Neurodrama in ELT- How to Plan a Lesson with the Brain in Mind?

Alicja Gałązka, Poland

Prof. dr hab. Alicja Gałązka is a linguist, psychologist, international coach and trainer. She has been researching and practicing drama for years. Her main interest is using drama in the ELT classroom in the neurological and psychological context. She is interested in the psychological aspects of language learning. A coordinator and participant of many international projects. An author of publications in Polish and English. The author of Future Learning System - a method based on using drama and cognitive psychology in ELT. Co-ordinator of two SIGs in IATEFL Poland: Psychology in ELT and Drama in the ELT classroom.

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Introduction
Neurological conditions of foreign language acquisition
Neurological dimension of drama
Drama and emotional teaching
Drama Strategies—choosing and using
Some practical examples
References

Introduction

In recent years there has been a considerable growth in our understanding of how the brain functions and how we learn. Emotion drives consciousness, consciousness drives attention, and attention drives learning and long-term memory. And it all begins with an innate sense of self. The human brain prioritizes human relationships and socio-cultural interactions. Deep within our brain we are wired to survive by empathizing and connecting with each other through action, movement and language. Our brain is, by nature, dramatic and exists to resolve conflict and perceived threats.

Nowadays the loss of free play, diminished parenting hours and dehumanized social networking dominance translates into significantly lower emotional intelligence (EQ), reduced memory and increased risk of chronic stress among children and today's youth. However, drama has got the power to make learning a language more effective and “brain-friendly”. Effective learning must encompass emotion to a greater extent, and no matter what we teach, if we neglect emotions, then the effect will be very poor. Students make sense of the world around them through acting and reacting to real and imagined experiences. They verbalize in make-believe worlds, generating, rehearsing and practising the language required in a safe fictional context. They also experience the emotional thrill of role play “as if”. Students’ dramatic play stimulates and uses many different parts of the brain, just as drama stimulates visual, auditory, spatial and motor functions. In drama, there is a safe and distanced opportunity to recognize and talk about emotions together whilst developing the target language. When a child is playing a character of their own creation within a drama class, they have to consider how to react and act as another person. To do this successfully, they will need to draw on what they know and have actually experienced emotionally. They will need to link real and imagined emotional experiences in order to develop a plausible character. Participants in drama are not held personally responsible once outside the drama, for the actions and feelings of the characters they create and portray within the drama. Emotional competence has a 'feel-good' factor, which is intrinsically motivating. Drama involves a significant focus on reading non-verbal messages and portraying and communicating them through gesture, eye-contact, movement and positioning. The non-verbal and verbal messages are juxtaposed for greater clarity of meaning. Verbal behaviours are also better recognised and developed as drama relies on and develops active listening and response. It supports the understanding of sub-text and the meaning lying behind spoken and written words.

Neurological conditions of foreign language acquisition

The brain is the organ directly responsible for controlling human thoughts, emotions and motivation. From a psychological viewpoint, it may be regarded as a kind of management centre in charge of consciousness functions, performing both as a reactive and directive body. Yet, the brain appears as a particular physiological reality, an extraordinary creation in organization patterns of the nervous system, responsible for perception of the world around us, adapting to its demands and entering into consequent interactions. It is the nervous system then that is responsible for conveying information from the surrounding reality, processing this information and making us respond in an appropriate manner. Understanding the pathways of consciousness needs careful insight into the peripheral nervous system, comprising the brain and the spinal cord surrounded by the bony structures. Additional protection of the brain is ensured by the cerebral fluid, continuously secreted by the brain. Circulating within and around the brain, the cerebrospinal fluid has an auxiliary role in elimination of waste by the peripheral nervous system. Along with the bony covering, the cerebrospinal fluid protects the brain against any injury imposed by external factors, while the physiological structure shields against internal threats. Blood flow reaching the brain passes the so-called hemato-cephalic barrier which rejects redundant and noxious substances.

