using creative dramatics for vocabulary development in

UNIVERSITY OF GHANA

USING CREATIVE DRAMATICS FOR VOCABULARY DEVELOPMENT IN PUBLIC

BASIC SCHOOLS

BY

BLESS ISSIDORA AMA AHIAKU

(10396877)

THIS THESIS IS SUBMITTED TO THE SUBMITTED TO THE UNIVERSITY OF

GHANA, LEGON IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE

AWARD OF MASTER OF PHILOSOPHY DEGREE IN FINE ARTS

JULY, 2016

University of Ghana http://ugspace.ug.edu.gh

i

DECLARATION

Candidate’s Declaration

I hereby declare that this dissertation is the result of my own original work and that no part of it

has been represented elsewhere with all references duly acknowledged.

Bless Issidora Ama Ahiaku ………… ……………

Student Signature Date

Supervisors Declaration

I hereby declare that the preparation and presentation of this dissertation were supervised in

accordance with guidelines on supervision of dissertation laid down by the University of Ghana,

Legon.

Dr. Grace Uchechukwu Adinku ………… ……………

Supervisor Signature Date

Dr. Regina Kwakye Opong ………… ……………

Supervisor Signature Date


ii

ABSTRACT The process of teaching and learning is old as human beings. Teaching has been carried out by

human beings to disseminate information, knowledge and skills for successful development.

Psychologists and Educationists have designed several teaching and learning methods to provide

effective ways of teaching and learning. Among other teaching methods one can mention

Creative Dramatics teaching method. This method has been tested in the USA and European

Countries, and proven to be effective and efficient teaching method. The objective of this study

was to test the effectiveness and efficiency of Creative Dramatics teaching method. By

comparing it as well as using it as an alternative to the Direct Instruction in the Ghanaian

teaching environment. The study was also to identify challenges faced by teachers using Direct

Instruction in Basic Schools in Ghana Education Service (GES). To carry out the study of

Creative Dramatics, teaching experiments were conducted and quizzes as well as class tests were

administered to assess pupils/students. With the marks obtained from students, descriptive

statistics were computed and conclusion drawn. Questionnaires were also administered to

teachers in some selected Basic Schools in the GES. It was established that Creative Dramatics

is an effective and efficient teaching method which can be adopted in the Ghanaian contest.

The main barriers to the use of Creative Dramatics in Basic Schools in GES borders on the

fact that GES teachers have little understanding and mastery of Creative Dramatics, and

faced with the inadequacy of resources.


iii

DEDICATION This work is dedicated first to the Almighty God who provided the strength and ability to put this

study together. I also dedicate it to my daughters, Aseye and Esinam Voegborlo, my mum, my

siblings and Dr. Akua B. Sakyiwah.


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ACKNOWLEDGEMENT This dissertation could not have been done without some lecturers, colleagues and friends, who

advised me on how to improve this dissertation, gave me financial, material and moral support.

On account of this, I wish to express my special thanks to my supervisors Dr. Grace Adinku and

Dr. Regina Kwakye Opong. Their considerable experience in guiding me in writing this

dissertation has made their contribution invaluable. I am indebted to Dr. Akua B. Sakyiwah

for her immense contribution to my work. She was always ready to read the draft of this

dissertation and made invaluable technical contribution concerning the Creative Dramatics aspect

of this work. I am also grateful to my Drama in Education lecturer, Mr. Sandy Arkurst of School

of Performing Arts, University of Ghana, Legon. He is the reason for my interest in the

teaching of Creative Dramatics in our public schools.

My heartfelt appreciation goes to my brother Dr. Francis Ahiaku, Ms. Patience Pomary and

Gertrude Awuletey for their financial support during my MPhil in t h e Theatre Arts

programme. I owe special thanks to my course mates, for their moral support. I can never forget

my lecturers who encouraged me never to give up when I needed their counselling. To all my

friends in the School of Performing Arts who urged me on even though vertebra pain in

my back restrained me from working fast, my thanks. For Awuah and Seyram, of the Dance

Department, God bless and reward you bountifully. My gratitude goes to Marcus Adomey,

Pamela Pomary, Solomon Mensah, Lydia Quayson, Ebenezar Asime and Valeria for their input

to this dissertation. Thanks to my truest friends: Voegborlo Aseye and Esinam, who are my

lovely daughters for their tolerance as Mum was always spending much time and finances on this

dissertation.

Obed Asamoah, thanks for programming my questionnaire and scores, keying them into the

SPSS for analysis.


vii

TABLE OF CONTENTS

Content Page

DECLARATION i

ABSTRACT ii

DEDICATION iii

ACKNOWLEDGEMENT iv

TABLE OF CONTENTS v

LIST OF TABLES ix

LIST OF FIGURES x

LIST OF ABBREVIATIONS xi 1.1 Overview

CHAPTER ONE

1

1.2 Background of the study

2

1.3 Problem Statement

5

1.4 Objectives

6

1.5 Research Questions

6

1.6 Significance of the Study

7

1.7 Delimitation

7

1.8 Limitations

8

1.9 Organization of the Study 8


vii

2.1

CHAPTER TWO

Introduction

9

2.2

Overview of Concepts of the Study

9

2.3

Effective teaching and learning

10

2.4

Teaching Methods

17

2.5

Direct teaching methods and vocabulary in English Language

30

2.6

Creative Dramatics

34

2.8

Concluding Remarks

42

CHAPTER THREE

3.1 Introduction 43

3.2

The Research Philosophy

43

3.3

Research Design

46

3.4

Population and Sample of the Study

48

3.5

Teaching Experiments

49

3.6

Data collection and analysis

50

3.7

Conclusion

52

CHAPTER FOUR

4.1 Introduction 53

4.2

Results Analysis

54

4.3

Suitability of Creative Dramatics

77


viiiviii

4.4 Resources (Teaching and Learning Materials) 78

4.5

Test Scores Analysis

82

4.6

Conclusion

86

CHAPTER FIVE

5.1 Summary 87

5.2 Other Findings 88

5.3 Conclusion 89

5.4 Recommendations 89

REFERENCES 91 APPENDIX 95


ix

LIST OF TABLES Table 1: Teaching experiment 49

Table 2: Characteristic of Respondents 55 Table 3: Teaching Techniques 59

Table 4: Teaching Subjects 64

Table 5: Definition of Creative Dramatics 67

Table 6: Use of Creative Dramatics 69

Table 7: Characteristics of Creative Dramatics 73

Table 8: Suitability of Creative Dramatics 77

Table 9: Resources 78

Table 10: Comments 81 Table 11: Demographics of Pupils 83

Table 12: Evaluation Scores for Primary Level 84

Table 13: Evaluation Scores for the JHS Level 85


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LIST OF FIGURES Figure 1: Current Stage (Class of Teaching) 58

Figure 2: Teaching Techniques 59

Figure 3: Category of Creative Dramatics User 68

Figure 4: Number of Times Per week of Creative Dramatics Application 74

Figure 5: Time Allocated for the Creative Dramatics Method 75

Figure 6: Expectation about Creative Dramatics Compared to its Outcomes 76


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LIST OF ABBREVIATIONS ANT - Accra New Town

BECE - Basic Education Certificate Examination

CD - Creative Dramatics

D/A - District Authority

DI - Direct Instruction

DISTAR - Direct Instruction Systems in Arithmetic and Reading

DT - Direct Teaching

ELT - English Language Teaching

GES - Ghana Education Service

JHS - Junior High School

L1 - First Language

L2 - Second Language

SGRP - Simulation, Games and Role Play

SPSS - Statistical Package for Social Scientist

St - Saint

UNICEF - United Nations International Children’s Emergency Fund

USA - United States of America


1

CHAPTER ONE

INTRODUCTION

1.1 Overview Despite the hard work by teachers in the Ghana Education Service (GES) towards educating and

enlightening basic school pupils in the proper way of communicating in English, most of them

find it extremely difficult to express themselves in the English Language. Observing a cluster of

school children on break, between 9:30am and 10am, 5th

November 2013, at the La-

Nkwantanang Cluster of Schools, Redco, Madina, pupils communicated with ease amongst each

other in the local lingo, (that is their first language (L1) and English language being their second

language (L2) serves as the medium of instruction and should be practiced as they interact in

class or at break. Their interpersonal engagement often stems from using Twi, Ga, and Hausa for

social activities such as: purchasing food, playing football, playing Ampe, and chatting on the

school pavements. The use of English language was however spoken by a few pupils in

comparison to the number that communicated in the local (indigenous) languages.

Amankwah, C. (2013) duly observes in a newsprint article:

A total of 182,000 students, who sat for the Basic Education Certificate

Examination (B.E.C.E) in June 2013, could not be placed in any of the Senior

High Schools in the country. This was due to failure in core subjects –

Mathematics, Social Studies, Integrated Science as well as English Language, the

instructional medium.

Amankwah’s story buttresses the current argument expressing the difficulty some students have

communicating in English.


2

At the Madina D/A ‘1’ Primary, on the Madina ‘1’ Cluster of schools compound, the Head of the

school and five other teachers revealed (through an interview) that teachers do their best to

impart knowledge to the pupils/students without adequate teaching and learning resources (see

Appendix 3). The minimal teaching and learning resources available include: illustrations on

manila cards, textbooks, workbooks and teachers manuals and a few classrooms structures.

Edmund Mingle, (2013, p.10), in a newsprint article, Second Lady Calls for Quality Teaching to

Rural Students, has also duly noted the inadequacy of comprehensive educational resources in

the classrooms in the GES sector. As part of my field engagement, I had a discussion with some

of the pupils/students express their difficulty in the English language being used as content. It is

evident that the failure of most pupils and students in public schools is related to lack of effective

communication, understanding and writing in English and the methods and processes used to

impart the knowledge to the students.

In addition, inadequate material and non- material resources confronting the teaching and

learning process(es) of the teacher and the learner, also make it difficult to achieve good

impartation of the English Language.

1.2 Background of the study

The process of teaching and learning is an effective means to the dissemination of information,

knowledge and skills to students for successful adjustment in the society. According to

Moumouni (1964), cited in Aboagye, P.K. (2002, p.5),

Learning in the traditional system was simply done through observation, imitation

and participation. This was achieved by engaging children in participatory

education through ceremonies, demonstrations, and imitations. They were also

involved in practical farming, fishing, cooking, knitting and other activities.

Recreational subjects comprised, dancing, drumming, racing, hide and seek, and


3

among others. Intellectual training included the study of local history,

environment, poetry, reasoning, riddles, proverbs, and storytelling. All the experiences that the Ghanaian child had in this type of education that Moumouni claims

had been effective came about during periods of informal teaching. Thus when considering

that learning in a practical and participating manner still achieves results, then it is prudent for

Aboagye stating that ‘traditional education is therefore an integrated experience’ (Aboagye, 2002

p.5).

The use of Creative dramatics (CD) involving the learner is learner-centred and teacher friendly.

The child feels comfortable because the teacher believes he or she can perform, hence, the

learner is motivated to learn by using creative drama to achieve this aim. The pupils in the formal

context should be given the chance to talk and converse with vocabulary learnt whether during

the reading of comprehension passages or during the spelling of words during class periods. The

learner who is made to learn through role play method does a lot more interaction than in an

indirect instruction. Thus, a lot more interaction in due time with the role play approach serves as

a mechanism to start speaking the language naturally as declared by linguist Noam Chomsky

(1966).

Effective teaching according to Kyriacou (1997) is essentially concerned with how best to bring

about the desired pupil’s learning by some educational activities. He also confirmed that until the

1960s, research on effective teaching was largely dominated by attempts to identify attributes of

teachers, such as personality traits, sex, age, knowledge and training which might have a bearing

on their effectiveness. After the 1960s, research on effective teaching has focused on activities in

the classroom, in particular on the interaction between teacher and pupil. This means


4

participation between teacher and pupil is paramount in the learning process thus, making it

child-centered.

Appropriate teaching and learning strategies are used by the teacher/facilitator to effect active

participation by learners. A Chinese proverb which states that; “Tell me and I will forget. Show

me and I will remember. Involve me and I will understand.’’ The practical use of the five senses

- hearing, seeing, and smelling, tasting and touching through movements, expression of words,

body language expressions, builds the learners' potentials and skills whilst role playing.

(Devishaj, 2014)

Creative Dramatics (CD), a learner-centered teaching method with different teaching techniques,

has been tested with pupils, students and children in the United States of America, Canada, and

Europe and, as well as parts of Asia. It has proven to be an effective teaching method which is

still utilized by their teachers.

A final discussion with pupils/students of the University of Ghana Staff Village Basic School of

the Ghana Education Service (GES) revealed that instructors sometimes use drama topics in their

English Language textbooks lessons though rarely using the role playing aspect. Gogovi, et al

(2004) found that the technique has been ignored by teachers, even though teachers who were

interviewed said that drama is utilized in imparting knowledge.

Creative Dramatics which includes role play, simulation, dramatic play, story enactment,

miming, puppetry, theatre games, music and dance is usually reserved for children’s skill

development. “Let’s pretend” is not just a child’s game, but the norm in a creative drama class.

Children naturally act out their perceptions; try out roles and play “pretend.” This process is

among the primary ways very young ones learn about their world. Creative Drama activities are


5

structured in a way that pupils/students are able to explore their topics experientially (Buchanan,

2006).

1.3 Problem Statement The standards of spoken and written language in general among our basic school learners have

fallen greatly. However, the Ghanaian educational training institutions are capacitated

enormously to train teachers to be adequately knowledgeable in all taught subjects at our public

basic schools. It is noteworthy though to consider a few challenges that stems from the child’s

early development. An observation could be made that most Ghanaian families due to several

factors do not engage their children in the speaking of English language. This, as a result, does

not help the learners to practice the second language (L2) in the home environment considering

the non-practice also during school break periods. Hence, the lack of L2 practice between home,

school and community affects the English language fluency.

A primary investigation noted earlier revealed that despite the efforts of the teachers most pupils

still find it difficult to employ the use of the English language. The poor understanding of the

application of the English language by pupils and students in the basic public schools may be due

to the teaching method. The required knowledge and skills employed by teachers to impart the

lessons could be the challenge to good performance. Kyriacou (1997) has expressed an idea to

effective teaching and has thus stated that “teaching which successfully achieves the learning by

pupil as intended by the teacher.” Teaching is essentially concerned with how best to bring about

the desired pupil’s learning by some educational activities. Kyriacou’s postulation drives the

researcher to believe that the application of an effective teaching method is the answer to

effective learning.


6

A cursory look at two of the class performances (interaction between teacher and pupils, and

between the pupils in and outside class reveals that learners do not find it easy using the English

language in building vocabulary, spelling, reading and writing when learning other subjects as

well as when communicating in it. The teaching method as well as the process employed by

teachers therefore needs to be reviewed.

1.4 Objectives The objectives of the study are to:

i. Identify the problems associated with the teaching of vocabulary in English Language

using the direct teaching methods.

ii. Assess the impact of the creative dramatics technique in teaching English vocabulary. 1.5 Research Questions

The following research questions will be answered:

i. What are the problems associated with the teaching of English vocabulary using the

direct teaching methods?

ii. How far can the use of creative dramatics as an instructional tool improve upon

students’ performance in English vocabulary?

iii. What are the challenges of implementation of the creative dramatics method to the

GES teacher in the public school?


7

1.6 Significance of the Study

The study seeks to test the effectiveness of Creative dramatics method of teaching English

vocabulary. The study will also serve as a resource base for the Ghana Education Service and to

provide a guide to policy formulators to the adoption of effective method of teaching. Moreover,

the study is aimed at aiding teachers to improve their methods and skills of teaching.

Creative dramatics is what children do best. Through this means, the children engage all the

human senses in the process of learning and teaching. For this reason, formal and informal

teaching done through play will stimulate children's sense of touch, taste, sight, hearing and

smelling. This process, to a larger extent, can serve as a conduit to ease the stress of teaching and

learning which are usually associated with other strategies such as discussion, questioning,

brainstorming and other ways of engagement (Buchanan, 2006). The research work hopes that

the result of the study will serve as a reference point for further research in the area of improving

reading competence.

1.7 Delimitation

English Language is a subject of study and although its aspects (phonics, words, spelling,

reading, dictation, comprehension, grammar, composition, etc) are many, the study will highlight

only the use of vocabulary in conversation. The data collection and the level of the study will be

Basic School classes, that is, either class three or six in the primary section and Junior High

School students in form three. The field data will be collected from the Accra Metro Metropolis,

Ayawaso Sub-district schools as well as the La-Nkwantanang Municipal schools.


