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- Member of: ASU Electronic Theses and Dissertations
Description
Examining the elements of the hidden curriculum in theatre education allows theatre educators the opportunity to reflect on their own pedagogy and its effects on the learner. The hidden curriculum refers to the unspoken or implicit values, norms, and beliefs that are transmitted through tacit messages. When the hidden curriculum remains veiled, the impact on the learner's education and socialization process can perpetuate gender, race, and class inequalities. In order to understand how the hidden curriculum manifests itself in theatre classrooms, we have to look at schools as "agents of legitimation, organized to produce and reproduce the dominant categories, values, and social relationships necessary for the maintenance of the larger society" (Giroux, 1983, p. 72). This qualitative study examined the hidden curriculum in theatre at the secondary level and looked at theatre teachers' pedagogy in reproducing elements of the hidden curriculum. Interviews, naturalistic observation, and a researcher reflective journal were employed in the data collection process to better understand: a) the elements of hidden curriculum that appear in theatre education at the secondary level, b) how the pedagogical practices of theatre teachers support societal structures, and c) how the hidden curriculum in theatre reinforces gender, race, and social class distinctions. Data were then coded and analyzed to find emergent themes. Multiple theoretical perspectives serve as a conceptual framework for understanding the hidden curriculum, and provide a neglected perspective of the hidden curriculum in theatre education. The theatre classroom provides a unique space to view hidden curriculum and can be viewed as a unique agent of social change. Themes related to the first research question emerged as: a) privileges for older students, b) school rules, c) respect for authority, d) acceptance of repetitive tasks, and c) punctuality. Themes related to the second research question emerged as: a) practices, b) procedures, c) rules, d) relationships, and e) structures. Finally, themes related to the third question emerged as: a) reinforcement of social inequality, b) perpetuation of class structure, and c) acceptance of social destiny. The discussion looks at the functions of theatre pedagogy in the reproduction of class, inequality, and institutionalized cultural norms.
ContributorsHines, Angela R (Author) / Saldana, Johnny (Thesis advisor) / Malewski, Erik (Committee member) / Fischman, Gustavo (Committee member) / Arizona State University (Publisher)
Created2013
Description
Multivariate forms of social oppression, such as racism, linguicism, and heterosexism, are manifested in schools that, as part of our communities, reflect the societal stratification and structural inequalities of a larger society. Teacher educators engaged in multicultural education are responsible for providing pre-service teachers with opportunities to critically examine the intricacies of cultural diversity in U.S. classrooms, developing critical multicultural dispositions. What are effective pedagogical strategies that encourage pre-service teachers to develop such critical multicultural practices? The researcher has found that participatory theatre, including Boalian theatre games, Forum Theatre, Image Theatre, and ethnodrama, can be a transformative, emancipatory pedagogical tool to engage students in critical and creative exploration of cultural diversity. The primary objective of this study is to illustrate how pre-service teachers develop critical consciousness through attending the researcher's multicultural teacher education classroom, which was designed at the nexus of Freirean and Boalian critical (performance) pedagogy, followed by analyzing his teaching practice, which focuses mainly on participatory theatre exercises. This doctoral dissertation is an ethnographic documentary of the researcher's striving to challenge the hegemonic status quo in teacher education by liberating himself from the anti-dialogical banking educator, and encouraging his students to liberate themselves as passive consumers of education. Such reflection may provide teacher educators with examples of counter-hegemonic (artistic) practice for social change relating to their own work.
ContributorsMitsumura, Masakazu (Author) / Tobin, Joseph (Thesis advisor) / Saldana, Johnny (Committee member) / Sterling, Pamela (Committee member) / Arizona State University (Publisher)
Created2012
Description
Guided by Clifford Geertz's notion of culture as symbolic stories people tell themselves about themselves, the purpose of this study is to examine how youth in an urban area of Phoenix, AZ experience collectively creating and performing original documentary theatre. I pay attention to the ways youth participants--also known as artist-researchers--construct, perform, and/or perceive their identities as they practice drama techniques including improvisation, physical theatre, and Theatre of the Oppressed for the purposes of making docutheatre for social justice. First the artist-researchers chose the topics for their play. Next, they learned and applied drama and research skills to gather and examine data sources used to construct a script that explores hiding and exposure. In the process of sharing and gathering true stories our unique docutheatre-making culture was created. This multimodal qualitative research case study draws upon the genres of arts-based research and visual ethnography as primary modes of data collection and interpretation. Narrative description and the ethnodramatic mode of representation are used in conjunction with still images and this study's companion website (www.meant2see.com) to report research findings. Primary data sources include participant observation fieldnotes, over twenty hours of recorded video footage, photographs, and the project's original script and performance of To Be What's Not Meant to See . Further data include journal entries, drawings, and social media. All data were coded using In Vivo and Process Coding methods and analyzed through a cultural studies lens. Codes were sorted into phenomenological categories representative of recurring ideas and themes. Assertions were then solidified once specific key linkages were constructed. This study's key assertions are: Key Assertion 1: Participation in devising documentary social justice theatre influences and affects the construction, perception, and/or performance of urban youth identities through profound connections made with interviewees during the interview process and through the collection of true stories that provide new information and rare opportunities for self-reflection and self-realization; Key Assertion 2: Portions of the roles urban youth play in their identity narratives are disguised or hidden--purposefully, reluctantly, and/or subconsciously--in order to appeal to friends, families, or the codes of dominant culture.
