PARTNERSHIPS IN EDUCATION: PLAN FOR A PROFESSIONAL DEVELOPMENT DAY

As part of her Graduate Diploma in Secondary Education course, Verushka Taylor was asked to imagine how issues the Social Contexts of Secondary Education class was reading about and discussing impact upon the work of teachers. To that end, students were asked to think deeply about one of the topics addressed in the semester, and to frame a projessio1UJi development day for colleagues that teaches about the topic, attends to the pedagogy of the session


TIMETABLE OF EVENTS
Teaching/Learning experience Adapted from a Theatre of the Oppressed activity (Boal 2002, pp.225-6), the first stage of the warm-up consists of the reading aloud and discussion of newspaper articles.These articles are on political and social events with specific relevance to indigenous issues, for example the recent move to reduce welfare of Indigenous parents whose children have a high rate of truancy.Participants are encouraged to demystifY the "bourgeois" press and to recognise the knowledge they have that allows them to recognise information not presented in the newspapers.The evocation of historic events is the second stage of the ideological warm-up.The aim here is to draw parallels between historic events and the current national situation.Boat suggests a final stage of lessons: that 'depending on the nature of the group and its awareness of historical events, lessons or explanations can be a useful stimulant ' (2002, p.226).This final stage is extended to include the following activity.

TeachinglLearning experience
As this professional development day has a focus on making local Indigenous culture central to the school's operation and drama course, the process for involving Indigenous guests is modelled here.For this reason, participants have been involved in the planning (guidelines prepared by the Aboriginal and Torres Strait Islander Unit Department of education, cited in NADIE 1995, pp.6-8).All participants have thus clarified the objectives of the guest's' involvement and are infonned of (and contribute to) preliminary discussions involving the fonnat of the session and how it fits into the overall program.In order to prepare the guest for the visit, significant questions have been identified and given to the Elder prior to their visit.Concepts s!he may be asked to speak about include (but are not limited by): • experiences (or their parents ' experiences) • his!her background (origin, family history etc) • history of the area and their cultural heritage From this mindmap, teachers will identify key points with which to structure their role plays: The theme, or what they want to learn about; the context, or the where and when, the particular circumstance that will be created by the role play/drama to explore the theme; the roles, or who will they be playing; and the frame, or why the role play is taking place and which viewpoint the roles will have (Bowell,& Heap 2001, pp.l28-129).

TeachinglLearning experience
In order to develop and establish protocols and guidelines for working with the local Indigenous community teachers need to make contact with that community.The videotaping and critiquing of role plays is an in-service education activity suggested by the Board of Teacher Registration, Queensland, to prepare teachers with interviews with parents, extended here to include students' communities.Teachers will take on roles as identified in the mind map and enact the role plays following the thematic/contextual and framed structure.

TeachingILeaming experience
With the assistance of the school's Aboriginal Education Officer, participants will watch and then critique their role Time Break for lunch 1.15 -2pm

TeachinglLearning experience
Image theatre is a key ingredient to Boa!'s Theatre of the Oppressed and is not only a component of the Years 7-10 Syllabus dramatic contexts, but a form by which to study the compulsory dramatic context of playbuilding.The following stages of Image theatre are followed in this experience (adapted from Boa12002, pp.176-l8l): I. Participants identify a theme relating to Indigenous education 2. Volunteers are asked to the chosen theme in visual fonn (in of 3 or more).Participants work without looking at what the others are doing in order not be influenced by them, but one after the other come into the middle of the playing space and use only their bodies to express the theme.These images are static and the exercise is done without talking.Once all volunteers have joined the space to show their images, the audience is asked if they can suggest a different image, which they then create.

Once everyone has been in the playing space, the jacilitatoT then nwves on to the
'dynamisation' of these images, done in three stages.
4. First dynamisation: The participant groups go back into the playing space and present exactly the same images as before, but this time all together and not in succession. 5. Second dynamisation: The participants attempt to interrelate with the other participants in the playing space: they need to link their images to those of others.They can use, for example, levels or distance, but their image must relate in some other way to others' poses.6. Third dynamisation: When the chosen theme is related to oppression, Boal states that it is common for participants to show the 'victims of the same repressive system' (2002, p.179).When this is the case, participants are then asked to transform all the 'victims' (or objects) into 'oppressors' (or subjects).

