Peer Reviewed Title: Journal For Learning Through The Arts .
Peer ReviewedTitle:Performative Inquiry: Arresting the Villains in Jack & the BeanstalkJournal Issue:Journal for Learning through the Arts, 4(1)Author:Fels, Lynn M, Simon Fraser UniversityPublication /9qn621v8Acknowledgements:BiographyLynn Fels joined the Faculty of Education at Simon Fraser University, as Assistant Professorin September 2007. Exploring Curriculum: Performative Inquiry, Role Drama and Learning,co-authored with George Belliveau, was published January 2008 by Pacific Education Press.She is currently the Academic Editor of an open-access journal, Educational Insights,www.educationalinsights.ca. Her research interests are arts education, performative inquiry,curriculum, writing, and the interplay between technology and performance.Keywords:performative inquiry, curriculum, learning, role drama, integration, arts educationAbstract:From flower arranging to negotiating with a willful cow, an educator stumbles across the thresholdinto a performative space of learning that invites her to pay attention to what matters when ateacher encounters her students. Performative inquiry in the classroom brings to the curriculuma spirit and practice of inquiry, critical and creative thinking and reflection, and embodiedengagement. The ambition is not to simply “put on a play” or expose children to the arts, but to usethe arts as an active means of critical and creative inquiry in pedagogical engagements acrossthe curriculum.Performative inquiry provides a theoretical underpinning that supports the use of the arts as aviable vehicle for learning across the curriculum. Performative inquiry in the classroom calls forcross-curricular explorations that are embodied, relational, and intimate. Bringing performativeinquiry into science, language arts, social sciences, or other disciplines opens new ways of workingwith students that encourage student agency and empowerment. Integrating the arts througheScholarship provides open access, scholarly publishingservices to the University of California and delivers a dynamicresearch platform to scholars worldwide.
performative inquiry engages students in meaningful curricular explorations, thus enlarging thespace of the possible.Drawing on David Appelbaum’s conceptualization of the stop, a moment of risk, a moment ofopportunity, the author calls us to attention, to listen to the embodied texts that we create throughour engagement in the arts. It is in the listening, the critical and creative thinking, and the reflectionthat is our inquiry, that performative inquiry in the classroom offers a powerful means of engagingstudents in meaningful ways of learning through the arts.Creating an imaginary world through role drama—working with visualizations, tableaux,soundscapes, and improvisation—invite metaphor, symbolism, imagery, relational engagementand communal awareness and reflection. These are the possible embodied literary engagementsthat performative inquiry brings to the pedagogical spaces of the Secondary English classroom.Performative inquiry encourages a rewriting of curricular texts that perform us—texts that have asyet to be imagined. Performative inquiry encourages a critical reading and re/interpretation of howwe come to understand our worlds of relationship and engagement.We come, each of us, with our own questions, biases, motivations, experiences, cultural andsocial perspectives; but we come also to engage critically, reflectively, responsively, playfully,creatively. We write together an emergent new curricular text of engagement; a performative textthat lends itself to interpretation, reflection, revision—a gift of presence and curiosity permitted byan embodied communal inquiry that engages us intimately.Copyright Information:All rights reserved unless otherwise indicated. Contact the author or original publisher for anynecessary permissions. eScholarship is not the copyright owner for deposited works. Learn moreat http://www.escholarship.org/help copyright.html#reuseeScholarship provides open access, scholarly publishingservices to the University of California and delivers a dynamicresearch platform to scholars worldwide.
