Kathleen Gallagher, Rachel Rhoades, Sherry Bie, and Nancy Cardwell
The field of drama education and applied theater is best understood through a consideration of the major developments and aspirations that have shaped its trajectory over three historical periods: the latter years of the 19th century up until 1960, between 1960 and 1990, and the years encompassing the turn of the 21st century, 1990–2015, which was a decidedly more globalized epoch. The drama education/applied theater scholarship of the English-speaking world, including the United Kingdom, Europe, Australia and New Zealand, and North America, offers a fascinating distillation of the relationship between making drama and learning, including the history of alternative forms of education. Scholarship from Asia drawing on traditional forms of theater-making, as well as imported and adapted structures of Western drama education movements, speak to hybrid and ever-expanding practices across the globe.
Although young as a discipline within the academy, drama education/applied theater has all but made up for its relative immaturity by spanning a wide domain of multidisciplinary thinking, embracing an eclectic theoretical field that covers an enormous breadth of social issues and a vast range of learning theories, while straddling a compelling spectrum of political positions. The development of the field is infused with pioneering ideas that broke with entrenched historical traditions and habitual ways of learning, harkening toward new ways of thinking, being, relating, and creating. Taking the world as its source material and humanity as its target audience, the history of the progressive discipline of drama education/applied theater tells the story of an ambitious, flawed, idealized, politicized, divisive, and deeply humanistic scholarly and practice-driven field.
Sarah M. Stitzlein
Public schools are intricately connected to the stability and vitality of our democracy in the United States. The important relationship between public schooling and democracy began as a foundational idea in our fledgling republic, and it grew slowly over the course of our country’s history. Along the way, the relationship has been tested and challenged, encountering significant problems and limitations over time, including some that continue today. Despite these struggles and the many ways in which we’ve failed to fully fulfill the relationship, it has become a key one for maintaining the strength of our society and our political system.
Unlike a monarchy and other forms of government, it is difficult to maintain a democracy. Democracies take work; they rely upon the ongoing effort of elected officials and citizens, because they cannot run themselves or rely on just one person to lead. While democracy may be a highly desirable political system, its benefits are not always self-evident to children, and the pursuant skills and work it requires do not come naturally to most people. This is the rather precarious position of democracy; in order to maintain it, we have to educate children about its benefits and rationale while also equipping them with the skills and dispositions they need in order to for them to perpetuate it well. This is why we must link education and democracy.
Democracy requires informed and active voters who seek information to make wise decisions on behalf of themselves and the common good. Such voters must understand their own rights and freedoms, as well as those of others, as they deliberate together to reach mutually agreeable policies and practices. They must be equipped to engage in free and critical inquiry about the world and the problems surrounding them. And, they need the imagination and creativity to construct, revise, add to, and share the story of democracy with others, including the next generation.
The relationship between public schooling and democracy is best understood and fulfilled when it is not just a unidirectional one, where public schools support democracy, but rather when it moves in both directions, with the formal and cultural elements of democracy shaping the governance, content, and practices of schools. In this way, democracy is not just the end of public schooling, but also the means by which we achieve it.
Activities that actively and deliberately support museum visitors’ engagement with art and promote learning occupy a distinct, though contested, place in the history and current framing of the art museum across the globe. Despite its many benefits, educational work in art museums has grown erratically, frequently without formal structures, systems, or strategies, and it has been critiqued in the past for lacking a robust theoretical framework and consistent methodological principles. It remains the case that the field is broad, diverse, and continually evolving; in the early 21st century, the boundaries are shifting, for example, between what constitutes curatorial practice and learning practice in contemporary art museums. This fluidity and heterogeneity has enabled the emergence of creative and responsive practice that encourages visitors to learn with, through, and about art, but it poses challenges when the goal is to present a coherent overview. Therefore any summary of this complex domain will necessarily be selective. Nonetheless, taking the practice as it has been developed in the United Kingdom and the United States, where this work has been theorized and communicated to the greatest extent (and with reference to the practice in Europe, Canada, and Australia), it is possible to identify common historical developments, shared philosophical and pedagogical principles, and collective challenges and opportunities that contribute to a comprehensible picture, albeit one that is replete with contradictions. As a field, art-museum education continues to define itself. And although valuable research and theorization have been undertaken, in part by practitioners drawing on their own experiences, further work is required, not least to broaden the understanding of the practice as it is manifest globally and to make explicit the increasingly important role of art education within the art museum.