RATIONALE Ideological warm-up
Boal's 'Theatre of the Oppressed' contains a diverse range of exercises or activities but all have a 'didactic intent' (Boal 2002, pA8).If theatre is an 'ideological representation of images of society at large' (Boal 2002, p.225), then this activity serves to encourage drama teachers to not become alienated from society, no matter how intricate or demanding their day-to-day lives at school may be.
This activity is designed to allow teachers a framework by which to enter into substantive conversation with peers and begin to uncover the domination of whitesupremacist thought (McIntosh 1989;Hooks 2003), as represented in mainstream media.It is important that teachers analyse the impact of white supremacy on school society and society at large and how this influences their practice.McIntosh states that 1 white privilege, or supremacy, is 'an invisible package of unearned assets which I can count on cashing in each day, but about which I was 'meant' to remain oblivious' (1989, p.IO).The media is a powerful force in maintaining that oblivion, and through analysing the dominant voices and forms of communication in today's society, teachers may begin to realise how non-Indigenous students will be assured of given 'curricular materials that testifY to the existence of their race' and how the views of Indigenous students and their challenges are constructed to be seen in terms of their deficit (Munns 1998).
The participants' mission in this exercise is progressive in nature, and pedagogical and combative in character (Boal 2002, p.225).The analysis of information not presented in the press is an attempt to encourage teachers to recognise factors contributing to the hidden curriculum pervasive in Indigenous issues in schools (Symes & Preston 1997, p.278) and the evocation of historic events is recognising a need to view education and the education system as representative of the dominant societal ideologies.As Symes and Preston note, 'it is impossible to isolate schooling from'its context, from its contact with other institutions in the complex fabric of modem society ' (1997, p.273).In order to better understand the current situation, participants are encouraged to explore the history of oppression suffered by Indigenous Australians, how education plays a powerful role in oppression, and what forces are operating in contemporary society to maintain this position.

Guest Speaker: Wiradjuri Elder
By involving a member of the local community, participants will develop in sensitivity toward the people of their community, rather than view cross-cultural relationships as something removed from their immediate presence.McConaghy states that the 'schoolcommunity dynamic is ... central to the attainment of intellectual quality in rural classrooms ' (2002, p.lO).The inclusion of this experience is aimed to increase the 'perception of communities as integral to schooling and learning, as integral to classroom activities and to the culture, structure and decision-making of schools' (2002, p.IO), a perception that McConaghy identifies as crucial to the rural schooling context.
The need for a school-community dynamic in rural classrooms has driven the structure of the activity.Non-Indigenous teachers may approach what they view as the "other" or Indigenous community with trepidation and thus resist making steps toward building that dynamic.Modelled in this process has thus been a way to involve, approach and include community members in the classroom with the aim of decreasing trepidation through awareness. In