Fels: Performative Inquiry: Arresting the Villains in Jack & the Beanstalkthese are our possibilities—listen in our breathing togetherwe realize our text(s).I have a confession. On my first day of teaching in a secondaryschool in Kimberley, British Columbia, I donned a kimono andintroduced haiku to my astonished twelfth grade students. Myintroduction to the poetic form began with a lesson on flowerarranging. Thirty-two years later, I am, of course, appalled at mytransgression. A recent transplant from Ontario, I had had noknowledge of the World War II relocation of Japanese-Canadiancitizens from the West coast, nor had I had any concept at the time ofcultural appropriation. Nor was I the only one guilty! The town itselfwas undergoing its own dubious cultural reinvention—a Bavarianfacelift was in full tilt. After that fateful class, I remember watching thelocal church steeple being removed by crane and replaced by anarchitectural revisioning that held the hopes of new fortunes in afading economy.1
Journal for Learning through the Arts, 4(1), Article 2 (2008)My haiku lesson was the first occasion of my crossing borders toexplore learning through the arts across the curriculum. Unable at thetime to find a teaching position, I spent several years as a freelanceperforming arts educator. My specialty was introducing performing artsinto different subject areas: math, science, language arts, socialstudies. I created a play that subversively taught the times tables tofourth grade students. I co-investigated air pressure with third gradestudents through the reenactment of famous moments of flight, afterwhich the students created an original music composition usinghomemade wind instruments of assorted water-filled bottles. A fifthgrade class and I integrated medieval history and notions of chivalryinto our puppet play.Then one day, a second grade teacher phones me, “We’redoing a unit on fairytales. Would you be interested in doing aplay with my students?” We choose Jack and the Beanstalk asour fairytale. I give Jack a sister in the interests of gender equityand, with the students gathered around me on the carpet, I tellthem the story and assign roles. Working without a script, webegin to improvise the first scene together. I ask each child todecide what his or her character would say or do, and slowly ourplay unfolds. I turn my attention to the cow.2
Fels: Performative Inquiry: Arresting the Villains in Jack & the Beanstalk“Now listen, you’re a cow, and Jack and Jill have just toldyou that they are going to sell you at the market. Whatwould you say to them?”“Moo?”“Well, yes, that’s good. What else? Remember you are atalking cow.”“I’d say, ummm I know! ‘What?! You’re going to take meto the market and sell me?! Why ME?! Why don’t you sellthe rooster?’”“But we don’t have a rooster!” I remind him. “Didn’t youlisten to the story?”“Then let’s get one! Who wants to be the rooster?”“I do.” “Me!” “Pick me!” Fifteen hands wave frantically inthe air, including the cow’s.“No rooster,” I insist. “Stick to the story that I told youearlier.”Exhausted, two hours later, we come to the improvisationof the final scene.“Here’s the situation.” I tell them. “Jack and Jill have cutdown the Beanstalk. The giant is sprawled dead on theground. The mother hugs Jack and Jill. Now how shall weend the play?”3
Journal for Learning through the Arts, 4(1), Article 2 (2008)I am met with shrugs and puzzled looks. No one offers anyideas. It is too close to lunch. So I decide to provide theending myself. I am, after all, the theater expert.“Okay, here’s what will happen. You’ll all hold hands anddance around the giant and sing, ‘Hurray, hurray, thegiant’s dead, now we can all go home to bed!’”I demonstrate with great enthusiasm. The students stareuncertainly at me, the thought “what a stupid idea!”clearly expressed on their faces. And then one student—the one that the teacher had warned me about, “If hegives you any trouble, just send him back to theclassroom”—tugs at my sleeve.“I have an idea, he says.“What?” I snap. I am disappointed that my great idea hasbeen rejected.“I’ll be the police officer who comes to arrest Jack and Jilland their mother for KILLING THE GIANT!”A police officer in a fairytale?!!?My immediate response is to say NO!—but the word hangs unspoken between us 4
Fels: Performative Inquiry: Arresting the Villains in Jack & the BeanstalkI was faced with what David Appelbaum (1995) calls a “stop”—amoment of risk, a moment of opportunity. A stop is a moment thatcalls us to attention. A stop signals a new awareness of possibility, arecognition of oneself in relation to others and one’s location, as if forthe first time. A stop reminds us—as individuals, as educators—howwe are shaped by our habits of action, language, authority, location,and context. A stop invites us to see and respond differently to ourcurricular worlds of engagement. and I wonderwho is writing this story? Whose story is this?My student’s proposal to “bring in the cops” makes visible theinvisible script that I am writing with the children and insists on a newform of engagement: one of collaboration, reciprocity, mindfullistening—requiring that I pay attention to a child’s reimagining of thecurriculum-as-is. We are held suspended in a moment of natality(Arendt, 1958). A child’s arrival into our curricular presence calls us toattention. How shall we, how shall I, receive this newcomer?An eight-year old boy, this student whom the teacher hadwarned me about—with good cause, I now understand—bringsto our fairytale play complex issues of social justice,5