The spinal cord, formed as a ganglion of nerve fibres, cylindrical in shape and with the diameter of a little finger, is shielded by the vertebrae and bones constituting the vertebral column. The nerve fibre ganglions branch into nerves of the peripheral system, like those leading to the internal organs or upper and lower limbs. One of the major roles of the spinal cord is to transmit information from distant peripheral nerves to the brain. A two-way communication of the nervous system is ensured by two types of nerves and neurons: the receptors and the effectors. The receptors are the receiving structures. Performing within the nervous system, the receptors receive sensory information (e.g., from the eyes, ears, skin) from distant nerves of the peripheral system and transmit it to the central system, including the spinal cord and the brain. The effectors, on the other hand, transmit motor information (e.g., movements of major and minor muscles) from the central nervous system to the peripheral one. The effect is an appropriate response to the information received (usually from the brain). Lower levels of the nervous system hierarchy may respond with no involvement of the brain. However, comprehensive interaction with the outer world, including perception of reality, demands more complex relations. It is the brain which is responsible for individuals’ integration with the environment. Three major parts may be distinguished in the brain: the forebrain (prosencephalon), the midbrain (mesencephalon) and the afterbrain (rhombencephalon). In the course of development, the forebrain takes the shape of a cap at the top of the mesencephalon and the afterbrain. It contains the cerebral cortex, the basal ganglia, the limbic system, the thalamus and the hypothalamus. The cortex plays the major role in thinking and in other mental processes. The limbic system is crucial for emotions, motivation, memory and learning; thanks to it, we are able to respond flexibly to the changing environment. Three interrelating cerebral structures within the limbic system are the amygdaloid nucleus, the septum and the hippocampus. The amygdala plays a role in anger and aggression, the septum is responsible for the emotions of anger and aggression, while the hippocampus plays a major part in generating memories and is considered to be associated with the short-term memory.

Neurological dimension of drama

The human mind appears as a specific personification of the brain, formed through the unique, dynamic configuration of neural connections, due to experienced events (Greenfield, 2002).

Evolution of such events within the brain space, reflecting the neurodynamic conditions of the brain, is responsible for mental processes. In recent years there has been a significant growth of interest in brain functions as well as neurological conditions of learning. A variety of the emerging learning models focus on ‘brain-friendly’ schemes or teaching based upon ‘brain performance principles’. The more we know about brain functions, the better we understand how we learn. We can influence our brain, both on the functional level as well as the level of its structure. Now we know that neurological development does not end during early adulthood. Neurons and connections within the brain may continue to be formed throughout our lives. The brain and its structure are highly flexible and change depending on the experience gained. The richer the learning environment, the stronger the brain stimulation to create new neural connections. Research indicates that mental situation or creation of representations (frequently used in drama) activates the neural structures as much as actual performance of an activity. Drama based upon the use of natural playing skills appears to be one of the best teaching tools in line with neurological teaching principles. When taking part in drama, students imagine having certain skills and competences, which enhance development and belief in their own capabilities. Studies by Kuhl (2003) suggest that students learning a language in a defined social reality acquire it much more efficiently than by just listening to their teacher or watching a film. Creating an imaginary world of fiction and drama ensures a social context, where students cooperate to establish interactions which will then generate language. Drama provides the opportunity to experiment with language in a socially significant context, synchronizing the imaginary experience with the body, mind, image and emotion, whilst at the time stimulating different areas of the brain. One of the greatest, yet underestimated, discoveries of the late 20th century was made by Giacomo Rizzolatti (1996) who found that observation of the movements of other people generates imitative responses in the motor pathways of the observer. It has been recognized now that they follow a specific motor programme, which codes the observed activities by gentle stimulation of appropriate neurons, producing however no actual movement in the observer, and established that this phenomenon is due to the specific system of neurons, referred to as the mirror ones. The discovery of mirror neurons may bring about a breakthrough in psychology, as fundamental as the discovery of DNA has been for genetics. Among the major functions of mirror neurons is recognition of the moods, feelings and thoughts of others. Accordingly, most people can easily read their interlocutors’ facials. Mirror neurons allow for learning; observing the gestures of another person causes imitation, which can be observed particularly in children. Observing others, we unknowingly imitate their facial expressions to activate the corresponding neurons and generate analogous feelings. The evidence may be contagious laughter. As research has shown, the system of mirror neurons within the brain, allowing for imitation and modelling of behaviours, ensures transmission of information and cross-cultural behaviours. Drama and theatre appear to be excellent tools for conveying the cultural message and an effective way of encouraging empathetic attitudes. The processes of copying, simulation and imitation have a tremendous neurological significance: they are the basis for the creation of fictional reality in drama.