8

1.8 Limitations Availability of teachers and students at certain days and time of the school year is a challenge to

researchers. School time-table for the term is normally crowded with sports activities, holidays,

and other unplanned eventualities. These activities, to a greater extent, inhibit the continuity of

teaching and learning and can delay the research work. In most public schools visited, pupils and

students felt comfortable communicating in the local Ghanaian languages instead of the English

Language which is the standard medium of instruction in the schools.

1.9 Organization of the Study. The thesis is presented in five chapters. The first chapter constitutes a general overview of the

whole study, that is, the background of the study. Chapter two concentrates on the review of

relevant literature. Chapter three provides the Methodology of the study, which is the research

design, population, sampling and sampling techniques, and data collection. Chapter four

concentrates on the analysis of the data, presentation of the results of the investigations and the

discussion of the research findings. The final chapter focuses on the conclusion, suggestions and

recommendations for further research.


9

CHAPTER TWO

LITERATURE REVIEW

2.1 Introduction

This chapter deals with the review of relevant and related literature on the topic of study. It

focuses on the conceptual issues which are affecting effective teaching, direct teaching method

(also known as traditional teaching), effective learning, and creative dramatics. Due to the

direction of the study, emphasis will be laid on creative dramatics (also known as creative drama,

participation drama, dramatic activity and plays) and further delve into its technique as a

teaching methodology for effective transmission and assimilation of knowledge.

2.2 Overview of Concepts of the Study

Discussions below are based on the concepts: effective teaching, teaching method, direct

teaching method, creative dramatics and effective learning. These concepts become relevant to

the study because of the need to understand why the method of instruction used in the public

schools is not producing the expected outcomes in the Basic Education Certificate Examination

(BECE), especially, with the English Language subject. Apart from the fact that English language

is a core course in BECE, it is also the official language in Ghana and the medium of instruction

in GES. This situation calls for a closer look at the English Language subject and the methods of

teaching same in Ghana Education Service (GES). The d iscussions a lso cover the role of the

teacher and the pupil/student, who are the main participants in this case. Teachers’ approach to

teaching is analysed to determine its effectiveness.


10

2.3 Effective teaching and learning

The conceptualization of teaching as well as effective teaching has been well debated and

documented in literature (Lahey, 2004; Singer and Revenson, 1997; Kyriacou, 1992, 1997;

Freeman and Richards, 1993; Chauhan, 1979).

Perrott (1990), for instance, has revealed that teaching without doubt is a complex task and

cannot be defined because the criteria for teaching differ from every teacher and every

instructional situation. In this line, Perrott (1990) stated that teaching [and learning] is achieved

when knowledge, skills and attitudes are deemed to have increased, improved or changed

for the better.

The implications for the differing criteria for teaching, as alluded to by Perrott, would usually

depend on the group of people being taught. For instance, play-based learning has enormously

shown to be somewhat effective among children both in the formal education system and in the

homes. Sadly however, the focus on the value of play is rather limited and the researcher strongly

advocates for the need for parents and teachers to review the focus and place of play-based

learning amongst children. That will obviously impact on the complexity in teaching as alluded

to by Perrott. Dewey (1899) a s c i t e d b y Mooney (2013:16), for instance, recommends that

“education [thus teaching and learning] should be child centred; … must be both active and

interactive; … must involve the social world of the child and the community”.

Lahey (2004) adds to it by stating the point on permanent change. He explains the above

definition with Aristotle’s (1985) view referring to the mind of infants as blank tablets, on which

experiences leave their mark through learning. As more classroom topics/lessons are imparted

through Play, more enactive experiences fill the child’s mind/memory aiding retention of

knowledge, as indicated by Aristotle. In addition, Aristotle states that human beings are active


11

participants and not passive or blank tablets in the flow of life.

Consequently, claiming that people passively allow experiences to teach and make them what

they become, hence the “permanent change” observed in behaviour. Lahey further concludes

that, using dramatic activity to encourage learning creates better memory retention for the

child/pupil /learner.

Knowles (1997) indicates that; adults do not come to any learning environment with blank

tablets because by the time they become adults, much experience is gained in life through

learning hence confirming Aristotle’s thoughts that a child learns and grows through

experiences.

Teaching is characterized by communication, process, dissemination and motivation (Chauhan,

1979). According to Chauhan (1979), communication between two or more persons is a

mechanism by which person(s) influence each other by their ideas and learn something in the

interaction. A process is also when a learner, teacher, curriculum and other variables are

organized in a systematic way to attain some pre-determined goal; whilst dissemination is the

way the mind of the learner is filled with information and knowledge of facts for future use. The

information and knowledge acquired, in turn, motivates the learner to learn more.

Freeman and Richard (1993) also perceive teaching as an art or a craft which is employed

through teacher personality and skill. They cited Zahorik (1986) who asserted that a good

teacher is a person who assesses the needs and possibilities of a situation and creates and uses

practices that have promise for that situation.

In a 2000 report of UNICEF International Working Group on Education, teacher education

curriculum which is child-centred and relevant to present day teaching methods and skills was

advocated to be utilised. It also noted that teaching that projects only knowledge is a limited type

of teaching strategy which no longer suits current ideas of how and what students learn.


12

According to Singer and Revenson (1997), Piaget (1973) expressed that the child plays an active

role in his/her own growth of intelligence and also learns by doing. Piaget regarded the “child as

a philosopher who perceives the world as he has experienced it” For example; a class can play a

‘Market Scene’ where children apply negotiation skills of bargaining. This helps children to

develop problem solving skills; they understand the monetary value and can apply them to

numbers. They also develop the appropriate vocabulary that enables them to express themselves

through words.

Additionally, the ability to construct sentences rightly during the creative drama process is

developed through the assistance of the teacher. Marley, S.C, Levin J.R. Glenberg, A.M. (2010)

noted that the theoretical reasons of cognitive development provided by Bruner (1964)

highlights the importance of activity, imagery, and symbolic reasoning. The process of

negotiation the children enter as explained above bears on Bruner’s theory of cognitive

development. Undoubtedly, Bruner’s thought that all humans correspond mentally to their

environment when using actions, imagery and language.

Bruner’s cognitive development theory lends credence to the GES curricula that lays

emphasis on children’s cognitive engagement; therefore as the learners are offered the

opportunity to develop their cognitive aptitudes, they fulfill the GES requirement.

Modality usage had age-related differences, and with younger children greater cognitive benefits

which were derived are higher when enactive representations are present. The uniqueness of

human beings when learning is brought to bear when the ‘play’ lesson is used in the enactive

modality. The researcher therefore reasons with Bruner when the former asserts that some

pupils/students learn through the activities or movements of the play. Enactive muscle memory

has been used synonymously with psycho-motor learning; it is also used to describe the


13

observation that various muscle-related tasks seem to be easier to perform after previous

practice, even if the task has not been performed for a while. It is as if the muscles remember.

Further, in the iconic situation, the children become more skilled at representing their

environments through visual memory going through creative dramatics. Visual memory is a form

of memory which preserves some characteristics of our senses pertaining to visual experience.

The researcher believes that, it is easy to place in memory, visual information which resembles

objects, places, animals or people in a mental image. This process involves both the mental

storage of such information and the ability to retrieve it. The process of recalling visual

information is typically considered to be different than other types of memory.

Again, it is the observation by the researcher through other studies on the subject that,

language memory expands through the use of expressions in the social environment. It includes

how people think, remember, learn and perceive.

Language memory is a large part of the cognitive psychology of man, which is portrayed in the

symbolic modality Marley et al. (2010).

Per discussions thus far, it is apparent, and the researcher affirms that combination of ‘play’ and

learning as designed in this research helps the children to develop holistically. Through this

play-learning process the children are able to develop physically, emotionally, psychologically,

socially and cognitively.

When employing creative drama technique, to a concept/subject matter such as ‘Fires in

government public buildings’, for students in Junior High form one /class seven for example,

either as a class or in groups; Learners brainstorm; discuss, suggest and argue out issues

surrounding ‘The causes that lead to these fires; as well as its solutions’. Words that are crucial


14

to such occurrences in communication will be discussed and practiced. Through the process of

arguing and discussion, a new knowledge is arrived at and this becomes their solutions to the

issue. This sets the readiness for dialogue and movements for play acting.

As aptly put by Keller (1988) the various processes; reading, discussion, brainstorming,

composing a storyline, voluntary auditioning and acting of the subject matters, help the pupil.

With regards to the various processes suggested by Keller (1988), it is true that the learner gains

a lot of experiences through interaction/play to gain knowledge, skills and attitudes. Hence, the

learner who plays in the ‘market scene’ uses the life skill experience in any trading environment

now and in the future. The learner in the ‘fires in public buildings’ will also tend to pay more

attention to fire extinguishers in buildings, allowing easy access to emergency routes in a

building, switching off plugs when they are not in use.

Consequently, in the play-lesson method, the child with the support of his/her classmates and the

facilitator, exercise critical thinking skills as they brainstorm, discuss and argue the various

issues in class, thus a team spirited group is promoted.

These processes as exemplified above, are culminated into a teaching method which is known as

creative dramatics. The researcher believes that, with the application of creative dramatics, a

learner in class or group, is given a topic, such as ‘Embolden the teenager against rape in

Mpatakrom’. Students/group preparation in the community will be to carry out interviews to

arrive at some possible causes that lead to such occurrences’ in the community. When the

group/class gets together, they break down issues concerning the topic, with the teacher’s

guidance. The subject matter assists pupils/students to develop a storyline; after that voluntary

participants from the class get the story played. The facilitators, participation audience as well as

the participants engage in debriefing the play. Debriefs help learners to think critically and apply


15

alternate thoughts/results for better practical replays or outcomes.

As facilitators/teachers consider the needs of the learners and apply an active learning technique

it results in group participation and teamwork by learners. The educator will avoid what has been

considered by Carron & Chau (1996) in quality education in the UNICEF, (2000) report, stating

that teaching styles of the mid twentieth century (traditional teaching method) still remains a

technique used in today’s world, which is teacher-centred, fairly rigid and even authoritarian.

Hence, teachers should consider affecting child-centred teaching and learning strategies to

reduce memorisation or rote learning, whereby supporting their ability to remember what is

taught. The teaching technique evident in the GES public classrooms is the traditional teaching

method, and that is subsequently reviewed.

Further, the UNICEF report suggested that learners, environment, content, process and outcome

are components that lead to quality teaching in education (UNICEF, 2000). The processes

are means through which trained teachers use child-centred teaching approaches in well-managed

classrooms to facilitate learning and reduce disparities.

The researcher finds the following explanations of the variables mentioned by Kyriacou quite

revealing. Firstly, Kyriacou provides that context variables, in a classroom-based lesson, refer to

all those characteristics of the context of the learning activities, which may promote the success

of the learning activity. In those variables, one could name:

a) teacher’s characteristics - such as sex, age, experience, social class, training,

personality

b) pupil’s characteristics - such as ability, values, personality, age, social class

c) class characteristics - such as size, range of ability, social class mix

d) subject characteristics - such as subject matter, level of difficulty, general interest


16

e) school characteristics - such as size, building facilities, ethos, disciplinary policy,

proportion of high ability intake

f) Community characteristics - such as affluence, population density, geographical

location

g) Occasion characteristics - such as time of the day, preceding lesson, weather

and period of academic year.

Although all the above characteristics form the basis for most of the argument advanced by the

researcher, the researcher finds characteristics a), b) and c) very much aligned to the case for

creative dramatics. The experience, training, personality variables in characteristics a) for

instance will inform the instructor/teacher what method to employ in other to meaningfully

impart knowledge to the students/pupils.

Kyriacou (1997:5-7) in his effective teaching framework, defines effective teaching as that

“teaching which successfully achieves the learning by pupils as intended by the teacher.” It is

essentially concerned with how best to bring about the desired pupil’s learning by some

educational activities. Kyriacou opines that Context variables, Process variables and Product

variables constitute the basic framework of effective teaching. (Kyriacou 1997). The researcher

finds Kyriacou’s framework akin to that of Freeman and Richard (1993), Perrott (1990),

Chauhan (1979).

Secondly, Process variables refer to all those characteristics of teacher and pupil behaviour and

of the learning task and activities which take place in the classroom which may have some

bearing on the success of the learning activity. The characteristics of the learning task and

activities are the resultant of the teacher perceptions, strategies and behaviour and of the pupil

perceptions, strategies and behaviour.


17

Finally, Product variables refer to all those educational outcomes which are desired by teachers

and which have formed the basis of the teacher’s planning of the learning activities and/or of the

objectives or criteria which can be used to consider and monitor effectiveness. Many of these

outcomes can be translated into variables based on tests, such as external examinations or

national examinations and aptitude tests; other variables are based on more subjective forms of

assessment, such as a teacher's opinion.

2.4 Teaching Methods

The “process” mentioned by Chauhan (1979) and UNICEF (2000), and “teacher’s strategies” in

the Process Variables of Kyriacou (1997) is also known as Teaching Methods or Teaching

techniques. According to Kyriacou, Teaching Methods are ways of presenting instructional

materials or conducting instructional activities. They can be thought of as a combination of

activities supported by the use of appropriate resources to provide a particular learning

experience. Since the criteria for every instructional situation differ and every teacher differs

(Perrott, 1990), it is important to draw the attention to the fact that Zahorik (1986), cited by

Freeman and Richard (1993) is of the view that “instructors methods should not be generalized

instead teachers should be given the freedom to analyze the happenings in the classrooms”, so

that after realizing the options on the ground, the instructor chooses the best or alternative skill to

be effective in that instance. It is realized by Carron and Chau (1996) in the UNICEF report

that imparting knowledge only, is not holistically beneficial to the learner. Therefore, dramatic

application of the traditional teaching will enhance the method. For example, a storyline taken

from a passage read in the class five English Textbook entitled ‘Dangerous drugs’, and discussed

to arrive at ‘Drug abuse among the youth’ for the Creative dramatics topic is brainstormed,

discussed to form a play for the lesson.


18

It is, therefore, obvious that teachers, who are prepared/ skilled with the application of different

or alternate methods, will solve the teaching and learning needs of the GES pupils/students for

good results. Some of these methods are: direct instruction and creative dramatics. These two

teaching methods are further examined.

2.4.1 Direct Teaching

According to Kozloff et al. (1999) Backer and Engelmann designed direct teaching for teaching

elementary through secondary language, reading, mathematics, higher-order thinking

(reasoning), writing, science, social studies, and legal concepts.

Lindsay (2014) refers to Zig Engelmann, an expert in instructional theory, for declaring that

Direct Instruction (DI), also known as Direct Teaching (DT) has been observed to be a very

popular and effective teaching technique, utilized by teachers to impart knowledge. He claims

the technique works, it provides rapid gains that persists and increases learners’ self-esteem.

Rosenshine (2008) also states that direct instruction can be taken in five different ways if the

writers use the word without indicating how its meaning should be operational. Rosenshine

further states that some authors even use the term without realizing that it has different meanings.

He defines direct instruction as instruction that is led by the teacher and moreover, suggests

the five ways that the term overlaps when being used and what it means to its readers:

Academic instruction that is led by a teacher regardless of the quality of

instruction.

The instructional procedures that were used by effective teachers in the

teacher effects research.

Instructional procedures used by teachers when they taught cognitive

strategies to students.


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Instructional procedures used in the Direct Instruction Systems in

o Arithmetic and Reading. (DISTAR)

Instruction where direct instruction is portrayed in negative terms such as

settings where the teacher lectures and the students sit passively.

The first bullet referred to an assumption that in DI, a teacher models and demonstrates a skill

but readers are denied any instructional specifics therefore, in this general sense they infer their

own meanings. The second referred to specific patterns of instruction that emerged from

experimental studies that identified instructional procedures used by teachers whose students

made greatest gains in achievement as against those who made the smallest gains. This study

became known as the teacher effectiveness/teacher effects or the process-product research.

In the next bullet researchers around 1968, started referring to their works in cognitive

strategies as well as for the instructional procedures used to teach higher level cognitive tasks

with the term ‘direct instruction’. The fourth use was in reference to the specific instructional

procedures in the curriculum packages that DISTAR developed. The final usage was represented

as an undesirable method of teaching, which had a negative prescription such as “fact

accumulation at the expense of thinking skill development” stated by Edwards (1981), cited by

Rosenshine (2008).