Video taped role play and critiqne
Teachers are presented with the opportunity for informed reflection and leaning in this activity.The Board of Teacher Registration, Queensland, stresses the importance of teachers' ability to establish and maintain relationships when establishing partnerships and protocols for working with the Indigenous community (Indigenous Education -Everybody's business 2004, pp.9-1 0).This activity is to allow participants 10 continue to develop their skill in relationship building and it is suggested that there is a need for particular 'sensitivity by non-Indigenous teachers when establishing relationships with Indigenous people' (Indigenous Education -Everybody's business 2004, p.lO).The development of these skills can be seen as a two-fold process: the development of interpersonal skills for teachers; and the 'building of community capacity at the broader than interpersonal level ' (Indigenous Education -Everybody's business 2004, p.l 0).As supported by McConagby's 'Situated Pedagogies' (2002), Indigenous Education -Everybody's business (2004) stresses that 'some skills necessary for relationshipbuilding can only be developed within the context of the specific community'.It is thus of utmost importance that this activity is seen as a role play and not as a replacement for work within the specific community.Thus, with the assistance of the school's Aboriginal Education Officer, participants will watch their role plays and be involved in Informed critique; informed in the sense that it will be viewed as continuing on from 'role play' into 'real life' .
Beresford identifies issues faced by Aboriginal Education Officers and parents in schools (2003, pp.265-7).The role of Aboriginal Education officers can be seen as limited: they are often under-resourced and can be seen as someone to 'sort out fights' (Beresford 2003, p.265).The real influence of Aboriginal Education Officers needs to be recognised and valued, as this impacts on the Indigenous students: 'The kids know that the officers have got no authority and they resent it'.The introduction of the Aboriginal Student Support and Parent Awareness Committee in the early 1990s aided the involvement of Aboriginal parents in schools, aiming to, amongst other things, encourage schools to 'create a more supportive and welcoming environment for Aboriginal students and their parents' (Beresford 2003, p.266).Local decision-making needs to be suited to the particular needs of a community, but Beresford states that there is a long way to go before both parties can fully and comfortably work together (2003, p.266).

Image theatre
In order to de-marginalise Indigenous issues in the curriculum, teachers need to challenge the deficit views of difference.To make these issues central in the curriculum, one needs to remove Indigenous students, their culture, their rights and their community from the periphery.
The Image theatre activity is structured to interrogate varying viewpoints and ideals.
The purpose of the first dynamisation is to give a multiple vision of the subject, an overview or an 'objective vision' (Boal 2002, p.177).The aim is to see what everybody thinks, rather than the individual: where the individual presentation of images (stage 2) gives a 'psychological representation', the first dyuamisation gives a 'social vision' (Boal 2002, p.178).The importance of this is to see how'the particular theme might influence or affect this particular community (Boal 2002, p.l78).In the second dynamisation we see not only a social vision, but an 'organised, org{U1ic, social vision'; rather than multiple points of view, we see an ' 'all-embracing' vision (Boal 2002, p.179).
Explored in this experience is simply a small part of issues relating to Indigenous education, but from a non-Indigenous dominated perspective.Heitrneyer asserts that 'the school curriculum should include the views of Aboriginal people.It does not mean slotting in a little extra content to a course or lesson ' (2004, p.242).In order not to further marginalise Indigenous Australians and perspectives through the curriculum and classroom activity, one needs to realise that: Aboriginal perspectives are not in themselves units of work but rather the way in which curriculum are developed.It is not an additional item to be dealt with separately but should be an integral part of what the school is already doing.It is the Aboriginal view taken toward a particular matter that is of concern to Aboriginal people, their society and culture (Lardner 1999, p.55, cited in Heitrneyer 2004, p.243).
What are some aspects of' Aboriginal perspectives' and how would the incorporation or inclusion (terms that are in themselves problematic for they suggest a binary relationship) of these in drama and curriculum allow for improved attendance, achievement and esteem of Indigenous students?How can drama be used as a tool for social change?In the Drama Years 7-10 Syllabus, 'Aboriginal and Indigenous' is mentioned only in cross-curriculum content and suggests the study of plays and texts which 'deal with Indigenous issues and portray a range of Aboriginal characters' (NSW Board of Studies 2003, p.15).The argument here is that Aboriginality and Indigenous issues/perspectives should be core-curriculum content, rather than a peripheral study of Aboriginal characters, writers and performers.What, then, 'values and attitudes' are students 'valuing and appreciating' when looking at the 'contribution of drama and theatre to enriching and sustaining cultures and societies' (NSW Board of Studies 2003, p.IO)? Curriculum may confirm that when considering their Indigenous students, 'schools and teachers should consider the possibility that classroom opposition may be rational cultural responses and not represent individual problems' (MunnsI998, p.182).

Statement of Best Practice
The opportunity for reflection and learning is given to participants here as they sit, think and write about their practice.

