desks for students use; or for use as
improvised items for props (properties). 2) Room furniture items suitable for basic drama – a
number of wooden boxes of various sizes and shapes – small platforms that can easily be
manipulated by students, preferably four by four in size. 3) Sources of controllable light. 4) A
tape recorder and a record player so that some lessons are recorded. 5) Adequate space for
storage: where valuable equipment, 6) Collection of old arts, old clothing’s, art and craft,
jewellery, hats and accessories and many others.
41
University of Ghana http://ugspace.ug.edu.gh
She also adds that a creative dramatics teacher must have ‘patience’. She explains that creation,
devising, and improvisations, developing innovation skills does not come easy ‘in a week’ it can
take six workshops before results emerge with new groups who have not exercised their
imaginations untapped for a while. Her advice to teachers again is to be mostly neutral, not
overwhelming them with the urge to direct drama so that the outcome achieved by the group is
more beautiful than they meddling in the activity. Finally, Kim (1993) also wishes teachers have
patience to listen to the children’s ideas during discussions so that they can guide them better.
2.7 Concluding Remarks
From the various literature reviewed, it is evident that the various schools of thought for Creative
Dramatics and Direct Teaching advocate that both of the teaching/instruction techniques are
effective and efficient to impart knowledge, skills and values to learners. From the discussions
thus far, it is apparent that though researches to confirm these assertions were conducted in the
United States of America and in Europe. It is a fact that realities and circumstances in the USA
and Europe are different from those in Africa and specifically in Ghana.
As demonstrated in the analysis and presentation of data chapter of this study shows the enormous
benefits, impart and impact creative dramatics have had on students who served as respondents as
well as studies from other jurisdictions, the researcher strongly stands with scholars like Way,
Buchanan, Courtney and Rousseau that creative dramatics, which is; enacting the lessons as an
alternative technique should enable pupils to learn by ‘doing’ lessons creatively. This method will
aid pupils/students to learn through the application of the five senses; hearing, seeing, smelling,
touching and tasting when acting the scenarios of the play. If the above technique is channeled to
the classrooms, the learners’ involvement will result into permanent education.
42
University of Ghana http://ugspace.ug.edu.gh
CHAPTER THREE
METHODOLOGY
3.1 Introduction
The objective of the study is first of all to identify the problems associated with the teaching of
vocabulary in English Language using the direct teaching methods and secondly, to assess the
impact of the creative dramatics technique in teaching vocabulary in the English Language. This
chapter presents research techniques that were used in collating all data for the objective analysis
of the problem.
3.2 The Research Philosophy
For a study as this, there is a need to select an appropriate methodology concerned with both the
ways in which the research is carried out - i.e. its structure and process, as well as with the way in
which this information is analyzed. As such an analysis based on a qualitative approach is
relevant for this study. Qualitative Research is primarily exploratory research. It is used to gain an
understanding of underlying reasons, opinions, and motivations. It provides insights into the
problem or helps to develop ideas or hypotheses for potential quantitative research. Qualitative
Research is used to uncover trends and dive deeper into a problem. Its data collection methods
vary using unstructured or semi-structured techniques. Some common methods include focus
groups (group discussions), individual interviews, questionnaires (when necessary) and
participation/observations which this research employed. Hence for this research a semi-
structured interview style was employed.
43
University of Ghana http://ugspace.ug.edu.gh
Given the peculiarity of the problem and how the research identified the characteristic elements
in the teaching of English language in the primary/junior high school system, the design presents
here, the sampling of data relevant for the evaluation of materials. A resonating aim in this
research was testing the feasibility of creative dramatics as a viable alternative for the effective
teaching of the English language either as a supplementary methodology or even as a holistic
methodology itself in the primary/junior high education system. As such, to realize this aim, the
academic performances of the students became the denominator on which progress was measured
through a comparative analysis of the existing direct teaching method to that of the creative
dramatics method within the research period. Thus academic performance becomes the outcome
of an education or the extent to which a student, teacher or institution has achieved their
educational goals. Annie Ward et al (1996) opine that the ‘academic performance is commonly
measured by examinations or continuous assessment’ and intended to measure a test-taker's
knowledge, skill, aptitude’. Data was analyzed from many respondents from which the
educational backgrounds as well as the experiences of teachers were taken into consideration.
This was to understand the extent to which teachers training contained perhaps snippets of drama
education or an awareness of the effects of creative dramatics in aiding the psychological and
mental development of the pupils. Data collected provided varied points the research will discuss
in subsequent chapters including the drama, drama in education, Ghana teachers' manual, primary
education system, and Creative dramatics as methodology. In order to understand the teaching
phenomena in the scope of study, the researcher resorted to the objectivist ontological theory to
be able to comprehend the information in order to make the methodology meaningful to the data
analysis.
44
University of Ghana http://ugspace.ug.edu.gh
Ontology has been defined by Blaikie (1993) as “the science or study of being” and it deals with
the nature of reality. It is the study of being or assumptions on nature of reality. Objectivism
“portrays the position that social entities exist in reality external to social actors concerned with
their existence” (Saunders et. al., 2009). Alternatively, objectivism “is an ontological position that
asserts that social phenomena and their meanings have an existence that is independent of social
actors” (Bryman, 2003, p.22). Objectivism is of the notion that an objective reality exists and can
be increasingly known through the accumulation of more complete information (Given, 2008).
Objectivist ontology as such means that phenomena are real and have definite properties and
causes (ibid). Therefore the researcher contends that by virtue of the objectivist ontological
theory, there were identified similar epistemological stance in the field. First, that the social
phenomena of pedagogy depend on social actors such as teachers and students and that the reality
of pupil’s development is only reflective in the methodological foci of the educational system in
juxtaposition to the academic progression of students for development. Answers from the
questions asked during fieldwork indeed attests to this fact. Through this method, the researcher
was able to deduce that of all the varied educational certificates and experiences of teachers (the
being), the methodology of teaching English – direct teaching (social position on pedagogical
direction) was subjected to the experiences of social actors – the pupils (whose external and
internal effects of their environments affect their way of understanding and assimilating
instructions in school). Also, what was evident through this method was the absence of an
epistemological underpinning of drama/theatre studies in teacher’s educational backgrounds in
teacher colleges. This forms the basis of employing the creative dramatics as a teaching
methodology in any given classroom situation. Of the 80 respondents to the research
questionnaires, most of them had little to no training at all on drama/theatre/drama in education
45
University of Ghana http://ugspace.ug.edu.gh
techniques in the course of their studies to be teachers. The little knowledge some had on drama
was experiences from directing plays in churches which mostly depends on the many movies
(both local and international) the director on hand has seen. On the other hand, courses such as
‘creative arts’ which are being taught in the schools in question depended more on ‘drama’
(which many, including teachers and students understand as acting) as the generic term used to
classify the arts in most public primary schools. That notwithstanding, those who claim to use
‘creative dramatics’ as supplementary methodology to the direct teaching method do not even
understand the depths of the method and how well it can be integrated in helping students
assimilate lessons in school. From a positivist point of view, this research contends with the
premise above that there are detectable regularities as well as irregularities but, by inferring from
the observable possibilities of a creative dramatics methodology, an alternative to teaching
effective English language assimilation in schools can be realized.
3.3 Research Design
To achieve the objective of this study and based on the research paradigm (ontology,
epistemology and methodology) the researcher decided to conduct experiments based on the pre-
test - post-test design. A pre-test - post-test design is used in many true experimental designs
because it administers a pre-test before the experimental manipulation and a post-test, which is
the same test as the pre-test, after the manipulation. A pre-test - post-test design is usually the
preferred method used in true experimental designs to measure change and compare participant
groups because it allows the researcher to assess the effect of the experimental manipulation by
looking at the difference between the pre-test and post-test. A pre-test - post-test design is an
46
University of Ghana http://ugspace.ug.edu.gh
assessment tool that is administered at the beginning and at the end of an experiment. The
experimental setting is as follows;
Two classes were selected from the upper primary form (class 5) from two different schools and
two different classes from Junior High School (JHS 2). In order to introduce the pupils/student to
creative dramatics, the researcher used the topic “Drug Abuse” taught with direct teaching
method in the two primary classes and went over it with creative dramatics, specifically, using
role play. This enabled the pupils/students to be familiarized with role play. The JHS 2 were not
introduced to creative dramatics because after the explanation of the concept to creative
dramatics, the researcher found that she could proceed with the teaching without the introduction
with a topic. The aim was to understand the causes of bad English communication in these
classes and by employing creative dramatics through role play, address them. The problems
encountered had varied causes among which were the lack of confidence, the overwhelming
strength of local/vernacular languages, and the lack of genuine interest in speaking good English
in such public schools and outside. The plan was that through creative dramatics, the researcher
could identify these learning disabilities and through confidence building from drama, build on
creativity to aid speaking and writing of good English.
The treatments of the two classes of the upper primary were done by teaching pupils/students the
topic “Communication”, with role play from their textbook. The JHS 2 classes too were taught
“Bullies meet their match” with role play from their textbook. As soon as the teaching was over,
a class test was conducted to assess their performance. The objective of this test (pre-test) was to
check the communication prowess of the classes after teaching them with creative dramatics. The
47
University of Ghana http://ugspace.ug.edu.gh
initial research was timed between eight weeks with a second test different from the first test
conducted after.
3.4 Population and Sample of the Study
Two groups were studied in this research to identify with the first objective of this study which is,
to identify the problems associated with the teaching of vocabulary in English Language through
the direct teaching methods. The groups selected were the trained teachers of JHS and the
primary schools in the Ayawaso Central and those of the West-Wuogon Sub-Districts in the
Greater Accra Metropolitan Assembly.
The sample size was 100 and the respondents were selected randomly.
To achieve the second objective which is to assess the impact of the Creative dramatics technique
in teaching vocabulary in the English Language; Accra New Town ‘1’ Primary School, St. John’s
Primary School and Accra New Town Experimental ‘1’ JHS were tested. It is important to point
out that St John’s has no Junior High School. The students of St John’s Primary School moving
to JHS are transferred to Accra New Town Experimental “1” Junior High School. The total
population of the Accra New Town Experimental 1 JHS is 348. Accra New Town Experimental
“1” Primary is 420 pupils and St John’s Primary is 400. The three schools totaled 1,168.