According to Engelmann’s (2007) theory of instruction DI is the most used teaching strategy by

teachers to impart knowledge. He points out that an instructor facilitates the following features as

noted below in the teaching process:

Introduction and Review of lesson/topic: Topics or information to be learned is

presented to the learner or review of information to set the platform for teaching and

learning. This is done to capture the learners’ attention as the goal/outcome’s


20

relevance is revealed as previous knowledge is reviewed as well.

Development: Once the goal is known, clear explanations, descriptions,

examples, or models of what is to be learned are communicated to learners. After this

step, learners’ need, informs and assures instructor of pupils/students understanding.

To double check pupils/students understanding, key questions related to topic are

elicited. Teachers also use ‘prompts’ such as (visual aids, multimedia presentations,

etc.) to motivate successful information processing by the learners.

Guided Practice: Activities or tasks are given to the learners once teacher is

confident enough explanation and examples of the material to be learnt have been

provided with sufficient positive pupils’ response to the instruction. Close teacher

monitoring is affected at the practice/tasks period. Also, assistance at this stage is

available to the learners’ who have not mastered the lesson that is, more ‘direct

instruction’ is given and step two is repeated. Bullet Two on the above page -

Development.

Closure: It is the final step to the model. Teacher wraps up what is covered in the

lesson through recap. This part reminds learners of the lesson’s goal and prepares

them to complete the independent practice tasks assigned by the instructor.

Independent Practice: Assignments for reinforcement of lesson without teachers’

prompts and monitoring. This signifies that the pupils have had ample competency at

the Guided Practice. (Homework can be classified as independent practice without

assistance from the class teacher.)

Evaluation: To assess pupils/students, progress evaluation tools like

(classroom assignments, worksheets, etc.) or (tests, projects, etc.) are used to any

given lesson. This provides feedback to both the learner and the teacher and this can


21

be used to determine whether expected learning outcomes were achieved or have to

be revisited in future lessons. (Engelmann, 2007).

Interestingly, a review of the curricular of the GES and further observer studies, Engelmann’s

prepositions become valid in the context of the Ghana Education Service. Most of the

teachers/instructors, the researcher observed, for instance develop their lessons notes as spelt out in

the curricular provided by the supervisory body- the GES. The instructors are then expected to

religiously follow all the steps and as expected, to achieve the anticipated result. Some instructors,

may, out of their own accord and experience use a different teaching method(s) in achieving the

same results. Even with such non-conformist, there may be traces of Engelmann’s features as

enumerated above. The researcher therefore to a large extent agrees with the features propounded

by Engelmann and finds it very valuable.

Engelmann and Carnine (1982) were cited by Kinder and Carnine (1990) in a study of

Teacher – controlled instruction that if environmental (community, class, parents etc) variables

are under control then; instructional materials, plus teacher’s delivery on topics would promote

“faultless communication” through clear and unambiguous interaction with learners.

Though controversy was not ruled out by their study, the researchers realized that D1 was a

method that becomes useful to the learner when teaching, practice, evaluation are consistent over

time and across instructional settings.

Therefore, teachers were expected in their duty to churn out effective instruction which will

then achieve expected outcomes.


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The findings in their study further showed that the use of D1, its application of D1 principles in

teaching basic and high – order skills (high school etc) established DI’s effectiveness when

utilized. “Follow Through” Studies that were employed to sustain practice with D1evidently

showed that low–income students taught with the right materials to foster effective information,

made significant gains. In the same manner, where its instructional materials and approaches

were effectively done, it worked marvelously with individual learners with mild to severe

handicaps in language, reading, math and community-living skills. In brief, experiment and

quasi-experiment studies also equally supported D1 use on special education populations. These

populations refer to learners/individual learners who have disabilities in learning.

It is therefore obvious that if effective instructional impart is delivered right, as well as behaviour

of teacher’s approach to teaching being also right, then method of delivery, content of

instruction, teacher or computer, basic skills or high order skills will achieve the expected

goal/outcome.

Stebins et al. (1977) are quoted in another “Follow Through” project report by National

Commission on Reading by Anderson et al. (1985). In that project, Stebins et al concluded that

economically disadvantaged students made significant progress reading comprehension measured

on National Standardized test. They again cited Gersten et al. (1984) indicating that these

students in the project maintained their elementary school gains in comprehension through high

school.

Engelmann, 2007 commended the use of DI, other scholars on the other hand expressed their

inhibitions about its use. When “Follow Through” originated in the late sixties (60’s) Anderson

et al. noted Maccoby and Zellner (1970) articulated that extremely structured teaching would

stifle students learning. Resnick (1981) also noted that the method impedes teachers’ creativity

and ultimate effectiveness in class. Likewise, a group of researchers at the University of


23

Oregon, delved into a study to examine the applicability of direct instruction; for teaching

reading comprehension to intermediate and secondary levels. The results after 600 hours of

reading instruction observed in grades 3 to 6, Durkin (1983) allowed the leader of the group to

conclude; comprehension instruction was not employed but comprehension assessment took

place for most part of the lesson through interrogation. His concern in addition was that, the

answers given by children whether wrong or right did not have the due attention. Time was also

much spent, completing and checking assignments consumed large part of the observed periods;

and as a result Durkin thought this was a challenge to the teaching of reading comprehension.

A recent work reported in Jone’s (2001) article done at the Siefert Elementary in Milwaukee

Public School and mentioned in Linsay’s (2014) study, proves that; pupils/students scored better

grades in state’s standardized tests using DI. According to Jones, the percentage of fourth graders

rose from 22% in 1907-’98 to 57% in 1999-2000 in reading; in math the score increased from

11% to 48% over the same period; Social studies score rose from 13% to 61% and he described

it as “amazing gains”. Although, other scholars in the review declare how successful the

technique is; teachers in the basic public schools within the Ghana Education Service, (GES) are

not having the expected or maximum outcomes, as they implement the direct teaching. As

professionals in the public schools, teachers should adhere to the technique effectively, because

Linsay proclaims that the study that ever gave the best of results in DI was the “Project

Follow Through”. To him, it was a true Direct Instruction, meaning teachers implemented the

technique in the study to the letter.

Consequently, direct teaching is effective in other areas like the USA and Europe, they have their

limitations in particular as revealed in the literature, such as; 1) their schools do not apply direct

teaching effectively. 2) Where they do, schools do not receive enough resources to enable them

impart the teaching adequately. Hence, results like the ones we see in our children’s


24

BECE are attained. GES teachers therefore, should impart the knowledge, skills and attitudes in

their learners, applying the right attitude to teaching, whilst the GES also provides better

teaching and learning resources.

Incidental and Explicit teaching are strategies which have been seen to have achieved very good

results in learning outcomes as compared to when teachers apply each strategy in isolation. It is

therefore prudent for instructors to apply other creative techniques of teaching and learning so as

to achieve excellent outcome. As previously noted, Sonbul and Schmitt (2009) advocated that

when the instructors used both techniques in the teaching and learning of vocabulary it achieved

better results. Therefore, no one method should be satisfactory in the teaching and learning

programmes of learners by their instructors.

With the above information, the researcher perceives that using direct instruction is useful and so

should not be totally written off as some scholars advocate. To strengthen the teachers and

learners capacity, other equally good methods should be added to or made available to the GES

teacher; so that when the teacher evaluates the teaching situation and realizes it is best to use an

alternate technique to augment, he/she will have the skills to utilize for excellent outcome. The

above discretion by the researcher is supported by Freeman and Richard (1993) along with

Sonbul and Schmitt (2009) as previously noted in the review.

Therefore, Creative dramatics, that is; enacting the lessons as an alternative technique should

enable pupils to learn by ‘doing’ lessons creatively. This method will aid pupils/students to learn

through the application of the five senses; hearing, seeing, smelling, touching and tasting when

acting the scenarios of the play. If the above technique is channeled to the classrooms, the

learners’ involvement will result into permanent education as posited by Way (1967). He also

advocates that, when the play technique is utilized, the use of the five major senses is boosted


25

during the process through the activities of (hearing, seeing, smelling, tasting, and touching).

Also, imagination at the various stages of the strategy strengthens creativity in the learner.

Hence, this method should be promoted within the GES public schools to provide the learner

critical thinking abilities and aid the effective teaching and learning processes for good

examination outcome.

2.4.2 Creative Dramatics

Courtney (1965:6) once said “Drama is a most effective method for improving the clarity and

fluency of children’s speech.” Subsequently, Chenfield (1978:195) acknowledged that “creative

drama includes all forms of improvised drama created by all children, such as story

dramatization, dramatic play, puppetry, and pantomime.” She continues to reveal that the

technique’s activities stimulate planning, discussion, the give-and-take of ideas, and cooperation.

Therefore, as children use language, their bodies, imagination, intellects and emotions to play the

stories out; they become more fluent in their personal expression and communication and as well

enjoy the learning.

Clipson-Boyles (1998:4) expresses that “drama assists the learning process by enabling children

to engage actively with their subject matter.” She explains, for instance; in the ‘home corner’,

children play out adult roles and encounter situations from new perspectives; and they interact

and develop new thoughts and responses encountered in the process.

In addition, Schickendanz, et al (1990) cited by Gelfer and Perkins, avers that creative drama is a

process of perceiving and communicating thoughts and ideas. It is a thoughtful, as well as a

facilitator/teacher directed effort to aid pupils/students retell a story in a dramatic form.

Finally, Winifred Ward (1957), states that creative dramatics is an expression used

interchangeably with playmaking, and since it is a general term meaning the activity in which


26

informal drama is created by the players it is not conventional. That is, its dialogue and

action are extemporized rather than written and memorized.

To this end, creative dramatics, the researcher suggests, can be likened to what children in

the Ghanaian society informally engage in and call it ‘Maame ne Paapa’ thus ‘Let’s play Mother

and Father!’ The action employed by the children comes to them spontaneously because they

have been going through the experiences with mother, father and siblings at home.

From the definitions on the technique, it is realised that creative drama depends on the

participants’ ability to interact; and interacting in a second language (L2) situation, one needs to

sharpen the oral nature of the L2 before learning to read and to write. It is also observed by the

researcher that in our kindergartens where beginners of the basic school start school, good

articulation and good fluency depends on how the child learns the spoken medium first.

As Clipson-Boyles (1998:4) explains above, during the ‘home corner’ session the child engages

with the subject matter by playing adult roles through interaction first; in so doing the learner

encounters new perspectives and learns new thoughts from creative drama. The beginner in

the public school should be spared the agony of either writing or reading to learn the language

(L2), if even it sometimes works.

Rivers (1964) an audio linguist, states that language is primarily speech, for that reason, the

learner’s activity is first confined to its gestural and visual expression of language behaviour. The

underlying principle advocated by Rivers pronounces that language skills taught in the target

language is to be done in the spoken form before the written. The researcher believes that it will

be in the interest of authorities in GES to promote the spoken language in any language study the

children get involved, even the foreign languages, such as French, Spanish, Chinese and others in

our educational institutions.

According to the Children's Theatre Association of America, one can look at all Dramatic


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Activity as existing on a continuum with Drama in its Natural State (the kind of dramatic play all

children and indeed all humans engage in) at one extreme and formal Theatre at the other.

Between the extremes, there is Creative Drama and Participation Theatre. These forms do not

exist as discreet/reserved disciplines, but rather as flexible points on a continuum, (Drama in its

natural state --- Creative Dramatics --- Participation theatre --- Theatre).

Continuum

Drama in its natural state will be the inborn ability of a person/child to mimic actions by people

around and begin to play with, for instance, ‘Let’s play house!’ … ‘Let’s play boats!’ … ‘Let’s

play cowboys!’ … and others. Lease and Siks (1952). As mentioned earlier, Ghanaian children

also engage in a similar type of play called ‘Maame ne Paapa’.

It can be interpreted to mean “Let’s play family!” where roles are assigned by a self-

imposed/voluntary leader amongst them. As indicated previously, these children go through these

experiences at home. Therefore, it now becomes a demonstrational skill being portrayed

creatively through role play.

This natural ability mentioned is applied both in creative dramatics (child drama/drama) as well

as in participatory theatre (child theatre/theatre). The major contrast is that if the group

implementing it is itself the participating audience then it is creative dramatics. Nevertheless, if

the group using the technique is a professional/or amateur group who are not themselves

audience to their own show then it is theatre. Therefore, the type of drama promoted in the

classrooms is spontaneous and it is called creative dramatics. The peculiar characteristics

between creative drama and participatory theatre are discussed subsequently in the review.

Creative Drama is an improvisational, non-exhibition, process-centred forms of drama in

which part icipants are guided by a facilitator/leader to imagine, enact, and reflect upon


28

human experiences (Buchanan, 2006). The consequent statement is a suitable reference to child

drama. Basically, the more the focus of the Drama activity is on the PROCESS, the closer

it is to achieve Creative Drama, whilst the more the focus is placed on the PRODUCT, (the

performed work and its impact on an audience) the closer it is to formal theatre/child theatre. In

the application of these two techniques these various differences occur in creative drama, which

is (also known as child drama within Drama in Education) and participatory theatre (also known

as child theatre within theatre in education).

Tatar (2002), draws the attention to the fact that, although several terms have been used to refer

to “classroom drama” such as creative dramatics, educational drama, theatre games, socio

dramatic play, role drama, and role playing, the terms “creative drama” and “drama in

education,” they are umbrella concepts which embrace all the various types of improvised and

informal drama used in classrooms.

According to Lease and Siks (1952:2) the broad field of drama for children disclose two

distinct divisions namely; drama for the child audience and drama for the child participant. They

continue with the explanation that Children’s theatre depict drama purposed for child audience. It

is a play carefully staged by competent actors for the child audience and this affects the child in a

sensational manner with breadth taking moments. In this play, a qualified director engages these

talented actors, who learn the lines of a play written by a playwright, where actions and

interpretations are influenced by the director. Since the end product is a major value to theatre

for children, staging and costuming are vital concerns of a play to be theatrically staged for

children audience.

In contrast to children’s theatre, Lease and Siks (1952) state that Creative dramatics is the term

given to the type of drama for the benefit of the child participant. They claim it is “playing with


29

purposeful group planning and significant evaluation and it affects each individual who actively

participates in this art experience.” Words are formulated by the children and used in the play but

not memorized as in the children’s theatre. The process rather than the product is vital and as

well, an end in itself from the standpoint of child growth and child development; nevertheless to

the children creating the play, it is significantly important. Due to the description above staging

and costuming are of little concern. Meanwhile, the teacher, who is taken as the facilitator guides

rather than teach the children through the process of creative playing/drama.

Besides, Buchanan, Lease and Siks (1952) and other scholars of creative drama believe strongly

“It is aimed toward the development of the whole child, socially, emotionally, intellectually,

physically, and spiritually.” In that vein, the technique is teaching pupils holistically. Neither

concerned with training children to become actors, nor in creating plays as in Theatre in

education, which is for ‘show’. He finally indicates that, Creative Dramatics makes use of the

participant’s experience as the goal because it discovers learning in different contexts. In theatre,

the intention or aim is to present to an audience a show, and showing is the goal. Creative

Dramatics, usually reserved for children, can include dramatic play, story enactment, miming,

puppetry, theatre games, music, and dance. “Let's pretend”, is the norm in creative drama class,

not just a child's game (Buchanan, 1952).

Furthermore, Courtney (1968) also expresses that Rousseau (1762), spoke against the rigid way

of imparting knowledge to children in schools... that is (In the teaching and learning of

arithmetic, reading and writing; children were almost inflexibly forced to learn.) This led

Rousseau, to encourage play in schools. He advocated that “a child’s early education should be

almost entirely, play” (p.20). He believes that running, skipping and playing are of value at such

ages since natural instincts should be motivated to grow instead of being repressed.

Rousseau equally promoted that “Nature desires children to be children before being men, and


30

that in case we prevent the order, we shall produce precocious fruits which will have neither

ripeness nor taste and will soon go bad…” (p.20) He also reckons that childhood has its own

ways of seeing, thinking, feeling, which are suitable to it, and that it is best and reasonable for a

teacher to substitute his/hers at the appropriate time.

Therefore, Courtney’s expressions go without saying that the child’s concentration during any

play learning environment can be channeled by the teacher into a class teaching environment.

This will become the basis of real, holistic and permanent education, propagated by some

educational scholars. It is observed that when a person concentrates on a thought or activity it is

difficult to call the one’s mind off the activity. Dramatic Education is not stage training but a

child playing dramatically.

The researcher finds that as pupils/students role play in creative dramatics, they engage in

various kinds/registers of language expressions which help them through the learning processes.

