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"A teacher cannot presume to give direct information to experts but instead must set up ways in which the experts will discover what they know while at the same time protecting them from the awareness that they do not as of yet have this expertise" (p.174)

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"A teacher cannot presume to give direct information to experts but instead must set up ways in which the experts will discover what they know while at the same time protecting them from the awareness that they do not as of yet have this expertise" (p.174)

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I think this quote describes what is meant by structure and spontaneity. The 'mantle of the expert' method works because the students work on a problem as experts within the field, and by being in it, they learn about it. This however only works, because of their imagination which allows them to emerge themselves in the chosen context. If they do not believe that they are experts, they won't lead the process and the method becomes less effective. At the same time, there is a curriculum that the learning needs to follow, which makes precise planning and structuring from the side of the teacher imperative, so that the students will find the knowledge, predetermined by said curriculum on their own.
-Naja

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"social construction of knowledge" (Heathcote and Herbert 1985)

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"social construction of knowledge" (Heathcote and Herbert 1985)

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This quote to me, portrays the leaning outcome of the task. The method is focused on collaborative learning by which the teacher is also a collaborator within the group. This approach leads to spontaneous problems and solutions within the task. Through basic knowledge of the subject the class was able to tackle each problem together and in turn, develop a better understanding of the material. The teacher asks guiding questions to the students but they must answer by using the knowledge they have already learned, by assuming the role of experts they are given confidence to put their knowledge into practice, and develop a deeper understanding of the material. Through collective discussion and roleplay they learn together.

Paula

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"The switch separates the role of the teacher from a giver of knowledge to an enabler of knowledge" (Heathcote and Herbert 1985, p.175)

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"The switch separates the role of the teacher from a giver of knowledge to an enabler of knowledge" (Heathcote and Herbert 1985, p.175)

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This quote communicates the core focus of the article for me. The 'mantel of the expert' method of teaching includes the reversal of the conventional ways of teaching, in which the student draws on the knowledge of the teacher. While the child is at the centre of this teaching method, the teacher is a  fundamental part of the child's learning and development. It is the teacher's doing, which transforms the child, from a child who would just do as they are told, to a child who is equipped with the skills to solve problems themselves.
- Eimear

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“The child is inside the structure, taking an active part in the process” (Heathcoat and Herbert 1985, p.174)

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“The child is inside the structure, taking an active part in the process” (Heathcoat and Herbert 1985, p.174)

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In my opinion this quote shows how essential it is to have the students have their own say and be somewhat in charge in the process of learning. The article explains that by having the teacher become a member of the group or company, rather than have them be the sole communicator or “giver of information” (Heathcoat and Herbert 1985, p.174), it allows the students to voice their own views, opinions, and feelings. This then helps to improve their communication and problem-solving skills and boosts their confidence in their own abilities.

Laura

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'A Drama of Learning: Mantle of the Expert' Quote

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'A Drama of Learning: Mantle of the Expert' Quote

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"Students have power through induction into expertise - a process which places them in an active context where they are responsible for the resolution of problems. They have the power to act on tasks and also to change the outcome of the group activity" (Heathcote and Herbert 1985, p. 178)

This quote emphasizes that one of the core arguments at the centre of the article is that by the end of process, students will have achieved or at least worked towards achieving self-governance and autonomy in dealing with and solving numerous different problems and challenges.

- Bryan

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"Students have power through induction into expertise" (Heathcote and Herbert 1985 p.178).

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"Students have power through induction into expertise" (Heathcote and Herbert 1985 p.178).

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This quote to my mind reflects a fundamental argument within this article as it indicates that the students as a group have the control in deciphering their project as the experts through dramatic imagination as opposed to the project being more theoretically driven, meaning the teacher does not take on the traditional role of someone that holds a greater knowledge that is to be than transferred on to the students. The students actively engage through work based tasks, imagery and discussions which allows for the student to feel more like an expert whilst the teacher takes on more of an administrative role. Allowing the students to have more of a handle on the project allows for deeper discovery and problem solving within the students learning, at the same time, as the teacher does not have as much of a handle on the project, it leaves a sense of uncertainty on how the project will play out.

Lynsey Phelan

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'Drama in the mind' (Heathcote and Herbert 1985, p.176).

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'Drama in the mind' (Heathcote and Herbert 1985, p.176).

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This quote conveys the core focus of the article for me. That is, within a child's imagination without any interference other than planting a seed for them to think about. The site or situation of the subject matter, introducing the syllabus context along the way while helping them to respond actively and to solve problems, as they were engrossed in the task at hand. These small tasks helped the children accept their roles, and demonstrate how they would do the tasks while learning the aspects of the curriculum. They have the power to learn by using their imagination.

Dawn

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Dorothy Heathcote uses methods centering around the imagination. This common concept may have been inspired by Stanislavski's theories on 'the magic if' and prove to be extremely effective in practice. She allows the children to gain knowledge and shadow people in an actual shoe factory and in doing so aids their imagination in the creative space. I appreciate the fact that she allowed the children to 'have a look' at the camera during their first day in the workroom. This removed the novelty of being in front of the camera and also took away the distraction of being filmed. She gave clear directions and outlines of what the children were to convey which reflected Harriet Finlay-Johnson's methods of combining imagination and improvisation with a clear context.