The sample studied were two groups of class five pupils from two different primary schools in
Accra New Town. Two groups also; form 2 from a Junior High School (JHS) in the same cluster.
The sample size for the study was two hundred and forty (240) basic school children in four
different classes. Ninety seven students (97) comprises the Accra New Town (ANT)
48
University of Ghana http://ugspace.ug.edu.gh
Experimental “1” Junior High School, Seventy five (75) pupils in the Accra New Town (ANT)
St John’s Primary School, and sixty eight (68) pupils in Accra New Town (ANT) Experimental
“1” Primary School. The researcher used the random sampling method to choose the cluster of
schools that had the needed population for the study.
3.5 Teaching Experiments
With the objective which is to assess the impact of the creative dramatics technique in teaching
English Language vocabulary, the researcher proceeded with participation in the experimentation.
Experimentation started with teaching the pupils/students of the 4 classes, English language
vocabulary with Creative Dramatic teaching methods. The topics selected for the teaching were
new to all the classes under consideration. The table below shows the topics taught per class.
Table 1 Teaching Experiments
SCHOOL NAME TOPICANT Experimental Class 5 CommunicationSt. John’s Primary Class 5 CommunicationANT Experimental “1” JHS 2 A Bullies Meet their matchANT Experimental“1” JHS 2 B Bullies Meet their match
The type of Creative Dramatics strategy chosen for this study was role play. Role play is
sometimes referred to as dramatic play; it is made up of three phases: Briefing, Role Play and
Debriefing. The teaching started with briefing in all the classes with their various topics. During
the briefing phase, the facilitator discusses the story/passage with the learners. The learners then
brainstorm and discuss the story to set the action of play in motion. During any of the warm up
sessions; physical, emotional, mental and social exercises are employed with word games for
example, memory games. Word development is introduced during the sessions; such as,
“alternative/substitution” that is; synonymous words derived for the original keywords from the
story/passage during the mental warm up.
49
University of Ghana http://ugspace.ug.edu.gh
The next was the role play, which was made up of a selected group of volunteers who played the
various roles in the story. The rest of the class served as the participating audience. Students who
volunteered to participate in the dramatization were called upon to put the action across,
interacting as much as possible with both the keywords and the derived synonyms as the
conversation went on. Themes/ lessons were carried out during the drama. Lines were not learnt
therefore participants were expected to converse freely as the articulation of the English language
allowed. They were expected to improvise, innovate and be creative throughout the lesson.
Finally, when the role play was over, the various players, the participating audience and the
facilitator gathered to assess the drama technique which is the debriefing phase of method. The
facilitator guided this process and the outcome was considered in this regard, whether the
vocabulary deployed was adequately used, whether the themes and ideas played out well and
whether the technique achieved the academic/moral lessons examined. Participants and
participating audience had the liberty to decide on a replay if the story was not played effectively.
3.6 Data collection and analysis
To achieve the purpose of the study, a questionnaire of forty-two questions was set. (See
Appendix 11).The questionnaire was made up of three main
parts: The three sections significant to this study were:
Respondent Background
Use of Simulations, Games and Role Play (SGRP)
Use of Simulations, Games and Role Play (SGRP)
50
University of Ghana http://ugspace.ug.edu.gh
The “Respondent Background” section comprised of sixteen questions, the “Use of SGRP” section
added up to thirteen questions and finally, the “Perceived barriers of Creative Dramatics” section
had ten questions. The “Use of SGRP” section was made up of questions that the researcher used
to confirm the benefit t h a t has b e e n identified a s r e g a r d s Creative Dramatics from the
GES’ teachers’ point of view. The “Respondent Background” and “Perceived barriers to the use of
Creative Dramatics” sections were also used to test the topic.
The first source of variables in forming the questionnaire was the literature. These variables were
the various positions of the authorities in the field of education, drama and pedagogy. The second
phase was the pre-test. During the phase of the pre-test of the questionnaire, a small number of
interviews were conducted with the public Basic School Teachers of Ga-East in the GES. The
objective of these interviews was to check the formulation of the questions in terms of clarity and
ambiguity. These interviews assisted in the identification of the problems related to the answering
of the questionnaire.
The research sampling frame for the questionnaire survey comprised randomly selected teachers
of all levels of GES Basics Schools (Primary and JSS) in Ga East District, Ayawaso Central and
West-Wuogon Sub-Districts in the Greater Accra Region. Hence, results represented the
characteristics and perception of teachers across many subject domains covering all levels and a
variety of class sizes in the public schools. One hundred questionnaires were distributed w i t h i n
t h e s e l e c t e d d i s t r i c t s , GES Basic Schools.
To analyze the data that was gathered on the questionnaire, the statistical software SPSS
(Statistical Package for Social Scientist) was used. The main statistics were computed with the
frequencies, the mean and median.
51
University of Ghana http://ugspace.ug.edu.gh
After the teaching with creative dramatics the researcher conducted two tests. The first test (see
Appendix 17 to 20) was conducted just after the teaching. After the first test, the pupils/students
were subjected to “time” treatment. Therefore, after 8 weeks, the second test (see Appendix 17 to
20) was conducted. The results were analyzed with basic statistics.
3.7 Conclusion
The data collated from the research field opens up a lot of possibilities for further discussions and
eventual modification of certain aspects of the educational system upon recommendation. Issues
of alternative methodologies and their feasibility have been brought up as a follow-up to ways of
correcting the plunging English language BECE results in the scope of study. Data reviewed
from questionnaires brought out a deep rooted problem of teacher’s negligence of children’s
creativity in the learning environment, which could possibly serve as one of the reasons for the
free fall of examination results. The methodology as well, highlighted briefly on the short falls of
the direct teaching method as well as the environmental effects of learning and will discuss
further in the analysis section in the subsequent chapters.
.
52
University of Ghana http://ugspace.ug.edu.gh
CHAPTER FOUR
PRESENTATION, ANALYSIS AND DISCUSSION OF DATA
4.1 Introduction
The purpose of this chapter is to discuss and interpret the findings of the research. Firstly, the
research identified the problems associated with the teaching of vocabulary in English Language
with the direct teaching methods. It proceeded to assess the impact of the creative dramatics
technique in teaching vocabulary in the English Language.
The two groups used for the experiment were Classes 5 of St. John’s Primary and Accra New
Town Exp. ‘1’ Primary; as well as Exp.‘1’ J.H.S. The primary 5 were taught the English
language with a Creative dramatics (CD) methodology with focus on Vocabulary-based
communication with a textbook passage entitled “Communication”. The J.H.S pupils were taught
vocabulary-based communication with emphasis on the story ‘Bullies Meet their Match’. At the
end of each lesson a test was conducted to know their comprehension of the words. Eight weeks
later, all the taught classes were subjected to another new class tests based on vocabulary and
sentence construction when the topics were treated. The objective of these second tests conducted
was to test the retention level of the pupils with the help of a Creative dramatics teaching
methodology used in the teaching experiments.
Pupils in the classes where Creative Dramatics (CD) was employed as a methodology for
teaching had a pre-lesson preparation where words were explained and pronounced extensively.
There were high levels of activity during the two Creative Dramatics (CD) teaching experiments
where the researcher observed the enthusiasm of pupils to participate in discussion after work.
53
University of Ghana http://ugspace.ug.edu.gh
Due to the interactive nature of the method, learners were confident and expressed themselves
freely when improvising their roles. Interaction between the facilitator and learners during the
comprehension reading period also turned out to be more productive. Questionnaires were
distributed to teachers in the following districts; Ayawaso West–Wuogon, Ayawaso Central, La–
Nkwantanang (Ga-East). The questionnaire aided the research by revealing their views on the use
of the CD method as professional teachers in the field.
4.2 Results Analysis
This section presents the statistical analysis and the interpretation of the data collected from the
Ghana Education Service (GES) teachers of Accra Metropolis against the working hypothesis in
this study. (Ayawaso West-Wuogon, Central Ayawaso Districts and some Ga East District
teachers) A set of questionnaires were distributed and eighty were returned. Each questionnaire
contained forty-two questions grouped into three parts: Respondent Background, Use of
Simulations, Games or Role Play, and Barriers to Using Creative Dramatics in GES. The
response rate and the usability for each question were relevant for the analysis. The sampled
responses are discussed in this section and that helps to advance an inquiry into identifying
significant trends or lack thereof in effective teaching methods in schools. In the discussion
below, Percent is used with its symbol % and N represents the count or number of respondents,
which is Frequency.
54
University of Ghana http://ugspace.ug.edu.gh
Table 2: Characteristics of Respondents
Characteristics Frequency(N)
Age (years)
20-25 2
26-30 9
31-35 16
36-40 16
41-45 22
46-50 3
51-55 7
56-60 4
Sex
Male 33
Female 46
Percent (%)
2.5
11.4
20.3
20.3
27.8
3.8
8.9
5.1
41.8
58.2
55
University of Ghana http://ugspace.ug.edu.gh
Highest Education Qualification
Certificate 1 1.3
Post Secondary Teachers Certificate ‘A’ 4 5.2
Diploma 18 23.4
Bachelor 41 53.2
Post Graduate Diploma 7 9.1
Master 6 7.8
Are you a professional teacher
Yes 77 97.5
No 2 2.5
Duration of teaching with GES (years)
0-5 12 15.2
6-10 13 16.5
11-15 25 31.6
16-20 15 19.0
21-25 5 6.3
26-30 6 7.6
56
University of Ghana http://ugspace.ug.edu.gh
More than 30 3 3.8
Duration of teaching with school (years)
0-5 39 49.4
6-10 31 39.2
11-15 7 8.9
16-20 - -
21-25 1 1.3
26-30 1 1.3
More than 30 - -
The ages of the respondents ranges between 20 and 60 with the majority of 27.8% (N=22) in the
range 41 and 45, followed by the range 31 and 35 as well as 36 and 40 with 20.3% each (N=16)
and the range 26 and 30 with 11.4 (N=9). With the proportion of 41.8% of male and 58.2% of
female, the majority 53.2% (N=41) of the respondents hold a bachelor degree, followed by 23.4%
of Diploma holder, 9.1% with Post Graduate Diploma certificate, 7.8% Master’s degree holders,
5.2% of Post- Secondary Teachers’ Certificate ‘A’ and 1.3% of Certificate holders. 31.6% of the
respondents’ number of teaching years with GES ranged between 11 and 15 years, and the
percentage from 0 to 5 years was 15.2% and 3.8% for teaching more than 30 years. The
responses also revealed that 49.4% have spent less than 5 years in their current schools.