Journal for Learning through the Arts, 4(1), Article 2 (2008)responsibility, complicity, consequences. He interrupts myconventional “and they lived happily-ever-after” ending andopens a new landscape of inquiry where we come face to facewith moral choices of action and must ask—as I did within thatmoment of the stop—who are we in relationship with others? Thecritical question for me, as an educator holding the institutionalauthority of curriculum, becomes, within this moment ofinterruption, “How do I respond? How do we now engage?”“Great idea!” I say, after a moment’s hesitation. “Let’s tryit and see what happens ”It is a moment of release, it is a moment of hope.I am, as Maxine Greene would suggest, wide-awake On opening night, our play is received with a thunderstorm ofapplause. What is it that I, as educator, may learn within this momentof recognition? I am being offered an opportunity to engage in ourshared curriculum in a new way, if I am willing or able to listen, and torespond from a renewed positioning. And, in doing so, together thestudents and I created an embodied script that celebrated theparticipation and voice of each individual student. We have, throughthis process of inquiry, become engaged in a shared reciprocity that6
Fels: Performative Inquiry: Arresting the Villains in Jack & the Beanstalkencourages students to re-imagine a curriculum that is responsive toeach student’s presence. As curriculum theorists, Brent Davis, DennisSumara, and Tom Kieran remind us, “Just as I am shaped by mylocation, my location is shaped by my presence” (1996, 157). Ourpresence, or absence, and that of our students, matters.Curriculum ceases to be a thing, and it is more than aprocess. It becomes a verb, an action, a social practice, aprivate meaning, and a public hope. Curriculum is not justthe site of our labour, it becomes the product of ourlabour, changing as we are changed by it.(Pinar et. al, 1995, 848)Following that pivotal moment, I returned to university fordoctoral studies, and in the journey since, have come to recognizeanew the importance of creating pedagogical spaces for students, of alllevels and ages, where they become co-creators and collaborators inthe “scripting” of our shared curriculum. We engage in an emergentcurriculum that listens, and responds to, as theater director EugenioBarba advises, “not walls of cement, but the melodies of yourtemperatures” (1995, 162). I am, in this work, interested in exploringwhat we might call curricular border-crossings that invite students to7
Journal for Learning through the Arts, 4(1), Article 2 (2008)interweave lived experience, performative texts, and sharedengagement through the arts across the curriculum.At university, I asked the question, “What happens when youbring drama and storytelling into the science classroom?” and afterthree years of research in a science education class, I conceptualizedand articulated performative inquiry as a research methodology thatcreates curricular spaces of learning. (Fels and Stothers, 1996; Fels,1998, 1999). Performative inquiry is a research methodology that usesthe arts as a process or medium of research, and has been used byresearchers in a variety of locations such as arts education,curriculum, technology, counseling, and mental health (See, forexample, Peterson, 2007; Noble, 2006; Giard, 2005; Beare, 2002).Performative inquiry in the classroom brings to the curriculum aspirit and practice of inquiry, critical and creative thinking andreflection, and embodied engagement. The ambition is not simply to“put on a play” or expose children to the arts, but to use the arts as anactive means of critical and creative inquiry in pedagogicalengagements across the curriculum. Performative inquiry provides atheoretical underpinning that supports the use of the arts as a viablevehicle for learning across the curriculum. Performative inquiry in theclassroom calls for cross-curricular explorations that are embodied,relational, and intimate. Bringing performative inquiry into science,8
Fels: Performative Inquiry: Arresting the Villains in Jack & the Beanstalklanguage arts, social sciences, or other disciplines opens new ways ofworking with students that encourage student agency andempowerment. Integrating the arts through performative inquiryengages students in meaningful curricular explorations, thus“enlarging the space of the possible” (Sumara & Davis, 1997, p. 299).For example, in my work with Dr. Karen Meyer as we exploredscience education through drama, we became involved in a curricularhybrid of engagement that could be named as neither drama norscience. We drew on both science and arts activities to investigate thephenomena of light, sound and motion; our in-class scienceexperiments, simulations, storytelling, and use of dramatic scenes toexplain scientific concepts eventually led to the production of ourstudent-written play called, “Light, Sound, Movin’ Around: What areMonsters Made Of?” which was performed for 400 elementary schoolchildren. Three days later, classroom teachers sent our studentteachers thank you notes written by their students with detaileddrawings illustrating how the positioning of lights affects the size ofshadows—information that the children had gleaned from the play(Fels and Meyer, 1998, 1997). As one child was overheard sayingwhen leaving the theater, “I don’t know whether what we just saw wasscience or a play!” Learning through the arts across the curriculumwithin the parameters of performative inquiry becomes a seamless9