Paula.

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I didn’t have much time this week so I just have a few bullet points that I took down while watching:
Observation and investigation
Using the IMAGINATION
Learning by doing
She is guiding the process but not interfering with what develops
It’s about the childrens experience and interests

Naja

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The methods employed by Dorothy Heathcote in teaching are very interesting and informative. The techniques that she makes use of seems to have taken inspiration from both Harriet Finlay-Johnson with regards ‘Drama as a teaching and learning method’ and Henry Caldwell Cook with regards ‘Playing with purpose’. She appears to have used these foundations with added inspiration from Brechtian methods in building her own unique teaching philosophy, as stated by Eriksson “she uses distancing conventions such as direct address and breaks the action to allow for discussion” (Eriksson 2011, p. 106). What is also interesting is how she talks with the children without patronising them, as she took interest in the children’s fears such as the loss of jobs having asked them “What’s it like being a northerner?” and attributed those fears along with their interest in fashion into the formation of the workshop. What was also apparent was the effectiveness of her methods in helping the children to learn patience while dealing with workload requirements while continuously sparking their imagination which made the analysis of the video truly fascinating.

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At the beginning of Heathcote’s workshop, she asks the children about their interests and what its like to be a northerner. By listening to the children, she learned that many of them worried about being unemployment affecting them and their families. She first introduced the children to a real factory; this made it easier for the children to imagine it later in the workshop. Once the children entered the classroom she introduced them to the cameras, by point them out and letting the children explore them she took away the mystery of them and distraction they could cause. Heathcote stresses the importance of the imagination and how your imagination can make you feel like you are somewhere else, “everything will be thought”. Despite being directed by her, Heathcote allows the children and their imaginations to guide the lesson from the beginning by letting them choose the arrangement of the classroom or “boot factory”, right down to letting them decide what imaginary materials they are going to need. This gave them the opportunity to solve problems on their own, to know when to ask for help, and to improve their communication and imaginative skills which will benefit them throughout their lives.

Laura

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Dorothy Heathcote’s methods of teaching can be identified as delivering her learnings through practical approaches, such as allowing her students to act out real life situations whilst incorporating them with problem solving scenarios that were proficiently in play which allowed for confidence building. Heathcote’s practical approaches are acted out through imagination which allowed the students to stimulate their minds and heighten their social awareness. The use of imagination amongst the students deemed successful as one of the students asks the manager (Ms. Heathcote) for a tape measure. Whilst Heathcote is communicating with the students, Heathcote skillfully drops clues to the students that this is an experiment through the imagination by using metaphors within her communication, this technique can be evident in Part 1: The Factory in your head, when Heathcote suggests to the students “You need those other eyes, the eyes of the mind” (Heathcote 1971). Dorothy Heathcote’s approaches appear to be more problem solving rather than theory based, her means  of dramatizing a story are unfolded through action along with being unscripted. Heathcote's methods of teaching boosts skills in leadership and spontaneity which could also be seen in methods from Harriet Finlay- Johnson as Harriet recognized the rights of a child’s point of view.

Lynsey Phelan

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Dorothy Heathcote begins by explaining how she questioned the children about their thoughts and worries in relation to being Northerners. She recognises and acknowledges that these ten-year-olds are aware of society around them and have their own independent thoughts. This became the basis for her approach. The children visited and observed actual craftsmen at work. When in the workshop we see Heathcote stressing the importance and power of the use of imagination in the “unscripted and unpredictable drama” of their shoe factory. Heathcote takes on the role of factory manager and the children take on the role of workers who are assigned different jobs. The children have been exposed to real life workspaces and now, through the imagination, are placed in one themselves. This enables them to not only stretch and exercise their imaginations but gain knowledge and experience of something outside the realm of school and to expand their creativity and communication skills through teamwork and problem solving based on their tasks.

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In Heathcote's approaches to education in the video, she initially asks the children about their interests and worries and she listens. The children engaged in an actual work setting outside of school, and on their return to the classroom, Heathcote used an imaginative context for them to be a part of. Provided them with materials, such as paper, drawings and furniture to create a work environment, but everything else was imagined. This imagined improvised factory helps the children to interact with each other, work on problems and deal with situations, which are all life skills. This imaginative play through improvisation echoes elements of Stanislavski's techniques such as the 'given circumstances, communication and imagination. Her method and practice of pedagogy in encouraging the children to imagine their tasks and actions experienced in the real factory also echo elements of Brecht's 'gestus'. The children's real-world experiences helped them gain knowledge through their memory. Heathcote's 'Mantle of the Expert' approach helped the children's imaginary play by treating them as experts in the role undertaken (Heathcote and Herbert 1985). This philosophy she pioneered, of Drama in Education, increased the children's engagement and gives them tools such as communication, problem-solving and confidence in a social capacity by using their imagination and effective memory.

Dawn