57
University of Ghana http://ugspace.ug.edu.gh
Figure 1: Current stage (class) of teaching
The Basic School teachers under GES are trained to teach any class. The figure 1 shows that most
of the respondents teach in J.H.S 1, J.H.S.2 and J. H.S 3. To investigate the emphasis of Creative
Dramatics in the teacher training curriculum and its usage by the respondents, the following
questions were asked:
Has Creative Dramatics been emphasized in your training? (Q 9)
58
University of Ghana http://ugspace.ug.edu.gh
The majority of the respondents, precisely 55% agree that Creative Dramatics has been
emphasized in their training. Then 14% strongly agreed that Creative Dramatics has been
emphasized in their training; 20% had no opinion and 7% disagreed.
Which teaching techniques were you introduced to in your training? (Q 10)
Table 3: Teaching Techniques
VariableFrequency Percent
Teaching techniques introduced during training
Questioning 55 69.6
Discussion 6075.0
59
University of Ghana http://ugspace.ug.edu.gh
Brainstorming 52 65.0
Field Trips 29 36.3
Cueing 5 6.3
Class Exercise 42 52.5
Simulations 12 15.0
Games 25 31.3
Role Play 51 63.8
Participation 24 30.0
Group Work 53 66.3
Drama or Dramatizing 37 46.3
Puppetry 2 2.5
Story Telling 35 43.8
Project 34 43.5
Stop Start 2 2.5
Picture Reading 26 32.5
Tableau 1 1.3
NA 1 1.3
60
University of Ghana http://ugspace.ug.edu.gh
Apart from puppetry, stop start and tableau teaching strategies, which are virtually below 3%, the
table above shows that most of the teaching techniques were introduced. 75% of the respondents
were introduced to Discussion, 69.6% to Questioning, 65.0% to Brainstorming, 66.3% to Group
work, 63.8% to Role Play teaching technique. 46.3% of the respondents stated that they were
introduced to Drama, 43.8% to storytelling, 31.3% to the Games teaching technique.
Most of the teaching strategies enquired in the questions above are found in every teaching
method like lecture teaching, direct teaching, creative dramatics etc. Nevertheless, majority of the
methods too, are devoid of role playing activities, for example; games, simulations, role play,
drama etc.
Which of the following teaching techniques do you apply in your teaching? (Q 11)
Teaching techniques applied
Questioning 57 72.2
Discussion 65 82.3
Brainstorming 56 70.9
Field Trips 18 22.8
Cueing 3 3.8
Class Exercise 51 64.6
Simulations 12 15.2
61
University of Ghana http://ugspace.ug.edu.gh
Games 21 26.6
Role Play 41 51.9
Participation 26 32.9
Group Work 45 57.0
Drama or Dramatizing 31 39.2
Puppetry 3 3.8
Story Telling 31 39.2
Project 30 38.0
NA 1 1.3
With regard to the question: “Which of the following teaching techniques do you apply in your
teaching?” in Table 2 majority of the respondents (82.3%) use Discussion, Questioning (72.2%)
and Brainstorming (70.9%) as teaching techniques whereas Puppetry and Cueing at (3.8%) is the
lowest used. The three essential teaching techniques under Creative Dramatics considered in this
study, Role Play, Games and Simulations, appeared to be used at different proportions by the
respondents. 15.2%, 26.6% and 51.9% of the respondents use Simulations, Games and Role Play
respectively.
The contrast above is that, if as much as 51% of teachers are conscientiously applying role play,
26.6% games, and 15.2% simulations, then testing pupils/students output in the BECE should
62
University of Ghana http://ugspace.ug.edu.gh
expect better results. Since Bruner (1964) professes that ‘the Enactive, Iconic and Symbolic
modalities, aid learners (humans) to depend on actions, imagery and language to correspond
mentally better to their environment (p3).
If direct teaching is producing results that GES stakeholders are dissatisfied with, then GES,
teachers and stakeholders should look seriously at the assertions of the scholars below. Kinder &
Carnine (1990) cited Engelmann and Carnine who purport that if environmental variables such as
community, class, parents are under control then; instructional materials, teacher’s delivery on
topics would promote “faultless communication”. That is, through clear interaction with learners
good outcomes are achieved. The researchers also realized that Direct Instruction (DI) is a
method that becomes useful to the learner when teaching, practice, evaluation are consistent over
time and across instructional settings. Consequently, any instructor who churns out effective
instruction in any teaching method achieves expected outcomes.
The percentages revealed above shows that Creative Dramatics (CD) is used alongside the direct
teaching method. Therefore, if the two methods are not effectively producing the results they
ought to, we can say certain variables are not functioning as they should. Hence, it presupposes
that GES should supply the vital needs for its trained teachers and learners to carry out effective
teaching and learning.
In effect, teachers will not ignore the two teaching methods at their disposal. Gogovi et al (2004)
are of the opinion that teachers are trained to use the Creative Dramatics but the method is
ignored. Sonbul and Schmitt (2009) also advocated the use of Incidental and Explicit teaching in
the teaching and learning of vocabulary. They encouraged their use alternatively because it
achieved better results when the instructors used both techniques. GES can also effectively
63
University of Ghana http://ugspace.ug.edu.gh
promote or enforce the use of the Direct Teaching alongside with the Creative Drama methods
alternatively.
What have you been trained to teach as a professional teacher? (Q 12)
Table 4: Teaching Subjects
Variable Frequency
Subjects trained to teach as a professional teacher
English Language 38
Mathematics 36
Ghanaian Language 20
Citizenship Studies 20
Creative Arts 22
Integrated Arts 33
French 9
Physical Education (PE) 21
Environmental Studies 29
Religion and Moral Studies 27
Percent
48.1
45.6
25.3
25.3
27.8
41.8
11.4
26.6
36.7
34.2
64
University of Ghana http://ugspace.ug.edu.gh
Subjects taught in school
English Language 27 33.8
Mathematics 35 43.8
Ghanaian Language 10 12.5
Citizenship Studies 14 17.5
Creative Arts 16 20.0
Integrated Arts 24 30.0
Which subject(s) do you teach? (Q 13)
Subjects taught using Creative Dramatics
English Language 15 20.8
Mathematics 9 12.2
Ghanaian Language 4 5.4
Citizenship Studies 7 9.5
Creative Arts 9 12.2
Integrated Arts 5 6.8
French 5 6.8
Physical Education (PE) 1 1.4
65
University of Ghana http://ugspace.ug.edu.gh
Environmental Studies 7 9.5
Religion and Moral Studies 12 16.2
NA 15 20.3
Question 12/13 were asked to know the subjects that the respondents have been trained to teach.
The summary of this in Table 3 shows that majority, 48.1% were English Language teachers but
only 33.8% of them teach the English Language, whilst 20.8% of these utilise Creative Dramatics
(CD). Considering Creative dramatics as a good teaching technique for language instruction;
statistics show that 25.3% are Ga Language teachers, with 12.5% of them teaching the language
whilst 5.4% of them utilise CD. With the French Language, 11.5 % are trained but 8.8% of the
teachers teach the language whilst 6.8 use CD.
By this statistics, it is evident that some of the teachers end up teaching subject areas other than
their own speciality. Creative Dramatics is very useful for language teaching but it is evident that
only a marginal percentage of the language teachers use it. GES as the employer has to make sure
language teachers teach what they specialise in to reduce the percentages in these findings.
66
University of Ghana http://ugspace.ug.edu.gh
Table 5: Definition of Creative Dramatics – Q15
Variable Frequency
Using drama/play to teach. 33
Using objects and imaginary things to teach. 11
Using my own idea to explain different situation. 3
Innovative approach towards teaching process. 2
Percent
67.3
22.4
6.1
4.1
Examining the above findings 67.3% of the teachers defined it rightly, thus an indication that the
teachers have some knowledge of the method. GES should put into effect measures that
encourage the use of Creative Dramatics teaching method in its public schools. This will help
GES as they embark on the road to improving our pupils/students results in English Language
which should also improve the outcomes in other subjects. As stated by Amankwah (2013), a
total of 182,000 students, who sat the B.E.C.E in June 2013, could not be placed in any of the
Senior High Schools in the country. This was due to failure in core subjects – Mathematics,
Social Studies, Integrated Science as well as English Language. This portrays the difficulty these
failed students have when using the language of instruction to answer questions in other subjects
in their examinations. I am of the opinion that, if a learner is incapable of passing the English
Language examination then, the question instructions, which comes with reading, understanding
and answering the in other subjects could be the difficulty for the learner.
67
University of Ghana http://ugspace.ug.edu.gh
Figure three, helps us to appreciate that 39.5% teachers among the respondents are using
the method whilst 32.9% of other teachers are considering its usage.
Figure 3: Category of Creative Dramatics user
From Table 6: Below, with regards to the question on the use of Creative dramatics, the answer
to the first statement generated was 55.4%. This last question also depicted an innovative
approach to teaching and the finding was 49.3%.
68
University of Ghana http://ugspace.ug.edu.gh
Table 6: Use of Creative Dramatics – Q17
Variable Frequency Percent
Use of Creative Dramatics
Gives a good representation of reality. 41 55.4
Suits well with the course. 10 13.3
Improves the course. 14 18.7
Is an important part of the course? 9 12.0
Was well introduced in the course. 6 8.0
Instruction helped me to play the SGRP. 2 2.7
Is an innovation approach towards teaching process? 37 49.3
69
University of Ghana http://ugspace.ug.edu.gh
Under the Use of Creative Dramatics, Table 6 revealed 55.4% teachers stated that the method
“gives a good representation of the reality”. The child’s senses of feelings, (taste, sight, auditory,
touch and smell) are awakened to participate a lot more when the lesson taught aims or supports the
use of dramatic activity. The method helps the learner to relate to the topic, increases his/her
participation, and helps the child to be confident. Confidence building helps children to
communicate better at school, home and also in society (Way 1967 p.5). The English language
exposure in GES schools is so limited to the classroom, as compared to non GES public schools,
compelling their pupils to communicate more in vernacular.