Drama and emotional teaching

Drama is closely associated with experience and expression of emotions. Emotions stimulate consciousness, consciousness stimulates attention and this, in turn, activates long-term memory and learning. The human brain is programmed to establish empathetic interpersonal relations within a social and cultural context, accomplished through activities, movement and language. By nature, our brain fulfils the dramatic function of solving problems and avoiding threats. The human mind continues the inner dialogue on fictional past, present and future experience and visualizes them through a variety of scenes. Drama associates visual representations with emotions and provokes emotional responses to different stimuli, integrating the cognitive, affective and aesthetic experience. The brain receives its information through the senses. It is constantly changing (neuroplasticity) through experiencing and learning new things and is highly activated by stories. Brains are socially wired and can synchronise with each other (through mirror neurons).The brain learns first through imitation and mimicry and through imagined as well as real experiences. Emotionally charged experiences are more motivating and memorable. Drama has its roots in multi-sensory social play, which is spontaneous and prevalent before children come to school. Teachers may then add structure, offer forms and help scaffold imagined experiences for the children in drama lessons. They may use drama strategies to support this.

Dramatic play paves the way for learning before education intervenes. Children find dramatic play enjoyable and compelling. They engage with imagined worlds for long periods. These imagined experiences link real neurons into new learning pathways and strengthen existing neural pathways. Learning through dramatic play or drama can be emotionally charged, vivid and memorable. The brain is also significantly activated by stories and all drama is story-based. Brains need to interact with each other, not just work in solitary ways. They thrive on multi-sensory stimulation and activity rather than just watching and listening. Drama is based on pretending, which is important for cognitive development and helps students to get a deeper understanding of their own minds.

Drama Strategies—choosing and using

Drama as an art form has its own methodology that brings with it an infinitely adaptable set of scaffolding tools into the EFL classroom, called strategies or conventions. Each drama strategy can be seen as an active and often interactive thinking frame, which simultaneously makes cognitive, affective and aesthetic demands on the pupils. The skilled teacher is an empathetic facilitator, who selects drama strategies to scaffold and support thinking and learning a language in and through an established art form. There is a range of well-established drama strategies which English teachers are familiar with, but very often a lack of awareness of the flexibility and potential of these drama strategies results in them being used or misused as single activity ingredients which are not combined in a way that produces a fine drama “cake.” Drama strategies should be carefully selected according to the teacher's learning intentions and purpose. The awareness of the ways in which different children learn best and the ways their brains work most effectively can also influence the choice and suitability of the strategy. The drama strategies are the teacher's devices that enable pupil engagement and reflection, holding moments still for feeling, thinking and learning. ELT teachers selecting strategies must consider many factors such as students’ familiarity with the strategy, the energy level required, language level and the type of thinking they are trying to develop, amongst others.

Through drama strategies, teachers are able to offer different degrees of freedom and constraint to students at different points in the learning process. Both freedom and constraint of thought are essential to the creative process of learning a language in a brain-friendly way. Language teachers need to be sensitive to pupils’ creativity, introducing or adapting the basic strategies to free them up or support them as necessary. Drama strategies are adaptable and open to development by teachers. The more experienced and confident teachers become at using them, the more experimental they can become about playing with them, honing them to suit their own class and their own teaching purposes. Strategies both encourage and depend on pupil engagement and cooperation as well as on individual and/or shared thinking for their success.

There are many drama strategies which can be used in their existing form or adapted to suit the needs of your language teaching. I would like to present some of them which I have used and noticed how big their potential in language teaching is. They allow teachers to harness the power of students’ minds in a very effective way.

Some practical examples

1 Topic: Ageing, generation gap
Strategy used: Role on the wall

• As a means of exploring the experience of old age, the group is shown a highly selective, atmospheric, life-size charcoal and chalk drawing of an old man with a series of factual statements about his life. Students write some adjectives describing his appearance and his attitude to life on post-it notes and stick them on the drawing. The group recreates the man's life. As a follow-up, students can bring a family photo album with pictures of grandparents.
• In drama looking at the story of a disturbed teenager, the teacher draws a rough outline of a human figure and sticks it on the wall. The group adds a series of statements made about the figure by a parent, a grandmother, a friend, a teacher, a psychologist etc. - these are written beside the figure. Then the students read a few notes from the character's diary which give them a different picture of the character. Students write inside the outline of the figure everything they can say about the teenager after reading his/ her diary. It gives new understanding about the teenager and stimulates the discussion. It can be further explored through drama.