ContributorsGiannone, Enza (Author) / Saldana, Johnny (Thesis advisor) / Etheridge Woodson, Stephani (Committee member) / Margolis, Eric (Committee member) / Arizona State University (Publisher)
Created2014
Description
Four Souvenirs for Violin and Piano was composed by Paul Schoenfeld (b.1947) in 1990 as a showpiece, spotlighting the virtuosity of both the violin and piano in equal measure. Each movement is a modern interpretation of a folk or popular genre, re- envisioned over intricate jazz harmonies and rhythms. The work was commissioned by violinist Lev Polyakin, who specifically requested some short pieces that could be performed in a local jazz establishment named Night Town in Cleveland, Ohio. The result is a work that is approximately fifteen minutes in length. Schoenfeld is a respected composer in the contemporary classical music community, whose Café Music (1986) for piano trio has recently become a staple of the standard chamber music repertoire. Many of his other works, however, remain in relative obscurity. It is the focus of this document to shed light on at least one other notable composition; Four Souvenirs for Violin and Piano. Among the topics to be discussed regarding this piece are a brief history behind the genesis of this composition, a structural summary of the entire work and each of its movements, and an appended practice guide based on interview and coaching sessions with the composer himself. With this project, I hope to provide a better understanding and appreciation of this work.
ContributorsJanczyk, Kristie Annette (Author) / Ryan, Russell (Thesis advisor) / Campbell, Andrew (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2015
Description
Samuel Máynez Prince (1886-1966), was a prolific and important Mexican musician. Prince’s musical style followed the trends of the nineteenth-century salon music genre. His compositions include lullabies, songs, dances, marches, mazurkas, waltzes, and revolutionary anthems. Prince’s social status and performances in the famed Café Colón in Mexico City increased his popularity among high-ranking political figures during the time of the Mexican Revolution as well as his status in the Mexican music scene.
Unfortunately there is virtually no existing scholarship on Prince and even basic information regarding his life and works is not readily available. The lack of organization of the manuscript scores and the absence of dates of his works has further pushed the composer into obscurity. An investigation therefore was necessary in order to explore the neglected aspects of the life and works of Prince as a violinist and composer. This document is the result of such an investigation by including extensive new biographical information, as well as the first musical analysis and edition of the complete recovered works for violin and piano.
In order to fill the gaps present in the limited biographical information regarding Prince’s life, investigative research was conducted in Mexico City. Information was drawn from archives of the composer’s grandchildren, the Palacio de Bellas Artes, the Conservatorio Nacional de Música de México, and the Orquesta Sinfónica Nacional. The surviving relatives provided first-hand details on events in the composer’s life; one also offered the researcher access to their personal archive including, important life documents, photographs, programs from concert performances, and manuscript scores of the compositions. Establishing connections with the relatives also led the researcher to examining the violins owned and used by the late violinist/composer.
This oral history approach led to new and updated information, including the revival of previously unpublished music for violin and piano. These works are here compiled in an edition that will give students, teachers, and music-lovers access to this unknown repertoire. Finally, this research seeks to promote the beauty and nuances of Mexican salon music, and the complete works for violin and piano of Samuel Máynez Prince in particular.
Unfortunately there is virtually no existing scholarship on Prince and even basic information regarding his life and works is not readily available. The lack of organization of the manuscript scores and the absence of dates of his works has further pushed the composer into obscurity. An investigation therefore was necessary in order to explore the neglected aspects of the life and works of Prince as a violinist and composer. This document is the result of such an investigation by including extensive new biographical information, as well as the first musical analysis and edition of the complete recovered works for violin and piano.