Teaching and learning developed through Creative Dramatics encourages child-centeredness, which
is paramount to the method and leads to pupil’s involvement. The data analysis, the findings and
Piaget’s (1973) theory, cited by Singer and Revenson (1997, p.13) endorses the notion that a “child
is a philosopher who perceives the world as he has experienced it”.
70
University of Ghana http://ugspace.ug.edu.gh
In addition, he says, the child plays an active role in his/her growth of intelligence as he learns by
doing. The experience that the learner goes through in a dramatic activity helps to improve the
child’s competence in communication, intelligence and behaviour.
Creative dramatics techniques is more exciting
Than
Other types of teaching methods. 62 91.2
Nothing, it is not exciting. 6 8.8
Creative dramatics is more effective than
Other types of teaching methods. 63 90.0
Nothing, it is not exciting. 7 10.0
Students learn
When preparing for creative dramatics. 20 25.3
When playing creative dramatics. 46 58.2
While doing the assignment. 17 21.5
No opinion. 9 11.4
71
University of Ghana http://ugspace.ug.edu.gh
The findings show 91.2% teachers indicate that the method is more exciting than other methods,
and 90.0% think the method is more effective than other methods; furthermore 58.2% think
students learn when playing creative dramatics.
According to Kim (1995, p.35)
There is a common perception that all learning should be serious and solemn in nature and that if one is having fun and there is hilarity and laughter, then it is not really learning. This is a misconception. It is possible to learn a language as well as enjoy oneself at the same time.
One of the best ways of teaching Creative dramatics is through games. Kim’s statement is
supported by Oblinger’s (2006, p.1) when he asserts that;
Exploring games and education is inherently controversial. Games can seem un-educational; they are typically associated with play and childhood. Even the name implies that games are the opposite of work. Assertions that those games must be used to make learning ‘fun’ ignore the fact that students who are deeply engaged in learning consider it both fun and hard work.
From Table 7 below, it can be seen that 67.5% agree that Creative dramatics is a dynamic way
of learning. 65% disagree that Creative dramatics is just for fun as Kim and Oblinger postulated.
70.9% agree that assignment given to pupils using creative dramatics encouraged pupils to learn.
61% agree that creative dramatics requires a high degree of involvement of students.
72
University of Ghana http://ugspace.ug.edu.gh
Table 7: Characteristics of Creative Dramatics
Variable Strongly Agree No Disagree Strongly
Agree Opinion Disagree
Creative dramatics is a 20.0% 67.5% 10.0% 1.3% 1.3%
dynamic way of learning.
Creative dramatics is just for 1.3% 10.0% 8.8% 65.0% 15.0%
fun.
Assignment given to pupils 17.7% 70.9% 7.6% 2.5% 1.3%
using creative dramatics
encouraged pupils to learn.
Creative dramatics requires a 24.7% 61.0% 7.8% 5.2% 1.3%
high degree of involvement
of students.
Creative dramatics increase 30.4% 60.8% 6.3% 2.5% -
students’ knowledge in the
subject.
The decision students make 4.1% 58.9% 19.2% 16.4% 1.4%
in creative dramatics are
based on institution.
73
University of Ghana http://ugspace.ug.edu.gh
I am motivated when
teaching with creative
dramatics.
I put more effort into creative
dramatics than into other types
of teaching
methods
10.3% 62.8% 16.7% 9.0% 1.3%
6.4% 37.2% 20.5% 33.3% 2.6%
Figure 4: Number of times per week of Creative dramatics application.
74
University of Ghana http://ugspace.ug.edu.gh
Figure 5: Time allocated for the Creative dramatics method
From the pie chat in Figure 4, 32% teachers had no opinion on the number of times per week of
applying Creative dramatics in their teaching and 30% reported that they use Creative dramatics
once per week. 22% use it twice, 9% two to four times and 7% teachers use CD five and more
times.
From the bar chat in Figure 5 also, 40.8% reported that the time allocated for teaching Creative
dramatics was too little. 31% say it is enough, 21% answered no opinion and 6.6% think time
allotted is too much. When I examine the opinions of the two statistics, I perceive that teachers
who think the method takes or need a lot of time end up ignoring or may ignore the usage of the
method advocated. This assertion is made by (Gogovi et al, 2004).
75
University of Ghana http://ugspace.ug.edu.gh
Figure 6: Expectation about Creative dramatics compared to its outcomes
From Table 7, it can be seen that 67.5% agree Creative dramatics is a dynamic way of learning.
65% disagree Creative dramatics is just for fun. 70.9% agree that assignment given to pupils
using Creative dramatics encouraged pupils to learn. 61% agree that Creative dramatics requires
a high degree of involvement of students.
The data and its findings support the postulations of Oblinger (2006) as well as Devishaj (2014),
who suggest that when children learn through enactments they understand and improve better.
76
University of Ghana http://ugspace.ug.edu.gh
4.3 Suitability of Creative Dramatics
Table 8 depicts the suitability of creative dramatics. It can be seen that 65.4% agree that they are
satisfied with the teaching techniques they are currently using. 67.1% disagree that Creative
dramatics techniques are not suitable for my subject.
Table 8: Suitability of Creative Dramatics
StronglyVariable Strongly Agree No Disagree
Agree Opinion Disagree
-I am satisfied with the 7.7% 65.4% 7.7% 19.2%
teaching techniques.
Creative dramatics techniques
are not suitable for my
subjects.3.8% 7.6% 11.4% 67.1% 10.1%
Creative dramatics2.6% 17.9% 12.8% 55.1% 11.5%
techniques are not available
77
University of Ghana http://ugspace.ug.edu.gh
for my subject.
Students won’t react well to
creative dramatics. 2.6% 9.2% 7.9% 65.8% 14.5%
The high percentages of views given by teachers to the suitability/promotion of the CD teaching
method strongly aid the purpose and objectives as well as the significance of this research.
4.4 Resources (Teaching and Learning Materials)
From Table 9, 55.1% agree that they have limited time available for teaching with Creative
dramatics. 53.8% agree that there is limited availability of resources to allow the use of Creative
dramatics. Approximately 50% agree that teaching with Creative dramatics is relatively low
priority in my school. 63.3% agree that there is limited support available for Creative dramatics.
Table 9: Resources
Strongly Agree No Disagre Stronglye
Agree Opinion Disagree
2.6%I have limited time 7.7% 55.1% 10.3% 24.4%available for teachingwith Creative dramatics.
78
University of Ghana http://ugspace.ug.edu.gh
There is limited availability 10.3% 53.8% 7.7% 26.9% 1.3%
of resources to allow the use
of Creative dramatics.
Teaching with Creative 3.9% 49.4% 6.5% 36.4% 3.9
dramatics is a relatively low
priority in my school.
There is limited support 6.3% 63.3% 11.4% 19.0% -
available for Creative
dramatics.
I feel that using Creative 2.5% 5.1% 7.6% 63.3% 21.5%
dramatics is risky.
I am not aware of this 2.7% 17.6% 12.2% 56.8% 10.8%available teaching methods and products.
79
University of Ghana http://ugspace.ug.edu.gh
The response of teachers to the application of CD’s limitation of time is 55.1% and the limited
availability of teaching resource is 53.8%. Limited support available for CD is 63.3%. The
following findings indicate an understanding that teachers that can be pointing to their preference
to stick to the methods they are used to. I can sense the frustration they have with inadequate
resource using direct teaching reflecting on CD, which needs skills training, structures, and
leading to more time and space. I propose that the GES makes teachers work more interesting by
providing its material and non-material resources - (skills, teachers, books, as well as
infrastructure- workshops space) for CD. Space for the work should be structured into the
architectural drawings of the school.
Although Kelley (1988) outlines improvisational ways of creating the CD teaching environment;
for teaching CD lessons, the right environments for teaching and learning are very relevant. From
Table 10, 84.6% recommended the teaching of Creative dramatics for all schools and 3.8%
reported that the teaching of Creative dramatics is time consuming and resource demanding.
80
University of Ghana http://ugspace.ug.edu.gh
Table 10: Comments
Frequency Percent
Recommend the teaching of Creative dramatics for all
schools.22 84.6
Time consuming and Resource demanding.1 3.8
Time consuming and Resource demanding/Time3 11.5
consuming and resource demanding.
The comments of the teachers who took part in this research show that they recommend the use
of the CD method. That suggests to me, teachers are willing to explore with CD when added to
the methods currently employed.
The overall understanding of the data analysis is that, even though Creative Drama is mentioned
as course on the primary Education curricula; its application is limited to entertainment for the
student. This clearly points out to the fact that CD as a methodology and as a course is gravely
misunderstood by teachers and students alike as creative arts. This is because there is a clear
distinction of what CD is and a formula in place to ensure that teachers are trained to apply CD
effectively. Hence, Professional teachers taking Theatre Arts as their field of study would be the
recommended group of teachers to pilot bthe proper implementation of an effective drama in
education programme.
81
University of Ghana http://ugspace.ug.edu.gh
In the 4th
Republic of Ghana, under President John Kuffour’s government, (from 2004 to 2008),
the GES went through educational reforms and Creative Arts was introduced in place of Music
and Dance. However, Professional teachers in the basic primary schools are still faced with
difficulty when teaching this subject without the right content and its educational methodological
skills. Therefore, a teacher without the right methodological training in a /some subject(s) is not
expected to churn out the right outcomes. As a Creative Arts teacher, the syllabus covers fields
such as visual arts, performing arts- drama, dance and music; Sewing, and Sculpture. My
advantage as a professional teacher with a PGDE (Post Graduate Diploma in Education); is that
my first degree in the School of Performing Arts, University of Ghana, Legon, was in Drama,
Dance and Music and majored in Theatre and Music. In my initial teacher training, (as a post
secondary teacher trainee) I majored in Education, Nutrition, Needlework, Housewifery as well
as Arts in general. I am thus enabled to handle a class using CD, as compared to another who
lacks the above skills.