This improves their language fluency as well as competency in the English Language

expressions. To conclude this section, Aristotle confirmed the Chinese proverb by saying, “Tell

me and I will forget. Show me and I will remember. Involve me and I will understand” cited by

Devishaj (2014), suggests that when children learn through enactments they understand the

topic and improve better.

2.5 Direct teaching methods and vocabulary in English Language

Rosenshine’s (2008) study reveals that some state departments of education in the U.S.A use two

other synonyms for the term direct instruction; they are: direct teaching or explicit instruction. He

throws more light on Direct 1nstruction (DI), indicating that the strategy is a teacher directed,

with a definite structure and specific steps guiding learners to achieve defined learning

outcomes. Throughout the teaching process, maintaining pupils attention, the teaching itself,


31

the management of the entire learning environment are all in the control of the teacher. Due to

the structure, delivery of large volumes of information is possible within shorter reasonable

periods and it has been seen to be developmentally, suitable to pupils’ ages and stages and the

model is teacher directed.

For second language (L2) learners, Richards (1976) states that unlike syntax and semantics less

attention is given to vocabulary development these days. In his work, he tried to look at various

approaches through which a teacher may attempt vocabulary teaching. Preparatory measures

towards vocabulary teaching he says shall be addressed from a point of view of making the

lesson begin with a rich concept of vocabulary. That is; knowing that words entail close

associations with other words either in contrast, pronoun, verbs, synonyms, adjectives, meanings

and many more. A teacher therefore has the option to choose interesting variations of words in

such groups to teach. A few set of the responses that he had in his study to the following words are

below taken from Slobin (1971) cited in (Sonbul and Schmitt, 2009).

Stimulus Typical response Word links

Born die By contrast/antonym

Apple peach By coordinate classification

Animal Dog By subordinate classification

Blossom

Flower

By similarity/synonym

The various methods Richards (1976) made available to teachers through the assumptions in the

study, is to encourage teachers to make their word development goals to go beyond covering a

number of words on a word list.

Another study by two lexical researchers, Sonbul and Schmitt (2009) ELT Journal, employed

direct teaching using vocabulary after reading. The two approaches of learning vocabulary that


32

was used were, ‘Incidental learning’ and ‘explicit learning’. The former denotes learning

vocabulary as a by-product of any language vocabulary learning activity, such as reading, whilst

the latter is, learning vocabulary when the focus is on the words to be learnt.

They cited suggestions from the following scholars, (Nagy 1997,) saying that first language (L1)

learners benefit extensively from incidental learning. Though this method reflects in second

language (L2) instruction, it comes with relative small gains and after repeated exposure. However,

Waring and Takaki (2003) state that with extensive and sustained reading, the cumulative learning

can be substantial. Nation (2001) hinted that learning activities focusing on the word itself (explicit

learning) are vital for vocabulary acquisition for L2 learners because he warns that in an incidental

learning scenario, many of the L2 learners do not experience the conditions that are needed for

this kind of learning to occur. Therefore, the study by the two scholars reveal that when L2

learners are taught both constantly with the incidental and explicit learning method, pupils are able

to recall the word forms, their meanings and find recognition of word items also easier.

Whereas Rosenshine (2008) also advocates that direct instruction (DI) method has been tested

and research proves it works, the following scholars in his study believe the contrast. Rosenshine

states their disapproval by noting that McKeen et al (1972) do not appreciate the technique the

least, they describe the method as “authoritarian”. He remarks that Borko & Wildman (1986)

claim the strategy is too “regimented”, he also mentions that Edwards (1981) perceives the

technique is “fact accumulation at the expense of thinking skill development”, whilst Nicholls

(1989) detest its “focusing upon tests”. Becher (1980) as well, portrays it as a “passive” mode of

teaching, and finally Brown and Campione (1990) suggest it is the pouring of information from

one container ‘the teacher’s head’ to another container, ‘the student’s head’.

Although, the above scholars dislike the direct teaching for the various reasons given, the


33

researcher also thinks it is noteworthy that, the teacher considers the following when

disseminating knowledge, for instance, “the teacher who imparts knowledge should acquire; (the

right skills, high content level, improved teaching attitudes), usage of appropriate teaching and

learning materials, engaging child-centred teaching techniques, to acquire best results. These

mentioned would endeavour a teacher to achieve results that are appreciable using the (DI)

method (Perrott 1990).

The critics cited above concluded by proposing in the study that, teachers should use techniques

that are “student centered” or activity-based instruction in place of direct instruction; or in

addition to it. The suggested methods advocate role playing strategies, which by definition is

creative drama, a form of learner centered and activity based technique. (Sonbul and Schmitt;

2009, Waring and Takaki; 2003, Nation; 2001 and Nagy 1997). The suggested methods falls

within role playing strategies, which by definition can be in the domain of creative drama, a form

of learner centered and activity based technique.

The Educational Teacher Training institutions in Ghana impart this lecture type of teaching

method to its trainees. These practitioners therefore; profoundly use the method in the public

schools. Although, Engelmann declares the direct teaching method as the most popularly used

and other scholars in the review also think it is effective; for our public schools BECE results are

not encouraging as indicated in the first chapter by the Education Minister, Naana Jane Opoku -

Agyeman in the Ghanaian Times. ( Amankwah, 2013). Therefore, Ghana Education Service

(GES) being the highest employer of these professional trainees who complete training in the

various educational institutions, should adequately consider the teaching method.

In spite of the benefits of using direct teaching method shown by some experts, its use in our

classrooms for all these years now shows a nose dive in results of school leavers in the Junior


34

High school. Also difficulty in the expression of the oral and written English Language could be

the parameter promoting the fallen standards in their performances. Pupils/students need teaching

processes that encourage more practical/active and interactive strategies of teaching to improve

class and examination performances.

2.6 Creative Dramatics Method and Teaching of Vocabulary in English Language

Drama for education or as a technique for learning was previously perceived by purists a dilution

of the art form and an erosion of its status. They sought to maintain it as ritual and as

entertainment sources than educational means to impart knowledge. (Clipson-Boyle, 1998). The

resistance of movements in that era finally gave way to schools having the go ahead to

implement educational drama, (creative drama). According to Connors (1984), Creative drama in

second language, (L2) learning provides drama of society’s lives. It gives meaning and

motivates the teaching and learning of English as a second language (L2). She also views it

as a technique used as a small part of a regular class lesson plan.

Clipson - Boyles (1998:11) says educational drama; “ is an interactive, living art form which

reflects a variety of styles, genres and approaches…There are as many ways of teaching drama

as there are teachers teaching…”. Hence Connors teaching design was employed in this format.

She made sure that during the course of the children’s enactments, trust, sensitivity and

awareness, physical exercises, games, combine with actor training strategies such as role play

and improvisation are featured in the behaviour of the planning and execution of the educational

drama. The activity begins with physical warm-ups which culminate into group improvisation or

the collective creation.

Activity 1: Machine (non-verbal warm-up) – Connors (1984:73)

Purpose: to aid listening comprehension and encourage spontaneous response to new words and

English instructions given by the animator. (Animator: facilitator)


35

Procedure: Have the participants sit cross-legged in pairs on the floor and face each other. Get the

pairs attuned by having them take three deep breaths while holding hands and keeping eye

contact. Next, ask one member of each pair to be a mirror and simultaneously imitate exactly

what his partner does, then have those reverse roles. After the exchange, have students stand up

and continue to mirror each other’s movements; then, ask them to take turns creating

complementary and/or opposite movements with their arms, legs and eventually whole bodies.

After approximately four minutes, call FREEZE.

Discuss the reactions to this exercise by asking such questions, such as:

1. Does a player need to concentrate to imitate the action of the other participant?

2. An inaccurate action cannot be said to be mirroring. True or False?

3. Without voice the movements are (signs, symbols or mime).

It is best to prepare a set of questions beforehand to stimulate and initiate conversation.

Activity 2: Story Lines (vocabulary expansion and narration)

Purpose: To tap the students' creativity in representing a simple object verbally and/or through

body language and further develop this initial reaction to a more evolved narration.

Procedure: Have the group sit in a large circle on the floor and throw a common object such as

a running shoe into the centre. Ask for volunteers to quickly rush up and transform the item and

its usage into something entirely different.

For example, one student may use the shoe as a telephone receiver and carry on a conversation

with a friend or as an iron and proceed to press clothes. The group is encouraged to guess and

interpret the actions and the nature of the object. Change objects every four times. Another

approach to this exercise is to use the first 'creation' as the opening line of a story. Each person

who can come up with a follow-up line goes to the centre and says the line. If you want

everyone to participate, pass the object from one to the other around the circle and have each


36

person give a line as he receives the object. The object; the shoe can be used as a telephone

setting a conversation around a hospital scene. Madame O’Brien’s daughter has fallen sick in

school and has been rushed to the nearest hospital.

Topic

Key Words: Facilitator will help with the meanings and pronunciation of words that learners are

not sure off. Brainstorm, discussion, explanation and argument will be utilised to get a good

storyline.

Activity 3: Hospital Scene (representation & simulation)

Purpose: To develop narrative skills further and implement them so as to experience their

dynamic 'live' form.

Procedure: Still sitting in a circle, discuss with the group their understanding of the English

terms: doctor, consultation room, nurse, hospital/folder, prescription, malaria fever, temperature,

thermometer, sponge, tablets, injection, medicine, drugs and others.

Some brainstorming to develop vocabulary would fit in nicely here with columns for such

categories as, Hospital’s name, Location, Time of year, Consultation, Treatment Room,

Dispensary, clinic etc, listed on the blackboard. When the student’s interest has been sufficiently

aroused, divide participants into groups of five or six and using the topic ‘Hospital Scene’ have

each group prepare a short improvisation which they will subsequently perform. Within their

groups, students should first exchange ideas about their interpretation of the theme as in the

following examples:

- To me it refers to going for a review.

- I imagine a kitchen accident that can result in visiting the hospital.

-When there is an outbreak of a disease and school children are asked to visit the hospital.

Members then pick one or more of the most original and popular ideas and organize and expand


37

them to encompass a story which is acted out.

Allot 15 minutes for the discussion among the groups to ensure that there are no problems. After

the presentation, encourage the students to make comments and ask questions related to each

other's sketch.

Connor’s study concludes by repeatedly reminding the (players, facilitator) again that creative

drama activities should always embody the principles of respect, sensitivity and caring in dealing

with both the subtle and more energetic student displays of emotion, personality and occasionally

the private territory of inner feelings and lives as well most important of all, for the participants

to enjoy the experience. (Connors, 1984:73)

It is vital to consider that, the facilitator/teacher guides throughout the teaching method except

playing the roles. The involvement of the learner in the activities easily identifies setbacks,

therefore, giving feedback to all during the application of the technique, so that all participants

will be part of the debriefing.

Creative dramatics uses strategies such as storytelling, games, puppetry etc to impart knowledge

through play. Games, one of the strategies used are a controversial medium to use when

teaching; this is Oblinger’s (2006, p.1) assertion below.

She claims and supports that

Exploring games and education is inherently controversial. Games can seem un-

educational; they are typically associated with play and childhood. Even the name

implies that games are the opposite of work. Assertions that those games must be

used to make learning ‘fun’ ignore the fact that students who are deeply engaged in

learning consider it both fun and hard work

Also, according to Kim (1995:35)

There is a common perception that all learning should be serious and solemn in

nature and that if one is having fun and there is hilarity and laughter, then it is not

really learning. This is a misconception. It is possible to learn a language as well as

enjoy oneself at the same time. One of the best ways of doing this is through


38

games…

Lee Su Kim adapts some games from the radio and television sector of the British Broadcasting

Corporation, (BBC) for his language classes in Selangor, Malaysia – Universiti Kebansaan. The

example of teaching games through role playing (dramatic play) used by Kim (1993) for his

language classes in Selangor, was successfully tried out in class and the students thoroughly

enjoyed themselves, whilst using and practicing the language. The games were aired over the

BBC many years ago, and are highly entertaining. This is how two of the games are formatted

and played in Kim’s class.

1. “JUST A MINUTE.”

Divide the students into groups. Get each group to give themselves a name.

The objective of each group is to get as many points as possible.

The task is to speak on a topic for a minute. The referee (the teacher) will provide

the topics.

The competition members of the other groups should try to “wrestle” the topic away

from the person who is speaking on it. There are three ways to do this:

i. Hesitation: When a student pauses for too long a break, it is considered a

hesitation.

ii. Repetition: When a student keeps repeating a particular word or phrase, it is

considered repetition.

iii. Deviation: When a student digresses, he can be faulted for

deviation

The timekeeper will ring the bell once the minute is up. The person who is

speaking when the bell rings will win 10 points.

The group with the most points is the winner.


39

The teacher should determine the topics based upon the students' level of

proficiency. Some examples of topics are:

i. My Family

ii. My Childhood

iii. My Favourite Things

iv. Ghosts

v. My Ideal Partner

vi. Teenagers

vii. A Country I'd like to Visit

viii. If I had three wishes, I’d like…

ix. My Favourite Food

The choice of topics would also depend on what is being taught in the lesson for the day. For

example, if the teacher is conducting a lesson on describing people and places, s/he could

provide topics such as My Mother, Someone I Admire, A Teacher I'll Never Forget, My

Hometown, or My School. This game is suitable for oral communication skills/as well as

vocabulary training. It is also useful as a pre-writing or pre- reading activity. It can be

effectively utilised when teaching topics such as describing, narrating, expressing viewpoints,

agreeing, disagreeing, and describing procedures.

The second game is quite a well-known one. As explained she has tested the games in her

classes. You can play it with as many teams as you like, preferably keeping it to a maximum of

four or five teams.

2. “Win, Lose or Draw”

Instead of giving the students the words to draw, I find it even more effective if you get the

students to concoct the words themselves. The words should not be too easy or too difficult.

Give the groups about 10-15 minutes to come up with the words; then the teacher should


40

go round to the different groups to check out the words. Tick out those that are suitable and try

to offer alternatives for those words that a re considered unsuitable. Each topic should then

be written out on a small piece of paper which can be rolled or folded up. The teacher/ facilitator

then take all the folded topics and place them in separate boxes in front of the class.

A member of each group will come to the front of the classroom and pick out a piece of paper

containing a topic given by members of the other groups. S/he then has to draw the topic on the

blackboard once the timekeeper gives the “begin” signal.

Appoint someone to keep time. A student has a maximum of 60 seconds to draw the

object. This can vary according to your students' abilities.

The objective is to try to score as few points as possible.

The task is for group members to try to guess what the student is drawing in as little

time as possible.

The student doing the drawing cannot talk, make any sound, nor act out the word.

Only when his/her group members have guessed the word correctly, can s/he indicate or

gesticulate that they have done so.

The teacher has to be alert and listen carefully whilst the students try to guess what

their friend is drawing. Once they have guessed the topic correctly, the teacher stops the

action.

The timekeeper announces the time taken and records it on the board.

After this, the next group takes its turn. The game can be played for many rounds.

Students in each group should take turns drawing.

At the end of the game, the scores are tallied. The group with the fewest points is the

winner.


41

This game is suitable for vocabulary items, but phrases or sentences can be given. For example,

“singing in the rain,” “a school of fish” “the fat woman fainted,” …etc. Tenses and sentence

structures can also be introduced through the game. it is important that the teacher be

creative and innovative in his/her job. Dare to deviate occasionally from the humdrum routine

and do something refreshing and different in the class. It does not require too much effort, and

the rewards are plenty-the joy on the students' faces, the mirth, the hilarity, and the enthusiasm

generated. Finally, when playing the game, teachers should be totally committed and

enthusiastic.

According to Keller (1988) facilities provided for the average public school for teaching

conventional drama are somewhat makeshift; therefore for creative drama facilities are non-

existent. She mentions that, the two are subjects’ education officials do not structure into the

architectural drawing of the school building.

However, Keller believes, to introduce creative dramatics teaching in a class, its apparatus are

easily available and less expensive than the conventional drama. No auditorium/stage is needed,

scenery and costume are not necessary.

The facility a creative drama teacher/facilitator needs is:

1) an empty room with tables and chairs instead of desks for students use; or for use as

improvised items for props (properties). 2) Room furniture items suitable for basic drama – a

number of wooden boxes of various sizes and shapes – small platforms that can easily be

manipulated by students, preferably four by four in size. 3) Sources of controllable light. 4) A

tape recorder and a record player so that some lessons are recorded. 5) Adequate space for

storage: where valuable equipment, 6) Collection of old arts, old clothing’s, art and craft,

jewellery, hats and accessories and many others.