In order to fill the gaps present in the limited biographical information regarding Prince’s life, investigative research was conducted in Mexico City. Information was drawn from archives of the composer’s grandchildren, the Palacio de Bellas Artes, the Conservatorio Nacional de Música de México, and the Orquesta Sinfónica Nacional. The surviving relatives provided first-hand details on events in the composer’s life; one also offered the researcher access to their personal archive including, important life documents, photographs, programs from concert performances, and manuscript scores of the compositions. Establishing connections with the relatives also led the researcher to examining the violins owned and used by the late violinist/composer.
This oral history approach led to new and updated information, including the revival of previously unpublished music for violin and piano. These works are here compiled in an edition that will give students, teachers, and music-lovers access to this unknown repertoire. Finally, this research seeks to promote the beauty and nuances of Mexican salon music, and the complete works for violin and piano of Samuel Máynez Prince in particular.
ContributorsEkenes, Spencer Arvin (Author) / McLin, Katherine (Thesis advisor) / Feisst, Sabine (Committee member) / Jiang, Danwen (Committee member) / Arizona State University (Publisher)
Created2016
Description
In May 2014, The Encyclopedia Show: Chicago performed its last volume. Like all others before, the Show was a collection of performances devised by artists, musicians, poets and playwrights all performing various subtopics surrounding a central theme, taken from “an actual Encyclopedia.” The final show was Volume 56 for Chicago; the founding city ended their six year run with an amassed body of work exploring topics ranging from Wyoming to Alan Turing, Serial Killers to Vice Presidents.
Perhaps more impressive than the monthly performance event in Chicago is the fact that the show has been “franchised” to organizers and performers in at least seventeen cities. Franchise agreements mandated that for at least the first year of performance, topics were to follow Chicago’s schedule, thus creating an archive of Shows around the world, each that started with Bears, moved to The Moon, onto Visible Spectrum of Color, and so on.
Now that the Chicago show has ended, I wonder what will happen to the innovative format for community performance that has reached thousands of audience members and inspired hundreds of individual performances across the globe in a six-year period.
This project, like much of my own work, has two aims: first, to provide the first substantive history of The Encyclopedia Show for archival purposes; and second, to explore whether this format can be used to achieve the goals of “interdisciplinarity” in the classroom. In an effort to honor my own interests in multiple academic disciplines and in an attempt to capture the structural and performative “feel” of an Encyclopedia Show, this dissertation takes the shape of an actual Encyclopedia Show. The overarching topic of this “show” is: Michelle Hill: The Doctoral Process. In an actual Encyclopedia Show, subtopics would work to explore multiple perspectives and narratives encompassed by the central topic. As such, my “subtopics” are devoted to the roles I have played throughout my doctoral process: historian, academic, teacher. A fourth role, performer, works to transition between the sections and further create the feel of a “breakage” from a more traditional dissertation.
Perhaps more impressive than the monthly performance event in Chicago is the fact that the show has been “franchised” to organizers and performers in at least seventeen cities. Franchise agreements mandated that for at least the first year of performance, topics were to follow Chicago’s schedule, thus creating an archive of Shows around the world, each that started with Bears, moved to The Moon, onto Visible Spectrum of Color, and so on.
Now that the Chicago show has ended, I wonder what will happen to the innovative format for community performance that has reached thousands of audience members and inspired hundreds of individual performances across the globe in a six-year period.
This project, like much of my own work, has two aims: first, to provide the first substantive history of The Encyclopedia Show for archival purposes; and second, to explore whether this format can be used to achieve the goals of “interdisciplinarity” in the classroom. In an effort to honor my own interests in multiple academic disciplines and in an attempt to capture the structural and performative “feel” of an Encyclopedia Show, this dissertation takes the shape of an actual Encyclopedia Show. The overarching topic of this “show” is: Michelle Hill: The Doctoral Process. In an actual Encyclopedia Show, subtopics would work to explore multiple perspectives and narratives encompassed by the central topic. As such, my “subtopics” are devoted to the roles I have played throughout my doctoral process: historian, academic, teacher. A fourth role, performer, works to transition between the sections and further create the feel of a “breakage” from a more traditional dissertation.
ContributorsHill, Michelle (Author) / Etheridge Woodson, Stephani (Thesis advisor) / Linde, Jennifer (Committee member) / Early, Jessica (Committee member) / Underiner, Tamara (Committee member) / Arizona State University (Publisher)
Created2017