4.5 Discussion of Pupils and Students class work evaluation.
From Table 11 below, the total number of pupils from the primary level was 121 and that from
the JHS level was 97. Out of the 12 primary pupils, 51 were males and 70 females. And out of the
97 JHS pupils, 49 were males and the remaining 48 were females.
82
University of Ghana http://ugspace.ug.edu.gh
Table 11: Demographics of Pupils
Level Total
Primary JHS
Male 51 49 100
Gender
Female 70 48 118
Total 121 97 218
Test scores of the primary and JHS classes can be found in (Appendix 17 to 20) it can be seen
that the performance of pupils from the Primary level based on the first and second evaluation
was approximately the same.
From Table 12 below, the primary class five pupils on roll (N) 51/70, that took the test. In the
first and second evaluation, the minimum scores were 13 and 11 whilst the maximum scores were
28 and 30 respectively. The mean or average score for the first evaluation was 22.49 and that of
the second evaluation was 22.54.
83
University of Ghana http://ugspace.ug.edu.gh
Table 12: Evaluation Scores for the Primary Level
Evaluation N Mean Minimum Maximum
First 51/70 22.49 13 28
Second 51/70 22.58 11 30
Total 121 22.49/22.58 13/11 28/30
Table 13 below depicts the performance of pupils from the JHS level based on the first and
second evaluation. It was seen that the students on average performed better in the first evaluation
with a mean value of 19 .72 as compared to the second evaluation with a mean value of 19.35. It
can also be seen that in the first and second evaluation, the minimum scores were 10 and 11
whiles the maximum scores were 30 and 27 respectively.
84
University of Ghana http://ugspace.ug.edu.gh
Table 13: Evaluation Scores for the JHS Level
Evaluation N Mean Minimum Maximum
First 49/48 19.7210
30
Second 49/48 19.3511
27
Total 97 19.72/19.3510/11
30/27
Pupils in class five were instructed with the passage on “Communication” and after the class,
they did a class exercise. Eight weeks later, the pupils had another test to find out if they
remembered what they had learnt in class.
The scores for the two exercises (class test and a quiz) are encouraging because comparing the
first results with the second for class five the results were better than the first exercise. It shows
that they remembered what they had played in class. It is expected that learners achieve better
understanding when learning is done through play because of the five senses, using the sense of
touch, smell, sight, hear and taste to explore learning; Recall is enhanced through play/activity
learning. This bears on Bruner’s (1964) theory of cognitive development, which highlights on
using actions, imagery and language in his labelled modalities of enactive, symbolic and
symbolic. Pages 11/12 of the literature review.
85
University of Ghana http://ugspace.ug.edu.gh
Students in form two were also instructed with the passage on “Bullies meet their match” and
after the class, they were also taken through the same process of testing. Eight weeks later, the
students had another test to confirm their ability to recall.
The scores for the two exercises (class test and a quiz) in the JHS were also encouraging although
comparing the first results with the second, the first scores are better than the second. Moreover,
the gap between the first marks and the second scores are not too much. Therefore averagely,
they did well because fifty percent of the second scores were above average. It is expected that
learners achieve better when learning is implemented through play. Aristotle also advocates the
five senses and its ability to enhance recall.
4.6 Conclusion
From the study, it appears that the generic name ‘Creative Dramatics’ is unknown or unclear to
most of the teachers of GES. Looking at games, role play and simulations, there is a disparity in
applying them in the classroom. Role play appears to be the most taught during the training of the
teachers. The other two may not have been adequately exposed / taught. Therefore, its use also is
at a significant low in percentage as shown in the findings. The study also reveals that most of the
teachers agreed to the effectiveness and the efficiency of utilizing the Creative Dramatics
teaching method. Classroom behaviour was also at its best due to pupils’ interaction that went on
due to the play method that comes with fun and hard work.
86
University of Ghana http://ugspace.ug.edu.gh
CHAPTER FIVE
CONCLUSION
5.1 Summary
Taking into consideration the objectives of this work which are:
iii. Identify the problems associated with the teaching of vocabulary in English Language
with the direct teaching methods.
iv. Assess the impact of the Creative dramatics (CD) technique in teaching vocabulary in
the English Language.
Direct Instruction (DI) teaching method proved its merits as being effective and efficient. It is
worth pointing out however, the unavailability of resources, both material and non-material
affects the outcome of DI teaching method. Hence, devoted teachers who perform better in their
duties are from schools that have efficient teaching and learning materials such as school
infrastructure, classroom furniture, chalk, black or white board, board ruler, coloured chalks,
textbooks, visual aids, manila cards, multimedia presentations and many others. This thought is
mentioned by scholars in the literature review.
Nevertheless, the study revealed that Creative Dramatics teaching method should be used as an
alternate method to the Direct Instruction as experienced in the fieldwork. This is because this
method has been found to be less stressful for teachers and pupils/students as well as equally
exciting than the non- play technique (Kim (1995), Courtney (1965), Ward (1995), Lease and
Siks (1952), Way, (1967), Keller, (1988)).
87
University of Ghana http://ugspace.ug.edu.gh
This research also disclosed that some of the professional teachers in GES agreed that Creative
Dramatics teaching method is an effective and efficient teaching method. Nevertheless, it was
also clear from the analysis, that most of them lacked clear understanding and grasp of the
Creative Dramatics (CD) teaching method. In Table 4 of the analysis, the findings showed 67.3%
of teachers defining Creative dramatics (CD) as ‘Using drama/play to teach’ whilst 22.4 %
thought “it is using objects and imaginary things to teach”. As a professional teacher and a
Drama in Education student, the technique is an innovative approach to teaching, but rather, that
had a low-response percentage of 4.1% as respondents’ definition to CD. In Table 5, 49.3% of
the same respondents thought it was “an innovative approach to teaching”. Therefore, the
findings in Tables 4 and 5 disclosed inconsistent responses from the CD users and non-users.
5.2 Other findings
Findings from the study/experiment revealed that pupils/students were eager, motivated
and ready anytime in the day for the lesson. Lessons (experiments) were mostly taught
after their break time, when they could be tired.
Whenever the lesson was cancelled for an emergency meeting of the school the learners
were always disappointed. Some of the teachers were sometimes alarmed for that
anxiety/concern from the children for the lesson.
Furthermore, participants always improved upon their creativity, imaginative and
innovative skills.
88
University of Ghana http://ugspace.ug.edu.gh
5.3 Conclusions
The study made known the method is ignored and not used effectively, Gogovi, (2004). Any
teaching method needs the right resources as well as the right approaches to achieve the expected
outcomes, whether DI or CD.
As a college trained teacher, and a post graduate in Education, it has been observed that the
Department of Education in Cape Coast University, and the University of Education, Winneba,
Ghana’s renowned two Education Universities are yet to introduce Drama in Education/Theatre
Modules in their chains of Teaching Methodology courses being offered at the Departments of
Education.
5.4 Recommendations
Following the findings of this study, it becomes imperative for the stakeholders to change some
of the ways; hence knowledge is dispensed for the benefit of pupils/students in Ghana. An
observation after the eighth week assessment, an interview session with the learners revealed that
children were impressed, inspired and expressed their willingness to co-operate with teachers
when GES gives the mandate to them to implement the Creative Dramatics technique.
Government policy developers in education, decision makers in GES, syllabus
developers, teachers and educational stakeholders should publish articles to explain
advocate and to expose the benefits of teaching the method of Creative Dramatics
in the GES classrooms.
Educational practitioners, researchers and academicians should conduct more research
89
University of Ghana http://ugspace.ug.edu.gh
into Creative Dramatics methods and how to impart knowledge with the
technique in Ghana. This will uncover grey areas of this teaching method and to
unveil more of its knowledge and benefits to GES and all its stakeholders.
All educational/training institutions should have teaching methodology of drama in
education instruction.
eminars and workshops, as well as ‘in-service training’ for teachers should be
organized by the management of the Ghana Education Service to aid teachers on the
field to teach the method of Creative dramatics in the classrooms.
GES publishers, teachers and lecturers in Drama in Education should write teaching /
teachers manuals on how to teach with Creative Dramatics method.
90
University of Ghana http://ugspace.ug.edu.gh
REFERENCES
Aboagye, J . K. (2002) Historical and Philosophical Foundation of Education in Ghana.Department of Basic Education, University of Education: Winneba.
Adam, D. (2000) Defining quality in education (journal article)http://www.unicef.org/education/files/QualityEducation.PDF -UNICEF
Adu John, Awuletey Innocent, Coates Nick, Torsuh Seth Ayivi. (2011) Primary English Pupil’s Book 5 (revised edition for the new national syllabus). Ghana: Winmat Publishers Ltd. p.24 and p.122
Ablo, G. K, Ananse, T, Hammond W, Keleve, M, Narh H.D, Nutsugah B, Taki, N. K. (2008) New Gateway to English for Junior High Schools. Ghana: Sedco Publishing Limited. p.
Amankwah, Charles. (2013, October, 1st). SHS placements out: 182,000 CAN’T GET SCHOOLS. Ghanaian Times, p.1and17.
Annie Ward, Howard W. Stoker, Mildred Murray-Ward (1996), "Achievement and Ability Tests- Definition of the Domain", Educational Measurement 2, University Press of America, pp.
2–5, ISBN 978-0-7618-0385-0
Blaikie, N, (1993) Approaches to Social Enquiry. Cambridge: Polity Press. Bryman,
Alan. (2012) Social Research Methods, 4th ed. Oxford: University Press Buchanan, M, (2006) Child Drama. Retrieved from, www.childdrama.com on 6-03-13
Chauhan, S.S (1979) “Innovations in Teaching-Learning Process”, PVT, New Delhi: Vikas Publishing House. ISBN 0-7069-7874-9
Chenfeld, M.B. (1978) Teaching Language Arts Creatively. Harcourt Brace Jovanovich, Inc,
Chomsky, N. (1966) Linguistic Theory Rein J.P.B. Allen and P. Van Buren (eds). Chomsky:Selected Readings, 152-9. London: Oxford University Press,
Clipson-Boyles, S. (1988) Drama in Primary English Teaching. London, Great Britain: David Fulton Publishers.
