Mathilde Macarena-Paz | Université Paris Descartes (original) (raw)

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Papers by Mathilde Macarena-Paz

Drama Pedagogy Training (DPT) is a drama-based-pedagogy focused on socio-emotional-learning (SEL)... more Drama Pedagogy Training (DPT) is a drama-based-pedagogy focused on socio-emotional-learning (SEL) development, over academic or artistic. This study aims to see if DPT promotes ToM and collaborative behavior in 126 French children aged 9-10 years old, randomly assigned to an experimental group (DPT), either a control group for 6 weeks. Post-tests showed large effects of training on ToM (F(1,124)=24.36; p<.001; η 2 =.16) and collaborative behavior (F(1,124)=29.8; p<.001; η 2 =.19). T-test showed significant differences on ToM (t=-4.94; p<.001) and collaborative behavior (t=-5.46; p<.001), higher for DPT. Effects of type of school and grade are discussed. Results confirm the hypotheses.

Drama Pedagogy is an active methodology working with the internal world of participants and focus... more Drama Pedagogy is an active methodology working with the internal world of participants and focusing on the process of learning over the artistic result (Garcia-Huidobro, 2004). This methodology is also a game based pedagogy focused on the development of social and emotional competences, as collaborative skills among others. In the past decades, numerous studies have shown positive effects of drama games on children (e.g Hammond, 2015; Joronen et al. 2011) some of them presenting several outcomes in enhancing wellbeing (Moore and Russ, 2008; Barnes, 2013) and collaborative behaviour (Garaigordobil, 2003). Nevertheless, this kind of studies is been realized mostly in Anglo-Saxon or Spanish school contexts, with no clear immersion in french schools. In order to corroborate this results with a french sample, we created a drama games pedagogy pilot as a result of an adaptation of a Spanish Game Program (Programa Juego, Garaigordobil, 2003, 2016) adding some activities from other published drama games programs (e.g. Garcia-Huidobro, 2004; Boal, 1989, 2014). The participants were 209 school-aged children recruited in priority, public, and private schools (mean age = 9.7; SD=0.7). We tested a pilot program based in drama pedagogy games in order to improve collaborative behavior and positive emotions. Children were divided in control and experimental groups. Positive emotions were measured by SAM scale, collaborative behaviours through an adapted version of prisonner's dilemma. We postulated that after the drama games training (1) scores in both tasks: positive emotions and collaborative behavior, will be higher than the control group. Results confirmed the hypothesis and will be presented and discussed.

Drama Pedagogy Training (DPT), as other drama-based pedagogies, has been related to several outco... more Drama Pedagogy Training (DPT), as other drama-based pedagogies, has been related to several outcomes, including creativity enhancement. This enhancement is commonly proven through the measurement of different creative processes. In our review we systematize characteristics, activities and techniques of DPT that are assumed to be related to creativity in order to have a more comprehensive framework to identify the specific DPT elements that are involved in the enhancement of some of the creative processes of children and adolescents. To this end, we identified five creative processes in experimental studies using DPT: divergent thinking, fantasy and imagination, associative thinking, symbolization, and problem solving. These processes were cross referenced with DPT characteristics, activities, and techniques that were argued to be related to creativity enhancement. Our review will propose a model with two main categories and six elements as follows: (1) technical drama phases which emphasizes the role of narrative and embodiment through (a) corporal and vocal training and (b) main drama techniques (e.g., storytelling and improvisation and role-play), and (2) psycho-pedagogical framework which emphasizes the role of a dialogic space through (c) playfulness and a (d) collaborative, safe space. We also identified (e) feedback as an important element of DPT which belongs to both drama technical phases and psycho-pedagogical framework categories. Along with the model, we explain the creative outcomes associated to each of these elements as a means to attire the attention to drama-based pedagogies for the development of creativity in the educational setting.

Drama Pedagogy Training (DPT) is a kind of training based on an active educational methodology ca... more Drama Pedagogy Training (DPT) is a kind of training based on an active educational methodology called Drama Pedagogy. It is mostly based on collaborative drama games and techniques, similar to what is commonly found in literature as creative drama as the objective is neither artistic nor academic. As an active pedagogy, participants co-construct their learning through participative dialogue, reasoning together about the learning experiences that are presented as collaborative dramatic games, thus favouring creativity and creating an active learning and teaching practice. In order to prove the effectiveness of DPT on French children's creativity, we conducted a study on 55 4th grade children (m = 9.9; SD = 0.3) from two public and a private school. Children were randomly assigned to a DPT, either to an active control group and were measured on divergent and convergent thinking through EPoC in pre-test (T1), post-test (T2) and follow-up (T3) times of measurement. Mood valence was assessed through SAM scale at the beginning and the end of each session. Results showed a significant increase of creativity for the DPT group on divergent (t = 4.56; p < .000) and convergent thinking (t = 2.96; p < .004) measures on T2. Moreover, T3 showed significant differences on divergent thinking scores (t = 2.97; p < .005), nevertheless no statistical differences were found for convergent thinking scores. ANOVA analyses were made to see the impact effect of the training on creativity and mood valence. DPT enhances creativity and mood in French 4th grade school children.

If, most of these researches were focused on adults, some of them also examine the cases of child... more If, most of these researches were focused on adults, some of them also examine the cases of children and tend to show that creativity and well-being are positively related (Barnes, 2014). If the occurrence of this positive relationships seems to be systematic, there is no clear explanations and descriptions of the reasons and/or the nature of this inherent relationships. Thus this chapter aims to explain how and why promoting creativity in children may be good for their well-being and vice versa. For that purpose we will examine how specific trainings can enhance creative outcomes that may be related to well-being. We will start by explaining what is known today as children's well-being through the different conceptualizations of child's well-being. Afterwards, more specifically, in order to clarify the possible link between creativity and well-being in children, this chapter will review embodied creativity trainings and creative school initiatives that might impact well-being and synthesize the initial studies in a comprehensive framework for future work.