42

She also adds that a creative dramatics teacher must have ‘patience’. She explains that creation,

devising, and improvisations, developing innovation skills does not come easy ‘in a week’ it can

take six workshops before results emerge with new groups who have not exercised their

imaginations untapped for a while. Her advice to teachers again is to be mostly neutral, not

overwhelming them with the urge to direct drama so that the outcome achieved by the group is

more beautiful than they meddling in the activity. Finally, Kim (1993) also wishes teachers have

patience to listen to the children’s ideas during discussions so that they can guide them better.

2.7 Concluding Remarks

From the various literature reviewed, it is evident that the various schools of thought for Creative

Dramatics and Direct Teaching advocate that both of the teaching/instruction techniques are

effective and efficient to impart knowledge, skills and values to learners. From the discussions

thus far, it is apparent that though researches to confirm these assertions were conducted in the

United States of America and in Europe. It is a fact that realities and circumstances in the USA

and Europe are different from those in Africa and specifically in Ghana.

As demonstrated in the analysis and presentation of data chapter of this study shows the

enormous benefits, impart and impact creative dramatics have had on students who served as

respondents as well as studies from other jurisdictions, the researcher strongly stands with scholars

like Way, Buchanan, Courtney and Rousseau that creative dramatics, which is; enacting the lessons

as an alternative technique should enable pupils to learn by ‘doing’ lessons creatively. This method

will aid pupils/students to learn through the application of the five senses; hearing, seeing,

smelling, touching and tasting when acting the scenarios of the play. If the above technique is

channeled to the classrooms, the learners’ involvement will result into permanent education.


43

CHAPTER THREE

METHODOLOGY

3.1 Introduction The objective of the study is first of all to identify the problems associated with the teaching of

vocabulary in English Language using the direct teaching methods and secondly, to assess the

impact of the creative dramatics technique in teaching vocabulary in the English Language. This

chapter presents research techniques that were used in collating all data for the objective analysis

of the problem.

3.2 The Research Philosophy

For a study as this, there is a need to select an appropriate methodology concerned with both the

ways in which the research is carried out - i.e. its structure and process, as well as with the way

in which this information is analyzed. As such an analysis based on a qualitative approach is

relevant for this study. Qualitative Research is primarily exploratory research. It is used to gain

an understanding of underlying reasons, opinions, and motivations. It provides insights into the

problem or helps to develop ideas or hypotheses for potential quantitative research. Qualitative

Research is used to uncover trends and dive deeper into a problem. Its data collection methods

vary using unstructured or semi-structured techniques. Some common methods include focus

groups (group discussions), individual interviews, questionnaires (when necessary) and

participation/observations which this research employed. Hence for this research a semi-

structured interview style was employed.


44

Given the peculiarity of the problem and how the research identified the characteristic elements

in the teaching of English language in the primary/junior high school system, the design presents

here, the sampling of data relevant for the evaluation of materials. A resonating aim in this

research was testing the feasibility of creative dramatics as a viable alternative for the effective

teaching of the English language either as a supplementary methodology or even as a holistic

methodology itself in the primary/junior high education system. As such, to realize this aim, the

academic performances of the students became the denominator on which progress was

measured through a comparative analysis of the existing direct teaching method to that of the

creative dramatics method within the research period. Thus academic performance becomes the

outcome of an education or the extent to which a student, teacher or institution has achieved their

educational goals. Annie Ward et al (1996) opine that the ‘academic performance is commonly

measured by examinations or continuous assessment’ and intended to measure a test-taker's

knowledge, skill, aptitude’. Data was analyzed from many respondents from which the

educational backgrounds as well as the experiences of teachers were taken into consideration.

This was to understand the extent to which teachers training contained perhaps snippets of drama

education or an awareness of the effects of creative dramatics in aiding the psychological and

mental development of the pupils. Data collected provided varied points the research will discuss

in subsequent chapters including the drama, drama in education, Ghana teachers' manual,

primary education system, and Creative dramatics as methodology. In order to understand the

teaching phenomena in the scope of study, the researcher resorted to the objectivist ontological

theory to be able to comprehend the information in order to make the methodology meaningful

to the data analysis.


45

Ontology has been defined by Blaikie (1993) as “the science or study of being” and it deals with

the nature of reality. It is the study of being or assumptions on nature of reality. Objectivism

“portrays the position that social entities exist in reality external to social actors concerned with

their existence” (Saunders et. al., 2009). Alternatively, objectivism “is an ontological position

that asserts that social phenomena and their meanings have an existence that is independent of

social actors” (Bryman, 2003, p.22). Objectivism is of the notion that an objective reality exists

and can be increasingly known through the accumulation of more complete information (Given,

2008). Objectivist ontology as such means that phenomena are real and have definite properties

and causes (ibid). Therefore the researcher contends that by virtue of the objectivist ontological

theory, there were identified similar epistemological stance in the field. First, that the social

phenomena of pedagogy depend on social actors such as teachers and students and that the

reality of pupil’s development is only reflective in the methodological foci of the educational

system in juxtaposition to the academic progression of students for development. Answers from

the questions asked during fieldwork indeed attests to this fact. Through this method, the

researcher was able to deduce that of all the varied educational certificates and experiences of

teachers (the being), the methodology of teaching English – direct teaching (social position on

pedagogical direction) was subjected to the experiences of social actors – the pupils (whose

external and internal effects of their environments affect their way of understanding and

assimilating instructions in school). Also, what was evident through this method was the absence

of an epistemological underpinning of drama/theatre studies in teacher’s educational

backgrounds in teacher colleges. This forms the basis of employing the creative dramatics as a

teaching methodology in any given classroom situation. Of the 80 respondents to the research

questionnaires, most of them had little to no training at all on drama/theatre/drama in education


46

techniques in the course of their studies to be teachers. The little knowledge some had on drama

was experiences from directing plays in churches which mostly depends on the many movies

(both local and international) the director on hand has seen. On the other hand, courses such as

‘creative arts’ which are being taught in the schools in question depended more on

‘drama’ (which many, including teachers and students understand as acting) as the generic term

used to classify the arts in most public primary schools. That notwithstanding, those who

claim to use ‘creative dramatics’ as supplementary methodology to the direct teaching method

do not even understand the depths of the method and how well it can be integrated in helping

students assimilate lessons in school. From a positivist point of view, this research contends with

the premise above that there are detectable regularities as well as irregularities but, by inferring

from the observable possibilities of a creative dramatics methodology, an alternative to

teaching effective English language assimilation in schools can be realized.

3.3 Research Design

To achieve the objective of this study and based on the research paradigm (ontology,

epistemology and methodology) the researcher decided to conduct experiments based on the pre-

test - post-test design. A pre-test - post-test design is used in many true experimental designs

because it administers a pre-test before the experimental manipulation and a post-test, which is

the same test as the pre-test, after the manipulation. A pre-test - post-test design is usually the

preferred method used in true experimental designs to measure change and compare participant

groups because it allows the researcher to assess the effect of the experimental manipulation by

looking at the difference between the pre-test and post-test. A pre-test - post-test design is an


47

assessment tool that is administered at the beginning and at the end of an experiment. The

experimental setting is as follows;

Two classes were selected from the upper primary form (class 5) from two different schools and

two different classes from Junior High School (JHS 2). In order to introduce the pupils/student to

creative dramatics, the researcher used the topic “Drug Abuse” taught with direct teaching

method in the two primary classes and went over it with creative dramatics, specifically, using

role play. This enabled the pupils/students to be familiarized with role play. The JHS 2 were not

introduced to creative dramatics because after the explanation of the concept to creative

dramatics, the researcher found that she could proceed with the teaching without the introduction

with a topic. The aim was to understand the causes of bad English communication in these

classes and by employing creative dramatics through role play, address them. The problems

encountered had varied causes among which were the lack of confidence, the overwhelming

strength of local/vernacular languages, and the lack of genuine interest in speaking good English

in such public schools and outside. The plan was that through creative dramatics, the researcher

could identify these learning disabilities and through confidence building from drama, build on

creativity to aid speaking and writing of good English.

The treatments of the two classes of the upper primary were done by teaching pupils/students the

topic “Communication”, with role play from their textbook. The JHS 2 classes too were taught

“Bullies meet their match” with role play from their textbook. As soon as the teaching was over,

a class test was conducted to assess their performance. The objective of this test (pre-test) was to

check the communication prowess of the classes after teaching them with creative dramatics. The


48

initial research was timed between eight weeks with a second test different from the first test

conducted after.

3.4 Population and Sample of the Study

Two groups were studied in this research to identify with the first objective of this study which

is, to identify the problems associated with the teaching of vocabulary in English Language

through the direct teaching methods. The groups selected were the trained teachers of JHS and

the primary schools in the Ayawaso Central and those of the West-Wuogon Sub-Districts in the

Greater Accra Metropolitan Assembly.

The sample size was 100 and the respondents were selected randomly.

To achieve the second objective which is to assess the impact of the Creative dramatics

technique in teaching vocabulary in the English Language; Accra New Town ‘1’ Primary School,

St. John’s Primary School and Accra New Town Experimental ‘1’ JHS were tested. It is

important to point out that St John’s has no Junior High School. The students of St John’s

Primary School moving to JHS are transferred to Accra New Town Experimental “1” Junior

High School. The total population of the Accra New Town Experimental 1 JHS is 348. Accra

New Town Experimental “1” Primary is 420 pupils and St John’s Primary is 400. The three

schools totaled 1,168.

The sample studied were two groups of class five pupils from two different primary schools in

Accra New Town. Two groups also; form 2 from a Junior High School (JHS) in the same cluster.

The sample size for the study was two hundred and forty (240) basic school children in four

different classes. Ninety seven students (97) comprises the Accra New Town (ANT)


49

Experimental “1” Junior High School, Seventy five (75) pupils in the Accra New Town

(ANT) St John’s Primary School, and sixty eight (68) pupils in Accra New Town (ANT)

Experimental “1” Primary School. The researcher used the random sampling method to choose

the cluster of schools that had the needed population for the study.

3.5 Teaching Experiments With the objective which is to assess the impact of the creative dramatics technique in teaching

English Language vocabulary, the researcher proceeded with participation in the experimentation.

Experimentation started with teaching the pupils/students of the 4 classes, English language

vocabulary with Creative Dramatic teaching methods. The topics selected for the teaching were

new to all the classes under consideration. The table below shows the topics taught per class.

Table 1 Teaching Experiments

SCHOOL NAME TOPIC

ANT Experimental Class 5 Communication

St. John’s Primary Class 5 Communication

ANT Experimental “1” JHS 2 A Bullies Meet their match

ANT Experimental“1” JHS 2 B Bullies Meet their match

The type of Creative Dramatics strategy chosen for this study was role play. Role play is

sometimes referred to as dramatic play; it is made up of three phases: Briefing, Role Play and

Debriefing. The teaching started with briefing in all the classes with their various topics. During

the briefing phase, the facilitator discusses the story/passage with the learners. The learners then

brainstorm and discuss the story to set the action of play in motion. During any of the warm up

sessions; physical, emotional, mental and social exercises are employed with word games for

example, memory games. Word development is introduced during the sessions; such as,

“alternative/substitution” that is; synonymous words derived for the original keywords from the

story/passage during the mental warm up.


50

The next was the role play, which was made up of a selected group of volunteers who played

the various roles in the story. The rest of the class served as the participating audience. Students

who volunteered to participate in the dramatization were called upon to put the action across,

interacting as much as possible with both the keywords and the derived synonyms as the

conversation went on. Themes/ lessons were carried out during the drama. Lines were not learnt

therefore participants were expected to converse freely as the articulation of the English language

allowed. They were expected to improvise, innovate and be creative throughout the lesson.

Finally, when the role play was over, the various players, the participating audience and the

facilitator gathered to assess the drama technique which is the debriefing phase of method. The

facilitator guided this process and the outcome was considered in this regard, whether the

vocabulary deployed was adequately used, whether the themes and ideas played out well and

whether the technique achieved the academic/moral lessons examined. Participants and

participating audience had the liberty to decide on a replay if the story was not played effectively.

3.6 Data collection and analysis To achieve the purpose of the study, a questionnaire of forty-two questions was set. (See

Appendix 11).The questionnaire was made up of three main

parts: The three sections significant to this study were:

Respondent Background

Use of Simulations, Games and Role Play (SGRP)

Use of Simulations, Games and Role Play (SGRP)


51

The “Respondent Background” section comprised of sixteen questions, the “Use of SGRP”

section added up to thirteen questions and finally, the “Perceived barriers of Creative Dramatics”

section had ten questions. The “Use of SGRP” section was made up of questions that the

researcher used to confirm the benefit t h a t has b e e n identified a s r e g a r d s Creative

Dramatics from the GES’ teachers’ point of view. The “Respondent Background” and “Perceived

barriers to the use of Creative Dramatics” sections were also used to test the topic.

The first source of variables in forming the questionnaire was the literature. These variables

were the various positions of the authorities in the field of education, drama and pedagogy. The

second phase was the pre-test. During the phase of the pre-test of the questionnaire, a small

number of interviews were conducted with the public Basic School Teachers of Ga-East in the

GES. The objective of these interviews was to check the formulation of the questions in terms of

clarity and ambiguity. These interviews assisted in the identification of the problems related to

the answering of the questionnaire.

The research sampling frame for the questionnaire survey comprised randomly selected teachers

of all levels of GES Basics Schools (Primary and JSS) in Ga East District, Ayawaso Central and

West-Wuogon Sub-Districts in the Greater Accra Region. Hence, results represented the

characteristics and perception of teachers across many subject domains covering all levels and a

variety of class sizes in the public schools. One hundred questionnaires were distributed

w i t h i n t h e s e l e c t e d d i s t r i c t s , GES Basic Schools.

To analyze the data that was gathered on the questionnaire, the statistical software SPSS

(Statistical Package for Social Scientist) was used. The main statistics were computed with the

frequencies, the mean and median.


52

After the teaching with creative dramatics the researcher conducted two tests. The first test (see

Appendix 17 to 20) was conducted just after the teaching. After the first test, the pupils/students

were subjected to “time” treatment. Therefore, after 8 weeks, the second test (see Appendix 17 to

20) was conducted. The results were analyzed with basic statistics. 3.7 Conclusion

The data collated from the research field opens up a lot of possibilities for further discussions

and eventual modification of certain aspects of the educational system upon recommendation.

Issues of alternative methodologies and their feasibility have been brought up as a follow-up to

ways of correcting the plunging English language BECE results in the scope of study. Data

reviewed from questionnaires brought out a deep rooted problem of teacher’s negligence of

children’s creativity in the learning environment, which could possibly serve as one of the

reasons for the free fall of examination results. The methodology as well, highlighted briefly on

the short falls of the direct teaching method as well as the environmental effects of learning and

will discuss further in the analysis section in the subsequent chapters.

.


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CHAPTER FOUR

PRESENTATION, ANALYSIS AND DISCUSSION OF DATA

4.1 Introduction The purpose of this chapter is to discuss and interpret the findings of the research. Firstly, the

research identified the problems associated with the teaching of vocabulary in English Language

with the direct teaching methods. It proceeded to assess the impact of the creative dramatics

technique in teaching vocabulary in the English Language.

The two groups used for the experiment were Classes 5 of St. John’s Primary and Accra New

Town Exp. ‘1’ Primary; as well as Exp.‘1’ J.H.S. The primary 5 were taught the English

language with a Creative dramatics (CD) methodology with focus on Vocabulary-based

communication with a textbook passage entitled “Communication”. The J.H.S pupils were taught

vocabulary-based communication with emphasis on the story ‘Bullies Meet their Match’. At the

end of each lesson a test was conducted to know their comprehension of the words. Eight

weeks later, all the taught classes were subjected to another new class tests based on

vocabulary and sentence construction when the topics were treated. The objective of these second

tests conducted was to test the retention level of the pupils with the help of a Creative dramatics

teaching methodology used in the teaching experiments.

Pupils in the classes where Creative Dramatics (CD) was employed as a methodology for

teaching had a pre-lesson preparation where words were explained and pronounced extensively.

There were high levels of activity during the two Creative Dramatics (CD) teaching experiments

where the researcher observed the enthusiasm of pupils to participate in discussion after work.