Colby Jeanette, (2000) Defining Quality in Education, New York: Miske Witts and Associates. (UNICEF)
Davidson, Phillip. (2015, February 4th
) The Basic School Language Policy: A concept to improve performance in Basic Schools. Ghanaian Times, p. 9.
91
University of Ghana http://ugspace.ug.edu.gh
Devishaj 2 0 1 4 , Tell me, Show me etc: Another: http://www.gaaec.org/files/newsletter-TICLS.pdf- The International Academy for Advanced Studies, 2014.
Freeman, D. and Richards J.C. (1993), Conceptions of Teaching and the Education of Second Language Teachers; TESOL Quarterly, Volume 27, No. 2. Summer, 1993
Galliers, R. 1991. Choosing appropriate information systems research approaches: A revised taxonomy. R. Galliers, ed. Information Systems Research: Issues, Methods and Practical Guidelines. Blackwell, Oxford, U.K., 144–162.
Given, Lisa M. (2008) The Sage encyclopedia of qualitative research methods. Los Angeles, Calif.: Sage Publications. ISBN 1-4129-4163-6
Gogovi, G. A. K, Victor Yankah, Gborsong, P.A, K. Essel (2004). Methods of Teaching Primary School English: Centre for Continuing Education, Cape Coast: University of Cape Coast Press. (CCEUCC)
Kim Lee Su; (1995) "Creative Games for the Language Class", Malaysia. 'Forum' Vol. 33 No 1, January - March 1995, Page 35.Retrieved from http://exchanges.state.gov/forum/vols/vol33/no1/p35.htm-
http://dosfan.lib.uic.edu/usia/E-USIA/forum/vols/vol33/no1/P35.htm, Retrieved on the 11-07-2014 @ 16:00hrs.
Keller, Betty. (1988). Improvisations in Creative Drama: Workshops and Dramatic sketches forstudent actors. Colorado: Meriwater Publishing Ltd.
Kyriacou, C. (1992, 1997) Effective Teaching in Schools, 1st &
2nd Edition
. London: Stanley Thornes Publishers Ltd.
Lahey, B. B. (2004). Psychology - An Introduction, 8th ed. New York: The McGraw Hill Companies Inc. (www.mhhe.com)
Littlewood T. W. (1985). Foreign and Second Language Learning: Language – acquisitionresearch and its implications for the class. London: Cambridge University.
Marley, S.C, Levin J.R. Glenberg, A.M. (2010) The Journal of Experimental Education, 2010, 78, 395–417 Copyright C Taylor & Francis Group, What Cognitive Benefits Does an Activity-Based Reading Strategy Afford Young Native American Readers? www.teachingenglish.org.uk/sites/teaching/files/C413%20Juba%20Publication_
May, T. (2001) Social Research; Issues, Methods and P r o c e s s ( 3rd
ed.). London; Open Publishers Ltd
Mingle, Edmund. (2013, November 1st
), Second Lady Calls for Quality Teaching to92
University of Ghana http://ugspace.ug.edu.gh
Rural Students Ghanaian Times, p.10
Mooney, C.G, (2013, p.16) Theories of Childhood, - An introduction to Dewey, Montessorri,
Erikson, Piaget, and Vygotsky, 2nd
Edition, USA: Redleaf Press,
Perrott, Elizabeth. (1982) Effective teaching: a practical guide to improving your teaching.London: Longman Press.
Rivers, W.M. (1964). The Psychologist and the Foreign Language Teacher, Chicago: University of Chicago Press.
Rosenshine, Barak. (2008). Synthesis Series: Five meanings of Direct Instruction. www.centerii.org- 9/3/15 PDF
Saunders, M. Lewis, P. & Thornhill, A. (2009) Research methods for business students, 5th
ed., Harlow: Pearson Education
Singer, D.G. & Revenson, T.A. (1997) A Piaget Primer: How a Child Thinks (Revised Edition).Madison, Connecticut: International Universities Press Inc.
Skinner, B.F. (1957) Verbal Behaviour. New York; Appleton – Century – Crafts. USA,
Tatar, S. (2002) Dramatic Activities in Language Arts Classrooms: Resource, Summary. http://www.indiana.edu/ reading/ieo/digests/d174.html
Way, B . (1967) Development t hrough Drama . London: Longmans, Greens and C o . Ltd.
Ward, Winifred. (1957). Playmaking with Children. New York: Appleton-Century-Crofts, Inc.
93
University of Ghana http://ugspace.ug.edu.gh
APPENDIX 1: REQUEST FOR INTRODUCTION LETTER
94
94
University of Ghana http://ugspace.ug.edu.gh
APPENDIX 2: INTRODUCTION LETTER TO SCHOOLS
95
University of Ghana http://ugspace.ug.edu.gh
APPENDIX 3: UNOFFICIAL FOCUS INTERVIEW
PRE – INTERVIEW INFORMING QUESTIONNAIRE
QUESTIONS POSED TO HEADTEACHER AND TEACHERS.
SCHOOL – MADINA No. CLUSTER OF SCHOOLS
La – Nkwantanang Municipal Council
After I have introduced myself as a teacher, the researcher set to ask questions on some of the
pertinent communication behaviour observed around the schools a few weeks ago.
HEADTEACHER
1. How many teachers are on your staff?
2. Averagely, how many pupils are in each class?
3. I have keenly observed that the pupils in this cluster prefer conversing in the vernacular (L1)
than the instructional medium (L2) during break periods. Is it a behaviour teacher’s grapple with
and so far what is being done progressively about it?
4. Is your school’s workforce professionally trained?
5. Are your pupils mostly located in the community? Do they get to school early and promptly?
TEACHER/HEAD
1. With the policy of using the local language in kindergarten to Classes one to three, are the
pupils comfortable with the vernacular as a medium of instruction? How?
96
University of Ghana http://ugspace.ug.edu.gh
2. As the medium of instruction begins in the fourth class, how do the learners cope with the
transition and the second Language (L2)?
3. Are learners fond of vernacular in the classroom?
4. Is it possible that the environment of the school (location) is the cause of the interest in the
vernacular speaking or the policy which encourages teaching with vernacular in the lower
primary and pre-school?
5. Apart from the Direct method of teaching, (Direct Instruction) do you apply other teaching
styles to get the children to converse with the L2, so that their practice will aid their spoken
skills?
97
University of Ghana http://ugspace.ug.edu.gh
APPENDIX 4: CONTEXT VARIABLES
98
University of Ghana http://ugspace.ug.edu.gh
APPENDIX 7: PASSAGE ON DRUG ABUSE
99
University of Ghana http://ugspace.ug.edu.gh
APPENDIX 8: PASSAGE ON COMMUNICATION
100
University of Ghana http://ugspace.ug.edu.gh
APPENDIX 9: PASSAGE ON BULLIES
101
University of Ghana http://ugspace.ug.edu.gh
APPENDIX 10: OTHER WARM UPS
Warming up game below is explained to the learners by the teacher.
Pupils stand up and walk around the classroom. As learners walk in class, teacher explains that :
One clap means freeze (stop and don’t move)
Two claps means walk
Three claps means jog (or skip, jump, hop)
Teacher puts the three movements into action before learners. The first five winners of the
various claps were acknowledged.
2. Description game
The facilitator calls a boy and a girl to go out of /leave the class.
The whole class attempts to describe their appearance vividly, two pupils/students of
every row in the class, whoever gets it right is given marks for their clubs/sections- (red, gold,
green and blue) in the class.
3. Vocabulary Substitute
Vocabulary needed for topics are discussed.
Learners review alternatives to keywords.
Facilitator mentions a keyword and call learners in turns to provide synonym/substitute.
This can be a word game for class.
102
University of Ghana http://ugspace.ug.edu.gh
APPENDIX 11: QUESTIONAIRE
15 November 2013
Dear Sir/Madam,
My name is Bless Ahiaku, a teacher by profession and a 2nd
year student of the
Department of Theatre Arts, School of Performing Arts, University of Ghana, Legon. As
part of my research project, I am conducting a study on using creative dramatics for
vocabulary development in public basic schools in Accra. This questionnaire regarding the
use of Creative dramatics in the classroom is one of the methods the study employs for data
collection. I will be grateful if you can kindly complete the following questions. Please
bear in mind that when you complete the questionnaire;
Do not write your name on the questionnaire – it remains anonymous.
There are no correct or incorrect answers – we require your honest opinion.
Please answer all questions.
Your first spontaneous reaction is the most valid. Please work quickly
and accurately. Do not ponder too long on a particular question / item.
The information in this survey will eventually assist Curriculum Research Development
Division of GES to take a look again at this teaching method so that it will be implemented.
Thank you once again for friendly and professional assistance.
Yours faithfully,
----------------------------- ------------------------------
Student Supervisor
103
University of Ghana http://ugspace.ug.edu.gh
UNIVERSITY OF GHANA
MASTER OF PHILOSOPHY IN DRAMA IN EDUCATION
RESEARCH QUESTIONNAIRE
Instruction
This questionnaire consists of three sections. Section A: Respondent Background; Section B:
Use of Creative Dramatics; Section C: Techniques suitability/ Resources/ Risk of the
Teaching Strategy.
Kindly tick boldly and distinctly the correct answer or answers.
------------------------------------------------------------------------------------------------------------
A. RESPONDENTS BACKGROUND Q1. Your age
A 20 - 25 yearsB 25 -30 yearsC 30 - 35 yearsD 35 - 40 yearsE 40 - 45 yeasF 45 - 50 yearsG 50 - 55 yearsH 55 - 60 years
Q 2: Your gender
A MaleB Female
104
University of Ghana http://ugspace.ug.edu.gh
Q3. Your highest educational qualification
A CertificatePost Secondary Teachers Certificate
B ‘A’C DiplomaD BachelorE Post Graduate DiplomaF MasterG Other(specify)
Q 4: Are you a professional teacher?
A YesB No
Q5. How long have you been teaching with GES?
A 0 - 5 yearsB 5 -10 yearsC 10 - 15 yearsD 15 - 20 yearsE 20 - 25 yeasF 25 - 30 yearsG 30 + years
Q6. How long have you been teaching with your school?