Journal for Learning through the Arts, 4(1), Article 2 (2008)engagement of inquiry, critical and creative thinking, and meaningfulreflection.Early in my doctoral studies, my thesis supervisor, Dr. PatrickVerriour, introduced me to role drama (Tarlington and Verriour, 1995),and my students and I have since used role drama with students toinvestigate a variety of issues such as democracy, empowerment,communal responsibility, and performative literacy. Engaging in roledrama collectively allows individuals to shrug off their roles as teachersand students and take on new roles—as writers, as politicians, asarchitects, as characters within a novel, as economists dealing with afinancial crisis. The possibilities are endless. Within a given contextand environment, participants are called upon in role to take action, tomake decisions, and resolve problems. In role, students and teacherexplore issues or situations through a variety of perspectives or lens ofinterest, motivations and agendas. Together, they engage in anongoing bringing forth of a world through the process of living itself,”(Maturana & Varela, 1992: 11, my italics) which, in turn, reveals andexplores an embodied language of desire, presence, absence,integrity, betrayal, intimacy, curiosity within human relationships andcollective and individual action. Through being in role, and uponreflection, we ask questions about our choices of action, and engage10
Fels: Performative Inquiry: Arresting the Villains in Jack & the Beanstalktogether to inquiry critically and creatively into the consequences ofthose actions.How might, for example, performative inquiry through roledrama be used in a secondary English classroom? Students could becalled upon to be in role as editors of a publishing firm to plan ananthology of poems or short stories. What arguments would they putforward for their proposed selections? What audience of readers wouldthey target? When reflecting on their final selections, students may beasked, whose voices are absent? Have issues of diversity, geographicallocale, and gender been addressed? Or, when studying Shakespeare,students may seek to discover through improvisation the accusationsand arguments of Julius Caesar’s killers, those proud Roman senators,when plotting his murder. Students may in role explore what advice aking’s advisors give when the prince announces his plans to marry acommoner. Or in role as journalists, health officials, or company publicrelations employees, students might write news releases about allegedhealth risks caused by a local industry. Or in role as members ofdifferent interest groups, they might attend a council meeting toprotest or support the building of a new mall or windmill energy planton the outskirts of a rural town. Or in role as advertisers, studentsmay design an advertising campaign and presentation for a givenproduct.11
Journal for Learning through the Arts, 4(1), Article 2 (2008)These examples illustrate how performative inquiry may crosscurricular borders, slipping off the bondage of strict disciplines andthus bringing forth critical concerns, social, political, and economicissues, and inter-relational connections that a regular lecture ortextbook may fail to evoke. What is critical to understand, whenspeaking of performative inquiry in the classroom, is that students arenot reenacting scenes from a play or story, they are inquiring intowhat might have happened, the hidden motivations, the unsaidarguments, or relationships that happen between the lines of thescript, the story, or the event being investigated. the role of imagination is not to resolve, not to point theway, not to improve. It is to awaken, to disclose theordinarily unseen, unheard, and unexpected.—Greene, 1995And it is through their actions, and interactions, in role thatstudents may come, collectively and individually, to new learning, to anew literacy of engagement and expression. The embodiedhermeneutic readings or understandings brought to the sharedexperience and reflection through role drama (and other artsactivities), leads to the development of a performative literacy that12
Fels: Performative Inquiry: Arresting the Villains in Jack & the Beanstalkenables students to understand, critique, and engage anew withinperformative and lived worlds of interaction.Creating an imaginary world through role drama—working withvisualizations, tableaux, soundscapes, and improvisation—invitesmetaphor, symbolism, imagery, relational engagement and communalawareness and reflection. These are the possible embodied literaryengagements that performative inquiry brings to t
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