54

Due to the interactive nature of the method, learners were confident and expressed themselves

freely when improvising their roles. Interaction between the facilitator and learners during the

comprehension reading period also turned out to be more productive. Questionnaires were

distributed to teachers in the following districts; Ayawaso West–Wuogon, Ayawaso Central, La–

Nkwantanang (Ga-East). The questionnaire aided the research by revealing their views on the

use of the CD method as professional teachers in the field.

4.2 Results Analysis

This section presents the statistical analysis and the interpretation of the data collected from the

Ghana Education Service (GES) teachers of Accra Metropolis against the working hypothesis in

this study. (Ayawaso West-Wuogon, Central Ayawaso Districts and some Ga East District

teachers) A set of questionnaires were distributed and eighty were returned. Each questionnaire

contained forty-two questions grouped into three parts: Respondent Background, Use of

Simulations, Games or Role Play, and Barriers to Using Creative Dramatics in GES. The

response rate and the usability for each question were relevant for the analysis. The sampled

responses are discussed in this section and that helps to advance an inquiry into identifying

significant trends or lack thereof in effective teaching methods in schools. In the discussion

below, Percent is used with its symbol % and N represents the count or number of respondents,

which is Frequency.


55

Characteristics Frequency(N)

Age (years)

20-25

2

26-30

9

31-35

16

36-40

16

41-45

22

46-50

3

51-55

7

56-60

4

Sex

Male

33

Female

46

Table 2: Characteristics of Respondents

Percent (%)

2.5

11.4

20.3

20.3

27.8

3.8

8.9

5.1

41.8

58.2


Highest Education Qualification

Certificate

1

1.3

Post Secondary Teachers Certificate ‘A’

4

5.2

Diploma

18

23.4

Bachelor

41

53.2

Post Graduate Diploma

7

9.1

Master

6

7.8

Are you a professional teacher

Yes

77

97.5

No

2

2.5

Duration of teaching with GES (years)

0-5

12

15.2

6-10

13

16.5

11-15

25

31.6

16-20

15

19.0

21-25

5

6.3

26-30

6

7.6

56


57

More than 30 3

Duration of teaching with school (years)

0-5

39

6-10 31

11-15

7

16-20

-

21-25

1

26-30

1

More than 30

-

3.8

49.4

39.2

8.9

-

1.3

1.3

-

The ages of the respondents ranges between 20 and 60 with the majority of 27.8% (N=22) in the

range 41 and 45, followed by the range 31 and 35 as well as 36 and 40 with 20.3% each (N=16)

and the range 26 and 30 with 11.4 (N=9). With the proportion of 41.8% of male and 58.2% of

female, the majority 53.2% (N=41) of the respondents hold a bachelor degree, followed by

23.4% of Diploma holder, 9.1% with Post Graduate Diploma certificate, 7.8% Master’s degree

holders, 5.2% of Post- Secondary Teachers’ Certificate ‘A’ and 1.3% of Certificate holders.

31.6% of the respondents’ number of teaching years with GES ranged between 11 and 15 years,

and the percentage from 0 to 5 years was 15.2% and 3.8% for teaching more than 30 years. The

responses also revealed that 49.4% have spent less than 5 years in their current schools.


58

Figure 1: Current stage (class) of teaching

The Basic School teachers under GES are trained to teach any class. The figure 1 shows that

most of the respondents teach in J.H.S 1, J.H.S.2 and J. H.S 3. To investigate the emphasis of

Creative Dramatics in the teacher training curriculum and its usage by the respondents, the

following questions were asked:

Has Creative Dramatics been emphasized in your training? (Q 9)


59

Variable Frequency

Teaching techniques introduced during training

Questioning

55

Discussion

60

The majority of the respondents, precisely 55% agree that Creative Dramatics has been

emphasized in their training. Then 14% strongly agreed that Creative Dramatics has been

emphasized in their training; 20% had no opinion and 7% disagreed.

Which teaching techniques were you introduced to in your training? (Q 10)

Table 3: Teaching Techniques

Percent

69.6

75.0


Brainstorming 52 65.0

Field Trips

29

36.3

Cueing

5

6.3

Class Exercise

42

52.5

Simulations

12

15.0

Games

25

31.3

Role Play

51

63.8

Participation

24

30.0

Group Work

53

66.3

Drama or Dramatizing

37

46.3

Puppetry

2

2.5

Story Telling

35

43.8

Project

34

43.5

Stop Start

2

2.5

Picture Reading

26

32.5

Tableau

1

1.3

NA

1

1.3

60


61

Apart from puppetry, stop start and tableau teaching strategies, which are virtually below 3%, the

table above shows that most of the teaching techniques were introduced. 75% of the respondents

were introduced to Discussion, 69.6% to Questioning, 65.0% to Brainstorming, 66.3% to Group

work, 63.8% to Role Play teaching technique. 46.3% of the respondents stated that they were

introduced to Drama, 43.8% to storytelling, 31.3% to the Games teaching technique.

Most of the teaching strategies enquired in the questions above are found in every teaching

method like lecture teaching, direct teaching, creative dramatics etc. Nevertheless, majority of

the methods too, are devoid of role playing activities, for example; games, simulations, role play,

drama etc.

Which of the following teaching techniques do you apply in your teaching? (Q 11)

Teaching techniques applied

Questioning 57 72.2

Discussion

65

82.3

Brainstorming

56

70.9

Field Trips

18

22.8

Cueing

3

3.8

Class Exercise

51

64.6

Simulations

12

15.2


62

Games 21 26.6

Role Play

41

51.9

Participation

26

32.9

Group Work

45

57.0

Drama or Dramatizing

31

39.2

Puppetry

3

3.8

Story Telling

31

39.2

Project

30

38.0

NA

1

1.3

With regard to the question: “Which of the following teaching techniques do you apply in your

teaching?” in Table 2 majority of the respondents (82.3%) use Discussion, Questioning (72.2%)

and Brainstorming (70.9%) as teaching techniques whereas Puppetry and Cueing at (3.8%) is the

lowest used. The three essential teaching techniques under Creative Dramatics considered in this

study, Role Play, Games and Simulations, appeared to be used at different proportions by the

respondents. 15.2%, 26.6% and 51.9% of the respondents use Simulations, Games and Role Play

respectively.

The contrast above is that, if as much as 51% of teachers are conscientiously applying role play,

26.6% games, and 15.2% simulations, then testing pupils/students output in the BECE should


63

expect better results. Since Bruner (1964) professes that ‘the Enactive, Iconic and Symbolic

modalities, aid learners (humans) to depend on actions, imagery and language to correspond

mentally better to their environment (p3).

If direct teaching is producing results that GES stakeholders are dissatisfied with, then GES,

teachers and stakeholders should look seriously at the assertions of the scholars below. Kinder &

Carnine (1990) cited Engelmann and Carnine who purport that if environmental variables such

as community, class, parents are under control then; instructional materials, teacher’s delivery on

topics would promote “faultless communication”. That is, through clear interaction with learners

good outcomes are achieved. The researchers also realized that Direct Instruction (DI) is a

method that becomes useful to the learner when teaching, practice, evaluation are consistent over

time and across instructional settings. Consequently, any instructor who churns out effective

instruction in any teaching method achieves expected outcomes.

The percentages revealed above shows that Creative Dramatics (CD) is used alongside the direct

teaching method. Therefore, if the two methods are not effectively producing the results they

ought to, we can say certain variables are not functioning as they should. Hence, it presupposes

that GES should supply the vital needs for its trained teachers and learners to carry out effective

teaching and learning.

In effect, teachers will not ignore the two teaching methods at their disposal. Gogovi et al (2004)

are of the opinion that teachers are trained to use the Creative Dramatics but the method is

ignored. Sonbul and Schmitt (2009) also advocated the use of Incidental and Explicit teaching in

the teaching and learning of vocabulary. They encouraged their use alternatively because it

achieved better results when the instructors used both techniques. GES can also effectively


64

Variable Frequency

Subjects trained to teach as a professional teacher

English Language

38

Mathematics

36

Ghanaian Language

20

Citizenship Studies

20

Creative Arts

22

Integrated Arts

33

French

9

Physical Education (PE)

21

Environmental Studies

29

Religion and Moral Studies

27

promote or enforce the use of the Direct Teaching alongside with the Creative Drama methods

alternatively.

What have you been trained to teach as a professional teacher? (Q 12)

Table 4: Teaching Subjects

Percent

48.1

45.6

25.3

25.3

27.8

41.8

11.4

26.6

36.7

34.2


Subjects taught in school English Language 27 33.8

Mathematics

35

43.8

Ghanaian Language

10

12.5

Citizenship Studies

14

17.5

Creative Arts

16

20.0

Integrated Arts

24

30.0

Which subject(s) do you teach? (Q 13)

Subjects taught using Creative Dramatics

English Language

15

20.8

Mathematics

9

12.2

Ghanaian Language

4

5.4

Citizenship Studies

7

9.5

Creative Arts

9

12.2

Integrated Arts

5

6.8

French

5

6.8

Physical Education (PE)

1

1.4

65


66

Environmental Studies 7 9.5

Religion and Moral Studies

12

16.2

NA

15

20.3

Question 12/13 were asked to know the subjects that the respondents have been trained to teach.

The summary of this in Table 3 shows that majority, 48.1% were English Language teachers but

only 33.8% of them teach the English Language, whilst 20.8% of these utilise Creative

Dramatics (CD). Considering Creative dramatics as a good teaching technique for language

instruction; statistics show that 25.3% are Ga Language teachers, with 12.5% of them teaching

the language whilst 5.4% of them utilise CD. With the French Language, 11.5 % are trained but

8.8% of the teachers teach the language whilst 6.8 use CD.

By this statistics, it is evident that some of the teachers end up teaching subject areas other than

their own speciality. Creative Dramatics is very useful for language teaching but it is evident that

only a marginal percentage of the language teachers use it. GES as the employer has to make

sure language teachers teach what they specialise in to reduce the percentages in these findings.


67

Table 5: Definition of Creative Dramatics – Q15

Variable Frequency Percent

Using drama/play to teach. 33 67.3

Using objects and imaginary things to teach. 11 22.4

Using my own idea to explain different situation. 3 6.1

Innovative approach towards teaching process. 2 4.1

Examining the above findings 67.3% of the teachers defined it rightly, thus an indication that the

teachers have some knowledge of the method. GES should put into effect measures that

encourage the use of Creative Dramatics teaching method in its public schools. This will help

GES as they embark on the road to improving our pupils/students results in English Language

which should also improve the outcomes in other subjects. As stated by Amankwah (2013), a

total of 182,000 students, who sat the B.E.C.E in June 2013, could not be placed in any of the

Senior High Schools in the country. This was due to failure in core subjects – Mathematics,

Social Studies, Integrated Science as well as English Language. This portrays the difficulty these

failed students have when using the language of instruction to answer questions in other subjects

in their examinations. I am of the opinion that, if a learner is incapable of passing the English

Language examination then, the question instructions, which comes with reading, understanding

and answering the in other subjects could be the difficulty for the learner.


68

Figure three, helps us to appreciate that 39.5% teachers among the respondents are using the

method whilst 32.9% of other teachers are considering its usage.

Figure 3: Category of Creative Dramatics user

From Table 6: Below, with regards to the question on the use of Creative dramatics, the answer

to the first statement generated was 55.4%. This last question also depicted an innovative

approach to teaching and the finding was 49.3%.


69

Variable Frequency

Use of Creative Dramatics

Gives a good representation of reality.

41

Table 6: Use of Creative Dramatics – Q17

Percent

55.4

Suits well with the course. 10 13.3

Improves the course.

14

18.7

Is an important part of the course?

9

12.0

Was well introduced in the course.

6

8.0

Instruction helped me to play the SGRP.

2

2.7

Is an innovation approach towards teaching process?

37

49.3


70

Under the Use of Creative Dramatics, Table 6 revealed 55.4% teachers stated that the method

“gives a good representation of the reality”. The child’s senses of feelings, (taste, sight, auditory,

touch and smell) are awakened to participate a lot more when the lesson taught aims or supports the

use of dramatic activity. The method helps the learner to relate to the topic, increases his/her

participation, and helps the child to be confident. Confidence building helps children to

communicate better at school, home and also in society (Way 1967 p.5). The English language

exposure in GES schools is so limited to the classroom, as compared to non GES public schools,

compelling their pupils to communicate more in vernacular.

Teaching and learning developed through Creative Dramatics encourages child-centeredness, which

is paramount to the method and leads to pupil’s involvement. The data analysis, the findings and

Piaget’s (1973) theory, cited by Singer and Revenson (1997, p.13) endorses the notion that a

“child is a philosopher who perceives the world as he has experienced it”.


71

In addition, he says, the child plays an active role in his/her growth of intelligence as he learns by

doing. The experience that the learner goes through in a dramatic activity helps to improve the

child’s competence in communication, intelligence and behaviour.

Creative dramatics techniques is more exciting

Than

Other types of teaching methods.

62

91.2

Nothing, it is not exciting.

6

8.8

Creative dramatics is more effective than

Other types of teaching methods.

63

90.0

Nothing, it is not exciting.

7

10.0

Students learn

When preparing for creative dramatics.

20

25.3

When playing creative dramatics.

46

58.2

While doing the assignment.

17

21.5

No opinion.

9

11.4


72

The findings show 91.2% teachers indicate that the method is more exciting than other methods,

and 90.0% think the method is more effective than other methods; furthermore 58.2% think

students learn when playing creative dramatics.

According to Kim (1995, p.35)

There is a common perception that all learning should be serious and solemn in nature and

that if one is having fun and there is hilarity and laughter, then it is not really learning. This

is a misconception. It is possible to learn a language as well as enjoy oneself at the same

time. One of the best ways of teaching Creative dramatics is through games. Kim’s statement is

supported by Oblinger’s (2006, p.1) when he asserts that;

Exploring games and education is inherently controversial. Games can seem un-

educational; they are typically associated with play and childhood. Even the name implies

that games are the opposite of work. Assertions that those games must be used to make

learning ‘fun’ ignore the fact that students who are deeply engaged in learning consider it

both fun and hard work. From Table 7 below, it can be seen that 67.5% agree that Creative dramatics is a dynamic way

of learning. 65% disagree that Creative dramatics is just for fun as Kim and Oblinger postulated.

70.9% agree that assignment given to pupils using creative dramatics encouraged pupils to learn.

61% agree that creative dramatics requires a high degree of involvement of students.


73

Variable Strongly

Agree

Agree No

Opinion

Disagree

Creative dramatics is a

dynamic way of learning.

20.0% 67.5% 10.0% 1.3%

Creative dramatics is just for

fun.

1.3%

10.0%

8.8%

65.0%

Assignment given to pupils

using creative dramatics

encouraged pupils to learn.

17.7%

70.9%

7.6%

2.5%

Creative dramatics requires a

high degree of involvement

of students.

24.7%

61.0%

7.8%

5.2%

Creative dramatics increase

students’ knowledge in the

subject.

30.4%

60.8%

6.3%

2.5%

The decision students make

in creative dramatics are

based on institution.

4.1%

58.9%

19.2%

16.4%

Table 7: Characteristics of Creative Dramatics

Strongly

Disagree

1.3%

15.0%

1.3%

1.3%

-

1.4%


I am motivated when

teaching with creative

dramatics.

10.3%

62.8%

16.7%

9.0%

1.3%

I put more effort into

creative dramatics than into

other types of teaching

methods

6.4%

37.2%

20.5%

33.3%

2.6%

Figure 4: Number of times per week of Creative dramatics application.

74


75

Figure 5: Time allocated for the Creative dramatics method

From the pie chat in Figure 4, 32% teachers had no opinion on the number of times per week of

applying Creative dramatics in their teaching and 30% reported that they use Creative dramatics

once per week. 22% use it twice, 9% two to four times and 7% teachers use CD five and more

times.

From the bar chat in Figure 5 also, 40.8% reported that the time allocated for teaching Creative

dramatics was too little. 31% say it is enough, 21% answered no opinion and 6.6% think time

allotted is too much. When I examine the opinions of the two statistics, I perceive that teachers

who think the method takes or need a lot of time end up ignoring or may ignore the usage of the

method advocated. This assertion is made by (Gogovi et al, 2004).


76

Figure 6: Expectation about Creative dramatics compared to its outcomes

From Table 7, it can be seen that 67.5% agree Creative dramatics is a dynamic way of learning.

65% disagree Creative dramatics is just for fun. 70.9% agree that assignment given to pupils

using Creative dramatics encouraged pupils to learn. 61% agree that Creative dramatics requires

a high degree of involvement of students.