A 0 - 5 yearsB 5 -10 yearsC 10 - 15 yearsD 15 - 20 yearsE 20 - 25 yeasF 25 - 30 yearsG 30 + years
105
University of Ghana http://ugspace.ug.edu.gh
Q7. The name of your current school is;
A ANT ‘1’ Exp. J.S.SB ANT ‘1’ Exp. Primary SchoolC ANT. ST John’s Primary School
Dzorwulu Methodist PrimaryD SchoolE Abelenkpe J. H.SF Abelenkpe Primary SchoolG Dzorwulu Primary SchoolH Kotobabi ‘3’ Girls Junior HighI Kotobabi ‘1’ Mixed Junior High
Kotobabi ‘2’ Boys Junior HighJ School
Q8. The class you are currently teaching?
A Class 1B Class 2C Class 3D Class 4E Class 5F Class 6G JHS 1H JHS 2I JHS 3J Other
Q9. Creative Dramatics has been emphasized in your training?
A Strongly DisagreeB DisagreeC No Opinion
D AgreeE Strongly Agree
106
University of Ghana http://ugspace.ug.edu.gh
Q10. Which teaching techniques were you introduced to in your training?
A QuestioningB DiscussionC BrainstormingD Field TripsE CueingF Class ExerciseG SimulationsH GamesI Role PlayJ ParticipationK Group WorkL Drama or DramatizingM PuppetryN Story TellingO ProjectP Stop startQ Picture ReadingR TableauS Not Applicable
Q11. Which of the following teaching techniques do you apply in your teaching?
A QuestioningB DiscussionC BrainstormingD Field TripsE CueingF Class ExerciseG SimulationsH GamesI Role PlayJ ParticipationK Group WorkL Drama or DramatizingM PuppetryN Story TellingO ProjectP Not Applicable
107
University of Ghana http://ugspace.ug.edu.gh
Q12. What have you been trained to teach as a professional teacher?
A English LanguageB MathematicsC Ghanaian LanguageD Citizenship StudiesE Creative ArtsF Integrated ScienceG FrenchH Physical Education (PE)I Environmental StudiesJ Religion and Moral Studies
Q13. Which subject(s) do you teach?
A English LanguageB MathematicsC Ghanaian LanguageD Citizenship StudiesE Creative ArtsF Integrated ScienceG FrenchH Physical Education (PE)I Environmental StudiesJ Religion and Moral Studies
Q14. Which subject(s) do you teach using Creative Dramatics?A English LanguageB MathematicsC Ghanaian LanguageD Citizenship StudiesE Creative ArtsF Integrated ScienceG FrenchH Physical Education (PE)I Environmental StudiesJ Religion and moral studiesK Not Applicable
108
University of Ghana http://ugspace.ug.edu.gh
Q15. In your own words define Creative Dramatics.
…………………………………………………………………………………………………
…………………………………………………………………………………………………
…………………………………………………………………………………………………
……………………………………………………………………………………….
Q16. Category of Creative Dramatics users
YES NOA Are you a current userB Are you a former userC Never used, would consider using Never used, would not considerD using
B. USE OF CREATIVE DRAMATICS
Q17. Creative Dramatics
A Gives a good representation of the realityB Suits well with the course
C Improves the courseD Is an important part of the courseE Was well introduced in the courseF Instruction helped me to play the SGRPG Is an innovation approach towards teaching process
109
University of Ghana http://ugspace.ug.edu.gh
Q18. Creative dramatics techniques is more exciting than;
A Other types of teaching methods
B Nothing, it is not exciting
Q19. Creative Dramatics is more effective than;
A Other types of teaching methods
B Nothing, it is not exciting
Q20. Is Creative Dramatics a dynamic way of learning?
A Strongly disagree
B Disagree
C No opinion
D Agree
E Strongly agree
Q21. Creative Dramatics is just for fun
A Strongly disagree
B DisagreeC No Opinion
D Agree
E Strongly agree
110
University of Ghana http://ugspace.ug.edu.gh
Q22. Assignment given to pupils using Creative Dramatics encouraged pupils to learn
A Strongly disagree
B DisagreeC No Opinion
D Agree
E Strongly agree
Q23. Creative Dramatics requires a high degree of involvement of students
A Strongly disagree
B DisagreeC No Opinion
D Agree
E Strongly agree
Q24. Creative Dramatics increases pupils/students knowledge in the various subjects;
A Strongly disagree
B DisagreeC No Opinion
D Agree
E Strongly agree
Q25. Students learn;
A When preparing for Creative Dramatics
B When playing Creative DramaticsC While doing the assignment
D No Opinion
111
University of Ghana http://ugspace.ug.edu.gh
Q26. The decisions pupils/students make in the Creative Dramatics are based on
intuition;
A Strongly disagree
B DisagreeC No Opinion
D Agree
E Strongly agree
Q27. How many times do you apply Creative Dramatics in a week
A Once
B TwiceC 3 – 4
D 5-more
E No Opinion
Q28. I am motivated when teaching with Creative Dramatics;
A Strongly disagree
B Disagree
C No Opinion
D Agree
E Strongly agree
112
University of Ghana http://ugspace.ug.edu.gh
Q29. I put more effort into Creative Dramatics than into other types of teaching methods;
A Strongly disagree
B DisagreeC No Opinion
D Agree
E Strongly agree
Q30. My expectation about Creative Dramatics as compared to its outcomes are;
A Lower
B The sameC Higher
D No Opinion
Q31. Time given for the Creative Dramatics
A Too little
B EnoughC Too long
D No opinion
SUITABILITY OF CREATIVE DRAMATICS
Q32. I am satisfied with the teaching techniques I am currently using
A Strongly disagree
B DisagreeC No Opinion
D Agree
E Strongly agree
113
University of Ghana http://ugspace.ug.edu.gh
Q33. Creative Dramatics are not suitable for my subjects
A Strongly disagree
B DisagreeC No Opinion
D Agree
E Strongly agree
Q34. Creative Dramatics techniques are not available for my subject;
A Strongly disagree
B DisagreeC No Opinion
D Agree
E Strongly agree
Q35. Pupils/Students won’t react well to Creative Dramatics;
A Strongly disagree
B DisagreeC No Opinion
D Agree
E Strongly agree
RESOURCES: (TEACHING AND LEARNING MATERIALS)
Q36. I have limited time available for teaching with Creative Dramatics
A Strongly disagree
B DisagreeC No Opinion
D Agree
E Strongly agree
114
University of Ghana http://ugspace.ug.edu.gh
Q37. There is limited availability of resources to allow the use of Creative Dramatics
A Strongly disagree
B DisagreeC No Opinion
D Agree
E Strongly agree
Q38. Teaching with Creative Dramatics is a relatively low priority in my school
A Strongly disagree
B DisagreeC No Opinion
D Agree
E Strongly agree
Q39. There is limited support available (e.g. technical or administrative) for Creative
Dramatics
A Strongly disagreeB DisagreeC No Opinion
D Agree
E Strongly Agree
115
University of Ghana http://ugspace.ug.edu.gh
Q40. I feel that using Creative Dramatics is risky
A Strongly disagree
B DisagreeC No Opinion
D Agree
E Strongly Agree
Q41. I am not aware of this available teaching (Creative Dramatics) methods and products
A Strongly disagree
B DisagreeC No Opinion
D Agree
E Strongly Agree
Q42. Any other comments?
116
University of Ghana http://ugspace.ug.edu.gh
APPENDIX 13:
CLASS 5 – 1st ASSESSMENT
ST JOHN PRIMARY SCHOOL / A.N.T ‘1’ EXPERIMENTAL PRIMARY SCHOOL
ENGLISH LANGUAGE
CLASS 5
Unit 26- Communication - Answer the following:
CHOOSE TEN WORDS THAT ARE SIMILAR IN MEANING TO
COMMUNICATION FROM THE WORDS BELOW: 30 Marks.
Message, Sony, Letter, Form, E-mail, Kingdom, Phone call, Normal, Relate, English,
Home, Talk about, School, Tell, Break, Speak about, Teaching, Mavis, Communicate,
Interact, Class Five, Converse, Happy, Talk, Gossip, Boy, Discussion, Share, Girl,
Tell. Write short sentences with the following words/phrases giving ideas on
communication.
1. Talk
2. Post a letter / postman (2 sentences)
3. Laugh
4. Gong- gong beater
5. Television / pictures (2 sentences)
6. Annoy
7. play
8. Song for baby. (lullaby)
117
University of Ghana http://ugspace.ug.edu.gh
APPENDIX 14:
1ST
ASSESSMENT QUESTIONS – JHS 2A & 2B A.N.T ‘1’ E X PE RIME NTAL J.H .S
FORM 2A; 2B ENGLISH
LANGUAGE
“BULLIES MEET THEIR MATCH”
WORD DEVELOPMENT IN CREATIVE DRAMATICS
UNDERLINE THE WORDS WITH MEANINGS SIMILAR TO THE ONES GIVEN ON
YOUR LEFT- 30 marks
To bully: To: Family, Frighten, Kitchen, Scare, Classroom, Terrorize, Threaten
A bully, (ies): Book, Tormentor, Accra, Persecutor, Gangs, Boy, Tyrant, Intimidator,
Fresher: Veteran, Beginner, Ok, New, Language, Newcomer, Mocker, Pen.
‘Slasher’: Cloth, Cutlass, Food, ’Langalanga’, Plate, Scissor and Book.
Split: Table, Tear, Rip, Wall, Opening, Bed and Divide.
Menace: Posture, Threat, School, Danger, Nuisance, Floor, Troublemaker, Hazard,
Movement,
Curiosity: Interest, Fidget, Prying, Inquisitiveness, Fright, Bully.
Character: Role Player, Goat, Personality, Behaviour, Teach, Player.
Grit: Clench, Smile, Gnash, Sing, Suffer, Grind and Come.
Fidget: Toy, Ball, Move About, Sad, Chuckle, Beauty, Snigger, Fiddle, Jiggle.
Amusement: Entertainments, Promote, Enjoyment, Judgement, Pleasure,
Primary, Delight, Secondary, Fun, Pen, Glee.
118
University of Ghana http://ugspace.ug.edu.gh
Make two words out of the words below:
Budge- ‘Slasher’ Troublemaker
Character- Menace- Enjoyment
Fidget- Fright-
Splash- Bully
Write short sentences with the following words/phrases.