INTENDED OUTCOMES
There is ample literature about teaching strategies for 'Indigenous students, but the challenge in this development day is not to relay those strategies and methods of working, but to allow teachers to question why those strategies might be in place and whose needs they are serving.Strategies must be applied in context, and the primary intended outcome for this day is a development of that context.Boal believes that 'theatre is an art and a weapon ' (2002, p.225), but like any weapon it must be used wisely.Indigenous Australians have been oppressed for too long.This staff development day does not proclaim to be able to heal the country, but I firmly believe that education is a catalyst for change and that change must be dealt with in "mainstream" classrooms, not only "specialist" classrooms for Indigenous students.
This staff development day intends to stimulate the notion of 'cultural production', in which curriculum is seen as a 'dynamic relationship between teachers and pupils which reflects the social context in which the curriculum is constructed' (Grundy 1994, pp.27-39, cited in Munns 1998, p.I77).It is intended, however, that drama be used not only to reflect, but also to question and reconceptualise the social context.
Deficit logic needs to be unhinged to create an understanding, equitable and just schooling society.Munns explores the reality for many teachers of Indigenous students characterised by consistent 'struggles' centred on behaviour, attendance, engagement and academic achievement in which its explanations for 'student disaffection and lack of classroom success' turn to deficit logic (1998, p.90).The limitations of deficit are that explanations fail to address connections between the individual or group with the wider social context, as they simply work to attribute blame (Munns 1998, p.90).It is intended that the questioning, deconstruction and challenging of the wider social context of Aboriginality will reduce the ignorant need to fall back on debilitating deficit notions of difference.
• his!her lifestyle as a child and now • what they consider has changed for Indigenous people in today's society • hislher identity • major issues facing Indigenous people (and arts workers) today Education in Rural Australia.Volume 15 (2) involvement with the community and contact with parents.Issues may include: student attendance, home resources, helping students to realise their potential.

7 .
Participants conclude by completing the image they showed at the start.Discussion can then add depth to the first image shown.Teaching/Leaming experience Teachers independently review the current Aboriginal Education Policy (2005) and write a personal 'Statement of Best Practice' on how they would like to work to achieve some of the outcomes stated.This is a personal statement and includes ways in which they would like to involve the local Indigenous community.
Beresford (2003)owever, there is a danger of creating what McConaghy describes as a new racism(2000, p.253).This is founded npon a 'notion of the supposed incompatibility of cultural traditions' and a 'two race' binary rather than notions of superiority and inferiority(McConaghy 2000, p.253).The problematic concern of essentialism(McConaghy 2000, p.260)in Aboriginality is also raised.Essentialism can be seen as upholding colonial discourse and it is thus important for participants to examine what sort of 'knowledge' or understandings they are constructing, and whom this knowledge serves.The creation of a school-community dynamic is an ongoingMind mapThis activity is to facilitate and develop teachers' consciousness of the context of a specific community.Understanding this context could be, for example, recognition of 'family values ... knowing that there are aunties and that involved in the immediate family' (Indigenous Education -Everybody's business 2004, p.lO).The opportunity to "sit and think" is included in this activity, allowing teachers to examine what it is they know and would like to know about their students' community, and to develop these ideas as a group.Ways in which student/teacher relationships can be built through community are explored and asBeresford (2003)stresses, such relationships carry great importance.He notes that 'attendance and achievement are heightened' when Indigenous students feel they are being valued and heard(2003, p.269).It is not enough, though, to make an effort to value and listen to students, teachers must have an understanding of what they are valuing and to what they are listening.The possibility of this is increased when meaningful relationships are formed ~ith students.
process and within this process, one must be aware of creating what could be operating as an "us and them" mentality.
Teachers will be familiar with the drama syllabi, but are encouraged to examine ways in which the outcomes stated in the Aboriginal Education Policy (2005) can be embedded into the drama curriculum.As McConaghy states, 'whose knowledge is valued in this curriculum and whose knowledge is excluded from