The data and its findings support the postulations of Oblinger (2006) as well as Devishaj (2014),

who suggest that when children learn through enactments they understand and improve better.


77

Variable Strongly

Agree

Agree No

Opinion

Disagree

I am satisfied with the

teaching techniques.

7.7% 65.4% 7.7% 19.2%

Creative dramatics techniques

are not suitable for my

subjects.

3.8%

7.6%

11.4%

67.1%

Creative dramatics

techniques are not available

2.6%

17.9%

12.8%

55.1%

4.3 Suitability of Creative Dramatics

Table 8 depicts the suitability of creative dramatics. It can be seen that 65.4% agree that they are

satisfied with the teaching techniques they are currently using. 67.1% disagree that Creative

dramatics techniques are not suitable for my subject.

Table 8: Suitability of Creative Dramatics

Strongly

Disagree

-

10.1%

11.5%


78

Strongly

Agree

Agree No

Opinion

Disagre

e

I have limited time available for teaching with Creative dramatics.

7.7% 55.1% 10.3% 24.4%

for my subject.

Students won’t react well to

creative dramatics.

2.6%

9.2%

7.9%

65.8%

14.5%

The high percentages of views given by teachers to the suitability/promotion of the CD teaching

method strongly aid the purpose and objectives as well as the significance of this research.

4.4 Resources (Teaching and Learning Materials)

From Table 9, 55.1% agree that they have limited time available for teaching with Creative

dramatics. 53.8% agree that there is limited availability of resources to allow the use of Creative

dramatics. Approximately 50% agree that teaching with Creative dramatics is relatively low

priority in my school. 63.3% agree that there is limited support available for Creative dramatics.

Table 9: Resources

Strongly

Disagree

2.6%


79

There is limited availability

of resources to allow the use

of Creative dramatics.

10.3% 53.8% 7.7% 26.9% 1.3%

Teaching with Creative

dramatics is a relatively low

priority in my school.

3.9% 49.4% 6.5% 36.4% 3.9

There is limited support

available for Creative

dramatics.

6.3% 63.3% 11.4% 19.0% -

I feel that using Creative

dramatics is risky.

2.5% 5.1% 7.6% 63.3% 21.5%

I am not aware of this 2.7% 17.6% 12.2% 56.8% 10.8%

available teaching methods and products.


80

The response of teachers to the application of CD’s limitation of time is 55.1% and the limited

availability of teaching resource is 53.8%. Limited support available for CD is 63.3%. The

following findings indicate an understanding that teachers that can be pointing to their preference

to stick to the methods they are used to. I can sense the frustration they have with inadequate

resource using direct teaching reflecting on CD, which needs skills training, structures, and

leading to more time and space. I propose that the GES makes teachers work more interesting by

providing its material and non-material resources - (skills, teachers, books, as well as

infrastructure- workshops space) for CD. Space for the work should be structured into the

architectural drawings of the school.

Although Kelley (1988) outlines improvisational ways of creating the CD teaching environment;

for teaching CD lessons, the right environments for teaching and learning are very relevant.

From Table 10, 84.6% recommended the teaching of Creative dramatics for all schools and

3.8% reported that the teaching of Creative dramatics is time consuming and resource

demanding.


81

Table 10: Comments

Frequency Percent

Recommend the teaching of Creative dramatics for all

schools. 22 84.6

Time consuming and Resource demanding. 1 3.8

Time consuming and Resource demanding/Time

consuming and resource demanding.

3 11.5

The comments of the teachers who took part in this research show that they recommend the use

of the CD method. That suggests to me, teachers are willing to explore with CD when added to

the methods currently employed.

The overall understanding of the data analysis is that, even though Creative Drama is mentioned

as course on the primary Education curricula; its application is limited to entertainment for the

student. This clearly points out to the fact that CD as a methodology and as a course is gravely

misunderstood by teachers and students alike as creative arts. This is because there is a clear

distinction of what CD is and a formula in place to ensure that teachers are trained to apply CD

effectively. Hence, Professional teachers taking Theatre Arts as their field of study would be the

recommended group of teachers to pilot bthe proper implementation of an effective drama in

education programme.


82

In the 4th

Republic of Ghana, under President John Kuffour’s government, (from 2004 to 2008),

the GES went through educational reforms and Creative Arts was introduced in place of

Music and Dance. However, Professional teachers in the basic primary schools are still faced

with difficulty when teaching this subject without the right content and its educational

methodological skills. Therefore, a teacher without the right methodological training in a /some

subject(s) is not expected to churn out the right outcomes. As a Creative Arts teacher, the syllabus

covers fields such as visual arts, performing arts- drama, dance and music; Sewing, and

Sculpture. My advantage as a professional teacher with a PGDE (Post Graduate Diploma in

Education); is that my first degree in the School of Performing Arts, University of Ghana,

Legon, was in Drama,

Dance and Music and majored in Theatre and Music. In my initial teacher training, (as a post

secondary teacher trainee) I majored in Education, Nutrition, Needlework, Housewifery as well

as Arts in general. I am thus enabled to handle a class using CD, as compared to another who

lacks the above skills.

4.5 Discussion of Pupils and Students class work evaluation.

From Table 11 below, the total number of pupils from the primary level was 121 and that from

the JHS level was 97. Out of the 12 primary pupils, 51 were males and 70 females. And out of

the 97 JHS pupils, 49 were males and the remaining 48 were females.


83

Table 11: Demographics of Pupils

Level Total

Primary JHS

Male Gender

Female Total

51 49 100

70

121

48

97

118 218

Test scores of the primary and JHS classes can be found in (Appendix 17 to 20) it can be seen

that the performance of pupils from the Primary level based on the first and second evaluation

was approximately the same.

From Table 12 below, the primary class five pupils on roll (N) 51/70, that took the test. In the

first and second evaluation, the minimum scores were 13 and 11 whilst the maximum scores

were 28 and 30 respectively. The mean or average score for the first evaluation was 22.49 and

that of the second evaluation was 22.54.


84

Table 12: Evaluation Scores for the Primary Level

Evaluation N Mean Minimum Maximum

First

Second

Total

51/70 51/70

121

22.49 22.58 22.49/22.58

13

11

13/11

28

30

28/30

Table 13 below depicts the performance of pupils from the JHS level based on the first and

second evaluation. It was seen that the students on average performed better in the first

evaluation with a mean value of 19.72 as compared to the second evaluation with a mean

value of 19.35. It can also be seen that in the first and second evaluation, the minimum scores

were 10 and 11 whiles the maximum scores were 30 and 27 respectively.


85

Table 13: Evaluation Scores for the JHS Level

Evaluation N Mean Minimum Maximum

First Second Total

49/48

49/48 97

19.72 19.35 19.72/19.35

10

11

10/11

30

27

30/27

Pupils in class five were instructed with the passage on “Communication” and after the class,

they did a class exercise. Eight weeks later, the pupils had another test to find out if they

remembered what they had learnt in class.

The scores for the two exercises (class test and a quiz) are encouraging because comparing the

first results with the second for class five the results were better than the first exercise. It

shows that they remembered what they had played in class. It is expected that learners achieve

better understanding when learning is done through play because of the five senses, using the

sense of touch, smell, sight, hear and taste to explore learning; Recall is enhanced through

play/activity learning. This bears on Bruner’s (1964) theory of cognitive development, which

highlights on using actions, imagery and language in his labelled modalities of enactive,

symbolic and symbolic. Pages 11/12 of the literature review.


86

Students in form two were also instructed with the passage on “Bullies meet their match” and

after the class, they were also taken through the same process of testing. Eight weeks later, the

students had another test to confirm their ability to recall.

The scores for the two exercises (class test and a quiz) in the JHS were also encouraging

although comparing the first results with the second, the first scores are better than the second.

Moreover, the gap between the first marks and the second scores are not too much. Therefore

averagely, they did well because fifty percent of the second scores were above average. It is

expected that learners achieve better when learning is implemented through play. Aristotle also

advocates the five senses and its ability to enhance recall.

4.6 Conclusion

From the study, it appears that the generic name ‘Creative Dramatics’ is unknown or unclear to

most of the teachers of GES. Looking at games, role play and simulations, there is a disparity in

applying them in the classroom. Role play appears to be the most taught during the training of

the teachers. The other two may not have been adequately exposed / taught. Therefore, its use

also is at a significant low in percentage as shown in the findings. The study also reveals that

most of the teachers agreed to the effectiveness and the efficiency of utilizing the Creative

Dramatics teaching method. Classroom behaviour was also at its best due to pupils’ interaction

that went on due to the play method that comes with fun and hard work.


87

CHAPTER FIVE

CONCLUSION

5.1 Summary Taking into consideration the objectives of this work which are:

iii. Identify the problems associated with the teaching of vocabulary in English Language

with the direct teaching methods.

iv. Assess the impact of the Creative dramatics (CD) technique in teaching vocabulary in

the English Language.

Direct Instruction (DI) teaching method proved its merits as being effective and efficient. It is

worth pointing out however, the unavailability of resources, both material and non-material

affects the outcome of DI teaching method. Hence, devoted teachers who perform better in their

duties are from schools that have efficient teaching and learning materials such as school

infrastructure, classroom furniture, chalk, black or white board, board ruler, coloured chalks,

textbooks, visual aids, manila cards, multimedia presentations and many others. This thought is

mentioned by scholars in the literature review.

Nevertheless, the study revealed that Creative Dramatics teaching method should be used as an

alternate method to the Direct Instruction as experienced in the fieldwork. This is because this

method has been found to be less stressful for teachers and pupils/students as well as equally

exciting than the non- play technique (Kim (1995), Courtney (1965), Ward (1995), Lease and

Siks (1952), Way, (1967), Keller, (1988)).


88

This research also disclosed that some of the professional teachers in GES agreed that Creative

Dramatics teaching method is an effective and efficient teaching method. Nevertheless, it was

also clear from the analysis, that most of them lacked clear understanding and grasp of the

Creative Dramatics (CD) teaching method. In Table 4 of the analysis, the findings showed 67.3%

of teachers defining Creative dramatics (CD) as ‘Using drama/play to teach’ whilst 22.4 %

thought “it is using objects and imaginary things to teach”. As a professional teacher and a

Drama in Education student, the technique is an innovative approach to teaching, but rather, that

had a low-response percentage of 4.1% as respondents’ definition to CD. In Table 5, 49.3% of

the same respondents thought it was “an innovative approach to teaching”. Therefore, the

findings in Tables 4 and 5 disclosed inconsistent responses from the CD users and non-users.

5.2 Other findings

Findings from the study/experiment revealed that pupils/students were eager, motivated

and ready anytime in the day for the lesson. Lessons (experiments) were mostly taught

after their break time, when they could be tired.

Whenever the lesson was cancelled for an emergency meeting of the school the learners

were always disappointed. Some of the teachers were sometimes alarmed for that

anxiety/concern from the children for the lesson.

Furthermore, participants always improved upon their creativity, imaginative and

innovative skills.


89

5.3 Conclusions The study made known the method is ignored and not used effectively, Gogovi, (2004). Any

teaching method needs the right resources as well as the right approaches to achieve the expected

outcomes, whether DI or CD.

As a college trained teacher, and a post graduate in Education, it has been observed that the

Department of Education in Cape Coast University, and the University of Education, Winneba,

Ghana’s renowned two Education Universities are yet to introduce Drama in Education/Theatre

Modules in their chains of Teaching Methodology courses being offered at the Departments of

Education.

5.4 Recommendations Following the findings of this study, it becomes imperative for the stakeholders to change some

of the ways; hence knowledge is dispensed for the benefit of pupils/students in Ghana. An

observation after the eighth week assessment, an interview session with the learners revealed

that children were impressed, inspired and expressed their willingness to co-operate with

teachers when GES gives the mandate to them to implement the Creative Dramatics

technique.

Government policy developers in education, decision makers in GES, syllabus

developers, teachers and educational stakeholders should publish articles to explain

advocate and to expose the benefits of teaching the method of Creative Dramatics in

the GES classrooms.

Educational practitioners, researchers and academicians should conduct more research


90

into Creative Dramatics methods and how to impart knowledge with the

technique in Ghana. This will uncover grey areas of this teaching method and to

unveil more of its knowledge and benefits to GES and all its stakeholders.

All educational/training institutions should have teaching methodology of drama in

education instruction.

eminars and workshops, as well as ‘in-service training’ for teachers should be

organized by the management of the Ghana Education Service to aid teachers on

the field to teach the method of Creative dramatics in the classrooms.

GES publishers, teachers and lecturers in Drama in Education should write teaching /

teachers manuals on how to teach with Creative Dramatics method.


91

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Department of Basic Education, University of Education: Winneba.

Adam, D. (2000) Defining quality in education (journal article)

http://www.unicef.org/education/files/QualityEducation.PDF -

UNICEF

Adu John, Awuletey Innocent, Coates Nick, Torsuh Seth Ayivi. (2011) Primary English Pupil’s

Book 5 (revised edition for the new national syllabus). Ghana: Winmat Publishers Ltd. p.24

and p.122

Ablo, G. K, Ananse, T, Hammond W, Keleve, M, Narh H.D, Nutsugah B, Taki, N. K. (2008)

New Gateway to English for Junior High Schools. Ghana: Sedco Publishing Limited. p.

Amankwah, Charles. (2013, October, 1st). SHS placements out: 182,000 CAN’T GET

SCHOOLS. Ghanaian Times, p.1and17.

Annie Ward, Howard W. Stoker, Mildred Murray-Ward (1996), "Achievement and Ability Tests

- Definition of the Domain", Educational Measurement 2, University Press of America, pp.

2–5, ISBN 978-0-7618-0385-0

Blaikie, N, (1993) Approaches to Social Enquiry. Cambridge: Polity Press. Bryman,

Alan. (2012) Social Research Methods, 4th ed. Oxford: University Press Buchanan, M,

(2006) Child Drama. Retrieved from, www.childdrama.com on 6-03-13

Chauhan, S.S (1979) “Innovations in Teaching-Learning Process”, PVT, New Delhi: Vikas

Publishing House. ISBN 0-7069-7874-9

Chenfeld, M.B. (1978) Teaching Language Arts Creatively. Harcourt Brace Jovanovich, Inc,

Chomsky, N. (1966) Linguistic Theory Rein J.P.B. Allen and P. Van Buren (eds). Chomsky:

Selected Readings, 152-9. London: Oxford University Press,

Clipson-Boyles, S. (1988) Drama in Primary English Teaching. London, Great Britain: David

Fulton Publishers.

Colby Jeanette, (2000) Defining Quality in Education, New York: Miske Witts and Associates.

(UNICEF)

Davidson, Phillip. (2015, February 4th

) The Basic School Language Policy: A concept to

improve performance in Basic Schools. Ghanaian Times, p. 9.


http://www.unicef.org/education/files/QualityEducation.PDF

http://www.unicef.org/education/files/QualityEducation.PDF

http://www.childdrama.com/

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Devishaj 2 0 1 4 , Tell me, Show me etc: Another: http://www.gaaec.org/files/newsletter-

TICLS.pdf- The International Academy for Advanced Studies, 2014.

Freeman, D. and Richards J.C. (1993), Conceptions of Teaching and the Education of Second

Language Teachers; TESOL Quarterly, Volume 27, No. 2. Summer, 1993

Galliers, R. 1991. Choosing appropriate information systems research approaches: A revised

taxonomy. R. Galliers, ed. Information Systems Research: Issues, Methods and Practical

Guidelines. Blackwell, Oxford, U.K., 144–162.

Given, Lisa M. (2008) The Sage encyclopedia of qualitative research methods. Los Angeles,

Calif.: Sage Publications. ISBN 1-4129-4163-6

Gogovi, G. A. K, Victor Yankah, Gborsong, P.A, K. Essel (2004). Methods of Teaching Primary

School English: Centre for Continuing Education, Cape Coast: University of Cape Coast

Press. (CCEUCC)

Kim Lee Su; (1995) "Creative Games for the Language Class", Malaysia. 'Forum' Vol. 33 No 1,

January - March 1995, Page 35.

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http://dosfan.lib.uic.edu/usia/E-USIA/forum/vols/vol33/no1/P35.htm, Retrieved on the 11-07-

2014 @ 16:00hrs.

Keller, Betty. (1988). Improvisations in Creative Drama: Workshops and Dramatic sketches for

student actors. Colorado: Meriwater Publishing Ltd.