1. Newcomer
2. ‘Langalanga’
3. Character
4. Bully
5. Happy
119
University of Ghana http://ugspace.ug.edu.gh
APPENDIX 15:
SECOND ASSESSMENT - CLASS 5
ST JOHN’S PRIMARY SCHOOL / A.N.T ‘1’ EXPERIMENTAL PRIMARY SCHOOL
ENGLISH LANGUAGE
CLASS 5
Unit 26- Communication – FINAL/SECOND
ASSESSMENT Answer the following:
Underline the right answers. 30 marks
1. Speaking, talking, miming, signaling are forms of communication. (TRUE/FALSE)
2. Communication can be done through interviews, printing books, newspapers, telephones,
computer (TRUE/FALSE)
3. Play, drama, watching television is communication. (YES/NO)
4. Using Sign language is communication and interaction. (YES/NO)
5. Laughing is a form of communication. (YES,NO)
6. TO SHARE IDEAS AND INFORMATION is (computer, communication).
7. Apart from writing letters; posting, emailing, face booking; tweeting are forms of
(communication, radio).
8. Write four new words from communication.
9. Dancing can be used for interaction/communication. (- - - -) Clay, True, Form, Post.
10. ‘What’s-Up’ is a recent (chat, test) platform in Ghana. It is therefore communication.
11. Write short sentences with any three of the following words below: Telephone, computer,
television, radio, chat,
120
University of Ghana http://ugspace.ug.edu.gh
APPENDIX 16: 2nd ASSESSMENT – JHS 2A & 2B
A.N.T ‘1’ EXPERIMENTAL J.H .S
FORM 2A; 2B ENGLISH
LANGUAGE
“BULLIES MEET THEIR MATCH”
WORD DEVELOPMENT IN CREATIVE DRAMATICS
Write short sentences with the following words/phrases.
1. Newcomer
2. ‘Langalanga’
3. Character
4. Bully
5. Happy
Make two words out of the words below:
Budge- ‘Slasher’ Troublemaker
Character- Menace- Enjoyment
Fidget- Fright-
Splash- Bully
121
University of Ghana http://ugspace.ug.edu.gh
APPENDIX 17: TEST SCORES
ANT ‘1’ EXPERIMENTAL PRIMARY SCHOOL- CLASS 5 PUPILS
PUPIL ( BOYS) FIRST TEST SCORES SECOND TEST SCORES
1. PUPIL ONE 26 27
2. PUPIL TWO 28 29
3. PUPIL THREE 25 24
4. PUPIL FOUR 23 21
5. PUPIL FIVE 26 25
6. PUPIL SIX 25 27
7. PUPIL SEVEN 15 17
8. PUPIL EIGHT 26 28
9. PUPIL NINE 18 18
10. PUPIL TEN 21 23
11. PUPIL ELEVEN 20 21
12. PUPIL TWELVE 28 29
13. PUPIL THIRTEEN 25 27
14. PUPIL FOURTEEN 18 15
15. PUPIL FIFTEEN 25 27
16. PUPIL SIXTEEN 24 -
17. PUPIL SEVENTEEN 14 27
18. PUPIL EIGHTEEN 22 15
122
University of Ghana http://ugspace.ug.edu.gh
19. ” NINETEEN 16 27
20. ” TWENTY 24 23
21. ” TWENTY ONE 26 16
22. ” TWENTY TWO 28 20
23. ” TWENTY THREE 28 18
24. ” TWENTY FOUR 24 23
25. ” TWENTY FIVE 23 25
26. ” TWENTY SIX 28 29
27. ” TWENTY SEVEN 19 25
28. ” TWENTY EIGHT 22 30
29. ” TWENTY NINE 24 29
30. ” THIRTY - 25
31. ” THIRTY ONE 24 23
32. ” THIRTY TWO - 27
33. ” THIRTY THREE 18 20
TOTAL
PUPIL ( GIRLS) FIRST TEST SCORES SECOND TEST SCORES
1. PUPIL ONE 23 25
2. PUPIL TWO 26 25
3. PUPIL THREE 23 24
4. PUPIL FOUR 16 14
5. PUPIL FIVE 14 13
6. PUPIL SIX 25 24
123
University of Ghana http://ugspace.ug.edu.gh
7. PUPIL SEVEN 27 25
8. PUPIL EIGHT 21 22
9. PUPIL NINE 25 26
10. PUPIL TEN 24 23
12. PUPIL TWELVE 20 17
13. PUPIL THIRTEEN 18 15
14. PUPIL FOURTEEN 26 28
15. PUPIL FIFTEEN 20 15
16. PUPIL SIXTEEN 21 19
17. PUPIL SEVENTEEN 20 18
18. PUPIL EIGHTEEN 14 12
19. PUPIL NINETEEN 24 26
20. PUPIL TWENTY 23 27
21. PUPIL TWENTY ONE 25 23
22. PUPIL TWENTY TWO 25 27
23. PUPILTWENTY THREE 15 13
24. PUPIL TWENTY FOUR 26 28
25. PUPIL TWENTY FIVE 24 25
26. PUPIL TWENTY SIX 15 14
27. PUPILTWENTY SEVEN 21 23
28. PUPIL ” EIGHT 22 26
29. PUPIL ” NINE - -
124
University of Ghana http://ugspace.ug.edu.gh
30. PUPIL THIRTY 20 21
31. PUPIL THIRTY ONE 13 11
32. PUPIL THIRTY TWO 19 21
33. PUPIL THIRTY THREE 26 30
34. PUPIL THIRTY FOUR 16 13
35. PUPIL THIRTY FIVE 15 14
36. PUPIL THIRTY SIX 13 14
37. PUPIL THIRTY SEVEN 24 24
38. PUPIL THIRTY EIGHT 19 19
39. PUPIL THIRTY NINE 15 14
TOTAL
125
University of Ghana http://ugspace.ug.edu.gh
APPENDIX 18: TESTS SCORES – St. John’s – C. 5
ST. JOHN’S PRIMARY SCHOOL – CLASS 5 RESEARCH TEACHING ASSESSMENTS
BOYS - PUPIL NUMBER 1ST SCORES 2NDSCORES
Student one 24
Student two 27
Student three 24
Student four 22
Student five 12
Student six 24
Student seven 24
Student eight 25
Student nine 26
Student ten 20
Student eleven 25
Student twelve 24
Student thirteen 25
Student fourteen 24
Student fifteen 24
Student sixteen 26
Student seventeen 26
Student eighteen 26
TOTAL
126
University of Ghana http://ugspace.ug.edu.gh
Girls - St. John’s Primary Sch. Class 5 1ST SCORES 2ND SCORES
PUPIL NUMBER.
Student one 26
Student two 27
Student three 17
Student four 23
Student five 20
Student six 25
Student seven 21
Student eight 23
Student nine 24
Student ten 22
Student eleven 25
Student twelve 25
Student thirteen 25
Student fourteen 24
Student fifteen 25
Student sixteen 26
Student seventeen 21
Student eighteen 20
Student nineteen 27
Student twenty 12
Student twenty – one 19
127
University of Ghana http://ugspace.ug.edu.gh
Student twenty – two 21
Student twenty – three 28
Student twenty – four 22
Student twenty – five 26
Student twenty – six 23
Student twenty – seven 28
Student twenty – eight 25
Student twenty – nine 27
Student thirty 22
Student thirty – one 26
Student thirty – two 24
TOTAL
128
University of Ghana http://ugspace.ug.edu.gh
APPENDIX 19: TEST SCORES FOR JHS 2A
ANT. JHS STUDENTS: 2A
NAME OF PUPIL (BOYS) FIRST TEST SCORES SECOND TEST SCORES
Student 1 23 20Student 2 17 16Student 3 19 18Student 4 30 25Student 5 20 19Student 6 25 20Student 7 20 18Student 8 21 24Student 9 27 19Student 10 27 19Student 11 21 17Student 12 29 16Student 13 17 14Student 14 20 17Student 15 23 18
Student 16 23 23Student 17 23 19Student 18 30 19Student 19 19 20Student 20 19 21Student 21 16 19Student 22 15 16Student 23 18 19Student 24 14 13Student 25 26 21TOTAL
NAME OF PUPIL (GIRLS) FIRST TEST SCORES SECOND TEST SCORESStudent 1 17 18Student 2 14 19Student 3 25 20Student 4 22 19
Student 5 26 19Student 6 25 14Student 7 29 17Student 8 18 19
University of Ghana http://ugspace.ug.edu.gh
Student 9 17 17Student 10 21 17Student 11 19 18Student 12 29 19Student 13 20 18Student 14 28 19Student 15 24 19Student 16 18 20Student 17 18 22Student 18 27 18Student 19 23 18Student 20 18 18Student 21 25 18Student 22 19 20Student 23 25 15Student 24 21 18Student 25 17 18Student 26 16 15TOTAL
130
University of Ghana http://ugspace.ug.edu.gh
APPENDIX 20: TEST SCORES FOR JHS 2B
BOYS
NAME1ST
SCORES 2ND
SCORES
Student 1 20 17
Student 2 19 21
Student 3 15 19
Student 4 20 21
Student 5 20 24
Student 6 16 17
Student 7 13 19
Student 8 22 26
Student 9 11 16
Student 10 15 21
Student 11 14 19
Student 12 11 11
Student 13 12 13
Student 14 14 12
Student 15 22 25
Student 16 26 20
Student 17 12 16
Student 18 20 27
Student 19 19 23
Student 20 15 23
Student 21 23 19
Student 22 19 24
131
University of Ghana http://ugspace.ug.edu.gh
Student 23 23 21
Student 24 23 22
2B - GIRLS
Student 1 18 17
Student 2 20 19
Student 3 17 21
Student 4 21 25
Student 5 16 16
Student 6 18 22
Student 7 19 23
Student 8 21 23
Student 9 20 22
Student 10 19 25
Student 11 18 21
Student 12 20 24
Student 13 21 23
Student 14 22 25
Student 15 20 24
Student 16 16 19
Student 17 18 22
Student 18 20 20
Student 19 11 14
Student 20 22 18
Student 21 17 21
132
University of Ghana http://ugspace.ug.edu.gh
Student 22 10 15
133