To Be - A Living Question
Guidebook for Drama & Education Practitioners
CONTENTS, INTRODUCTIONContents
I. Introduction to the Guidebook
II. The Map Unfolded
III. The Road to the Project Application - The Displaced Teacher and the Displaced Child
IV. The Project Partners' Coordinates
V. The Road to the Living Question and Beyond
VI. The Road to the 'Displaced Teacher' Joint Staff Training - Living and Surviving
VII. Marking the Impact - Reflections to the Joint Staff Training
VIII. The Road to the Project Logo
IX. Terra Incognita - Challenging times
X. Needs and Feelings in the Distance - June 2020
XI. "Need to inspire, awaken, engage kids somehow" - Exploration through Drama with Nyitott Kör
XII. Living the school life- Lužánky calling teachers into play
XIII. Working in 'the crucible paradigm' - Big Brum TiE
XIV. Towards Ourselves - 26th September 2020, an Online Multiplier Event
XV. How can I take care of my own and my class's well-being? - STOP KLATKA's work with teachers
XVI. The Road to this Guidebook
XVII. Findings of the Research
Introduction
The primary function of this guidebook is to share the case studies compiled by the four partners, their encounters working with teachers and children, and some of the research conducted over the two years of the To Be project completed between 2019 and 2021. The EU funded Erasmus+ project comprised of four partners involved with Theatre in Education and Drama in Education, Nyitott Kör from Hungary, Big Brum from the UK, Lužánky from the Czech Republic and STOP KLATKA from Poland.
The common aim and focus of the project concerned itself with teacher's well-being at a time of increasing pressure and demands being placed on them. As described in the grant application "The project set out to develop intellectual outputs that support teachers and teachers' communities to increase their subjective psychological well-being, affecting motivation and affectivity of the learning process of the individual and with a special focus on the prevention of drop out and early school leaving". The project partners therefore ask themselves:
'How can we affect teachers' well-being so that they could affect their students?'
This guidebook will map how we set out to answer that question. The four partners comprised of teams from four different nation states across Europe. Each organisation approached the problem according to their experiences and understanding, fashioned from years of method guided practice as well as the particular needs of the teachers in their relative countries. However, a guiding structure was implemented which ensured a commonality of form in the project.
The guidebook offers the reader the approaches undertaken as partners pursued answers; our processes would focus on offering a stimulus which motivated teachers to motivate themselves with an ultimate emphasis on their students. The partners also focused on supporting the teachers emotionally and psychologically to find ways to feel better about themselves. The secondary function of this guidebook is to map for the reader, chronologically, the project as a whole to show the reader the process of conducting such an endeavour in time and energy, as well as the formal structures adopted to aid the rigour and fortitude that each and every individual in each partner group contributed over the two and a half years of the project. Lastly it is important to map for the reader, the journey this project took place during one of the grimmest global events of our generation, and how it coped as the landscape which had been so familiar to us changed for us all. We offer this guidebook in the hope it provides the reader insight into the ground on which we stood, and the journeys trod and which we continue to tread. We hope that this insight engages and inspires teachers and drama practitioners to walk with us. Or follow us and even perhaps begin to lead the way for us, themselves, and for all the young people they work with.