This strategy gives enormous possibilities to an English teacher. The students can either write on the Role on the Wall themselves in turn or record what they wish to contribute on post-it notes, which they then are invited to stick on the Role on the Wall. They can be asked to justify and explain their contributions, for example, “I have written that the stepmother is vain because....”. Post-it notes are a very flexible tool when working with Role on the Wall. Individual or group comments and information about the character can be gathered around a large outline on Post-its. They can of course be changed and modified if the students change their minds about the character during the course of the drama. The language teacher may invite a range of open responses about the character from the pupils by asking questions such as “What does the character look like?”, “How old is he/she?”, “What does she like eating?”, or more complex ones such as “What do we think are the positive characteristics of the character?” and “What might this character be feeling at this particular moment?”. The teacher can also create a thinking frame around the Role on the Wall or practice some language functions. There could be columns around the body outline with the headings “What might he do?”, “What he should do?”, or “What he will do?”. The students can place their responses in as well as personal records and files.

2. Topic: Pets
Strategy used: hot seating

A group has been reading a story about a family in which the stepdaughter (e.g., Snow White) asks her father to persuade her stepmother to allow her to keep pets. The step mother is very determined and takes no notice of the request. The group explores the likely conversation in pairs. Then the father (this can be the teacher in role or one of the students) sits in the middle of the circle facing an empty chair with the stepdaughter's shawl draped on it. He is “hot-seated” by the rest of the group being out of role. Students can ask questions or give advice on how to persuade the stepmother. Then the stepdaughter or the stepmother can be hot-seated. The activity can be done simultaneously in small groups when the class is too big.

Hot-seating allows to highlight a character's motivations and personal disposition, encouraging interrelationships between attitudes and events. It makes speaking in a foreign language more meaningful and stimulates conversation. Before bringing in the character, ask the class to consider in advance what questions they might ask the character when he/she sits in the hot-seat. This gives opportunity for formulating and considering students' questions and allows to work on grammar correctness and vocabulary choice. The teacher has to limit the number of questions that children can ask the character in the hot -seat. It is always better to leave students curious and wanting to know more about the character than carry on too long and lose pupils’ attention and interest.

There are many more drama strategies which can be successfully used in the ELT classroom. They can be used separately in the course of the lesson or as a whole structured drama lesson. Drama strategies can be adapted according to the topic of the lesson and the coursebook used. Drama makes teaching a foreign language more creative and effective. The collective and individual imaginations are stimulated and then fashioned through the use of drama strategies to produce intrinsic and extrinsic outcomes.

References

Banich, M.T. (1997). Neuropsychology: The neural bases of mental function. Boston: Houghton-Mifflin.

Bear M., Connors B., & Paradiso, B. (2006). Lippincott Neuroscience: Exploring the Brain.

Gałązka A. (2011). Drama as a tool of appreciative inquiry. The New Educational Review.

Gałązka, A. (2000). Drama as a stimulus of intrinsic motivation and communication skills in EFL classroom. Dedicated space, 2, Bratislava.

Gałązka, A. (2008). Motywacyjna rola dramy w glottodydaktyce. Impuls. Kraków

Gałązka, A. (2010). Constructive drama pedagogy in ELT classroom. In A. Gałązka (ed.), Drama, learning and creativity. National Drama Publications.UK.

Greenfield, S. (2002). The Private Life of the Brain. Penguin Press Science.

Kesner, R. (2007). Neurobiology of learning and memory. Academic Press.

Krashen, S. (1981). Second Language Acquisition and Second Language Learning. Oxford: Pergamon.

Kuhl, P. (2003). Born to learn, Language, Reading and the Brain of the Child. Paper presented at the Colorado Early Learning Summit, Denver. Colorado.

Rizzolatti (1996). Cognitive Brain Research, 3.

Schmidt-Rhaesa A. (2007). The Evolution of Organ Systems. Oxford: Oxford University Press.

Shepherd, G. (1994). Neurobiology. Oxford: Oxford University Press.

Spitzer, M. (2007). Jak uczy się mózg. PWN. Warszawa.

Sporns, O., & Matthews, G. (2010). Networks of the Brain. MIT Press.

Please check the Creative Methodology for the Classroom course at Pilgrims website.
Please check the Drama Techniques for Creative Language Teaching course at Pilgrims website.