Kyriacou, C. (1992, 1997) Effective Teaching in Schools, 1st &

2nd Edition

. London: Stanley

Thornes Publishers Ltd.

Lahey, B. B. (2004). Psychology - An Introduction, 8th ed. New York: The McGraw Hill

Companies Inc. (www.mhhe.com)

Littlewood T. W. (1985). Foreign and Second Language Learning: Language – acquisition

research and its implications for the class. London: Cambridge University.

Marley, S.C, Levin J.R. Glenberg, A.M. (2010) The Journal of Experimental Education, 2010,

78, 395–417 Copyright C Taylor & Francis Group, What Cognitive Benefits Does an

Activity-Based Reading Strategy Afford Young Native American Readers?

www.teachingenglish.org.uk/sites/teaching/files/C413%20Juba%20Publication_

May, T. (2001) Social Research; Issues, Methods and Process (3rd

ed.). London; Open

Publishers Ltd

Mingle, Edmund. (2013, November 1st

), Second Lady Calls for Quality Teaching to


http://www.gaaec.org/files/newsletter-TICLS.pdf-

http://www.gaaec.org/files/newsletter-TICLS.pdf-

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http://dosfan.lib.uic.edu/usia/E-USIA/forum/vols/vol33/no1/P35.htm

http://www.mhhe.com/

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Rural Students Ghanaian Times, p.10

Mooney, C.G, (2013, p.16) Theories of Childhood, - An introduction to Dewey, Montessorri,

Erikson, Piaget, and Vygotsky, 2nd

Edition, USA: Redleaf

Press,

Perrott, Elizabeth. (1982) Effective teaching: a practical guide to improving your teaching.

London: Longman Press.

Rivers, W.M. (1964). The Psychologist and the Foreign Language Teacher, Chicago: University

of Chicago Press.

Rosenshine, Barak. (2008). Synthesis Series: Five meanings of Direct Instruction.

www.centerii.org- 9/3/15 PDF

Saunders, M. Lewis, P. & Thornhill, A. (2009) Research methods for business students, 5th

ed., Harlow: Pearson Education

Singer, D.G. & Revenson, T.A. (1997) A Piaget Primer: How a Child Thinks (Revised Edition).

Madison, Connecticut: International Universities Press Inc.

Skinner, B.F. (1957) Verbal Behaviour. New York; Appleton – Century – Crafts. USA,

Tatar, S. (2002) Dramatic Activities in Language Arts Classrooms: Resource, Summary.

http://www.indiana.edu/ reading/ieo/digests/d174.html

Way, B. (1967) Development through Drama . London: Longmans, Greens and Co. Ltd.

Ward, Winifred. (1957). Playmaking with Children. New York: Appleton-Century-Crofts, Inc.


http://www.centerii.org-/

http://www.indiana.edu/

94

APPENDIX 1: REQUEST FOR INTRODUCTION LETTER

94


APPENDIX 2: INTRODUCTION LETTER TO SCHOOLS

95


96

APPENDIX 3: UNOFFICIAL FOCUS INTERVIEW PRE – INTERVIEW INFORMING QUESTIONNAIRE

QUESTIONS POSED TO HEADTEACHER AND TEACHERS.

SCHOOL – MADINA No. CLUSTER OF SCHOOLS

La – Nkwantanang Municipal Council After I have introduced myself as a teacher, the researcher set to ask questions on some of the

pertinent communication behaviour observed around the schools a few weeks ago.

HEADTEACHER

1. How many teachers are on your staff?

2. Averagely, how many pupils are in each class?

3. I have keenly observed that the pupils in this cluster prefer conversing in the vernacular (L1)

than the instructional medium (L2) during break periods. Is it a behaviour teacher’s grapple with

and so far what is being done progressively about it?

4. Is your school’s workforce professionally trained?

5. Are your pupils mostly located in the community? Do they get to school early and promptly?

TEACHER/HEAD

1. With the policy of using the local language in kindergarten to Classes one to three, are the

pupils comfortable with the vernacular as a medium of instruction? How?


97

2. As the medium of instruction begins in the fourth class, how do the learners cope with the

transition and the second Language (L2)?

3. Are learners fond of vernacular in the classroom?

4. Is it possible that the environment of the school (location) is the cause of the interest in the

vernacular speaking or the policy which encourages teaching with vernacular in the lower

primary and pre-school?

5. Apart from the Direct method of teaching, (Direct Instruction) do you apply other teaching

styles to get the children to converse with the L2, so that their practice will aid their spoken

skills?


APPENDIX 4: CONTEXT VARIABLES

98


99

APPENDIX 7: PASSAGE ON DRUG ABUSE


100

APPENDIX 8: PASSAGE ON COMMUNICATION


101

APPENDIX 9: PASSAGE ON BULLIES


102

APPENDIX 10: OTHER WARM UPS

Warming up game below is explained to the learners by the teacher.

Pupils stand up and walk around the classroom. As learners walk in class, teacher explains that :

One clap means freeze (stop and don’t move)

Two claps means walk

Three claps means jog (or skip, jump, hop)

Teacher puts the three movements into action before learners. The first five winners of the

various claps were acknowledged.

2. Description game

The facilitator calls a boy and a girl to go out of /leave the class.

The whole class attempts to describe their appearance vividly, two pupils/students of

every row in the class, whoever gets it right is given marks for their clubs/sections- (red, gold,

green and blue) in the class.

3. Vocabulary Substitute

Vocabulary needed for topics are discussed.

Learners review alternatives to keywords.

Facilitator mentions a keyword and call learners in turns to provide synonym/substitute.

This can be a word game for class.


103

APPENDIX 11: QUESTIONAIRE

15 November 2013

Dear Sir/Madam,

My name is Bless Ahiaku, a teacher by profession and a 2nd

year student of the

Department of Theatre Arts, School of Performing Arts, University of Ghana, Legon. As

part of my research project, I am conducting a study on using creative dramatics for

vocabulary development in public basic schools in Accra. This questionnaire regarding the

use of Creative dramatics in the classroom is one of the methods the study employs for data

collection. I will be grateful if you can kindly complete the following questions. Please

bear in mind that when you complete the questionnaire;

Do not write your name on the questionnaire – it remains anonymous.

There are no correct or incorrect answers – we require your honest opinion.

Please answer all questions.

Your first spontaneous reaction is the most valid. Please work quickly and

accurately. Do not ponder too long on a particular question / item.

The information in this survey will eventually assist Curriculum Research Development

Division of GES to take a look again at this teaching method so that it will be implemented.

Thank you once again for friendly and professional assistance.

Yours faithfully, ----------------------------- ------------------------------

Student Supervisor


104

UNIVERSITY OF GHANA MASTER OF PHILOSOPHY IN DRAMA IN EDUCATION

RESEARCH QUESTIONNAIRE

Instruction This questionnaire consists of three sections. Section A: Respondent Background; Section B:

Use of Creative Dramatics; Section C: Techniques suitability/ Resources/ Risk of the

Teaching Strategy.

Kindly tick boldly and distinctly the correct answer or answers.

------------------------------------------------------------------------------------------------------------

A. RESPONDENTS BACKGROUND

Q1. Your age

A 20 - 25 years

B 25 -30 years

C 30 - 35 years

D 35 - 40 years

E 40 - 45 yeas

F 45 - 50 years

G 50 - 55 years

H 55 - 60 years

Q 2: Your gender

A Male

B Female


105

Q3. Your highest educational qualification

A Certificate

B

Post Secondary Teachers Certificate ‘A’

C Diploma

D Bachelor

E Post Graduate Diploma

F Master

G Other(specify)

Q 4: Are you a professional teacher?

A Yes

B No

Q5. How long have you been teaching with GES?

A 0 - 5 years

B 5 -10 years

C 10 - 15 years

D 15 - 20 years

E 20 - 25 yeas

F 25 - 30 years

G 30 + years

Q6. How long have you been teaching with your school?

A 0 - 5 years

B 5 -10 years

C 10 - 15 years

D 15 - 20 years

E 20 - 25 yeas

F 25 - 30 years

G 30 + years


106

Q7. The name of your current school is;

A ANT ‘1’ Exp. J.S.S

B ANT ‘1’ Exp. Primary School

C ANT. ST John’s Primary School

D

Dzorwulu Methodist Primary School

E Abelenkpe J. H.S

F Abelenkpe Primary School

G Dzorwulu Primary School

H Kotobabi ‘3’ Girls Junior High

I Kotobabi ‘1’ Mixed Junior High

J

Kotobabi ‘2’ Boys Junior High School

Q8. The class you are currently teaching?

A Class 1

B Class 2

C Class 3

D Class 4

E Class 5

F Class 6

G JHS 1

H JHS 2

I JHS 3

J Other

Q9. Creative Dramatics has been emphasized in your training?

A Strongly Disagree

B Disagree

C No Opinion

D Agree

E Strongly Agree


107

Q10. Which teaching techniques were you introduced to in your training?

A Questioning

B Discussion

C Brainstorming

D Field Trips

E Cueing

F Class Exercise

G Simulations

H Games

I Role Play

J Participation

K Group Work

L Drama or Dramatizing

M Puppetry

N Story Telling

O Project

P Stop start

Q Picture Reading

R Tableau

S Not Applicable

Q11. Which of the following teaching techniques do you apply in your teaching?

A Questioning

B Discussion

C Brainstorming

D Field Trips

E Cueing

F Class Exercise

G Simulations

H Games

I Role Play

J Participation

K Group Work

L Drama or Dramatizing

M Puppetry

N Story Telling

O Project

P Not Applicable


108

Q12. What have you been trained to teach as a professional teacher?

A English Language

B Mathematics

C Ghanaian Language

D Citizenship Studies

E Creative Arts

F Integrated Science

G French

H Physical Education (PE)

I Environmental Studies

J Religion and Moral Studies

Q13. Which subject(s) do you teach?

A English Language

B Mathematics

C Ghanaian Language


E Creative Arts


G French



J Religion and Moral Studies

Q14. Which subject(s) do you teach using Creative Dramatics?

A English Language

B Mathematics

C Ghanaian Language


E Creative Arts


G French



J Religion and moral studies

K Not Applicable


109

Q15. In your own words define Creative Dramatics. …………………………………………………………………………………………………

…………………………………………………………………………………………………

…………………………………………………………………………………………………

……………………………………………………………………………………….

Q16. Category of Creative Dramatics users

YES NO

A Are you a current user

B Are you a former user

C Never used, would consider using

D

Never used, would not consider using

B. USE OF CREATIVE DRAMATICS Q17. Creative Dramatics

A Gives a good representation of the reality B

Suits well with the course

C

Improves the course

D

Is an important part of the course

E

Was well introduced in the course

F

Instruction helped me to play the SGRP

G

Is an innovation approach towards teaching process


110

Q18. Creative dramatics techniques is more exciting than;

A

Other types of teaching methods

B

Nothing, it is not exciting

Q19. Creative Dramatics is more effective than;

A

Other types of teaching methods

B

Nothing, it is not exciting

Q20. Is Creative Dramatics a dynamic way of learning?

A

Strongly disagree

B

Disagree

C

No opinion

D

Agree

E

Strongly agree

Q21. Creative Dramatics is just for fun

A

Strongly disagree

B

Disagree

C No Opinion D

Agree

E

Strongly agree


111

Q22. Assignment given to pupils using Creative Dramatics encouraged pupils to learn

A

Strongly disagree

B

Disagree

C No Opinion D

Agree

E

Strongly agree

Q23. Creative Dramatics requires a high degree of involvement of students

A

Strongly disagree

B

Disagree

C No Opinion D

Agree

E

Strongly agree

Q24. Creative Dramatics increases pupils/students knowledge in the various subjects;

A

Strongly disagree

B

Disagree

C No Opinion D

Agree

E

Strongly agree

Q25. Students learn;

A

When preparing for Creative Dramatics

B

When playing Creative Dramatics

C While doing the assignment D

No Opinion


112

Q26. The decisions pupils/students make in the Creative Dramatics are based on

intuition;

A

Strongly disagree

B

Disagree

C No Opinion D

Agree

E

Strongly agree

Q27. How many times do you apply Creative Dramatics in a week

A

Once

B

Twice

C 3 – 4 D

5-more

E

No Opinion

Q28. I am motivated when teaching with Creative Dramatics;

A

Strongly disagree

B

Disagree

C No Opinion

D

Agree

E

Strongly agree


113

Q29. I put more effort into Creative Dramatics than into other types of teaching methods;

A

Strongly disagree

B

Disagree

C No Opinion D

Agree

E

Strongly agree

Q30. My expectation about Creative Dramatics as compared to its outcomes are;

A

Lower

B

The same

C Higher D

No Opinion

Q31. Time given for the Creative Dramatics

A

Too little

B

Enough

C Too long D

No opinion

SUITABILITY OF CREATIVE DRAMATICS

Q32. I am satisfied with the teaching techniques I am currently using

A

Strongly disagree

B

Disagree

C No Opinion D

Agree

E

Strongly agree


114

Q33. Creative Dramatics are not suitable for my subjects

A

Strongly disagree

B

Disagree

C No Opinion D

Agree

E

Strongly agree

Q34. Creative Dramatics techniques are not available for my subject;

A

Strongly disagree

B

Disagree

C No Opinion D

Agree

E

Strongly agree

Q35. Pupils/Students won’t react well to Creative Dramatics;

A

Strongly disagree

B

Disagree

C No Opinion D

Agree

E

Strongly agree

RESOURCES: (TEACHING AND LEARNING MATERIALS)

Q36. I have limited time available for teaching with Creative Dramatics

A

Strongly disagree

B

Disagree

C No Opinion D

Agree

E

Strongly agree


115

Q37. There is limited availability of resources to allow the use of Creative Dramatics

A

Strongly disagree

B

Disagree

C No Opinion D

Agree

E

Strongly agree

Q38. Teaching with Creative Dramatics is a relatively low priority in my school

A

Strongly disagree

B

Disagree

C No Opinion D

Agree

E

Strongly agree

Q39. There is limited support available (e.g. technical or administrative) for Creative

Dramatics

A Strongly disagree B

Disagree

C No Opinion D

Agree

E

Strongly Agree


116

Q40. I feel that using Creative Dramatics is risky

A

Strongly disagree

B

Disagree

C No Opinion D

Agree

E

Strongly Agree

Q41. I am not aware of this available teaching (Creative Dramatics) methods and products

A

Strongly disagree

B

Disagree

C No Opinion D

Agree

E

Strongly Agree

Q42. Any other comments?


117

APPENDIX 13:

CLASS 5 – 1st ASSESSMENT

ST JOHN PRIMARY SCHOOL / A.N.T ‘1’ EXPERIMENTAL PRIMARY SCHOOL

ENGLISH LANGUAGE

CLASS 5

Unit 26- Communication - Answer the following:

CHOOSE TEN WORDS THAT ARE SIMILAR IN MEANING TO

COMMUNICATION FROM THE WORDS BELOW: 30 Marks.

Message, Sony, Letter, Form, E-mail, Kingdom, Phone call, Normal, Relate, English,

Home, Talk about, School, Tell, Break, Speak about, Teaching, Mavis, Communicate,

Interact, Class Five, Converse, Happy, Talk, Gossip, Boy, Discussion, Share, Girl, Tell.

Write short sentences with the following words/phrases giving ideas on

communication.

1. Talk

2. Post a letter / postman (2 sentences)

3. Laugh

4. Gong- gong beater

5. Television / pictures (2 sentences)

6. Annoy

7. play

8. Song for baby. (lullaby)


118

APPENDIX 14:

1ST

ASSESSMENT QUESTIONS – JHS 2A & 2B A.N.T ‘1’ E X PE RIME NTAL J.H .S

FORM 2A; 2B ENGLISH

LANGUAGE

“BULLIES MEET THEIR MATCH”

WORD DEVELOPMENT IN CREATIVE DRAMATICS

UNDERLINE THE WORDS WITH MEANINGS SIMILAR TO THE ONES GIVEN ON

YOUR LEFT- 30 marks

To bully: To: Family, Frighten, Kitchen, Scare, Classroom, Terrorize, Threaten

A bully, (ies): Book, Tormentor, Accra, Persecutor, Gangs, Boy, Tyrant, Intimidator,

Fresher: Veteran, Beginner, Ok, New, Language, Newcomer, Mocker, Pen.

‘Slasher’: Cloth, Cutlass, Food, ’Langalanga’, Plate, Scissor and Book.

Split: Table, Tear, Rip, Wall, Opening, Bed and Divide.

Menace: Posture, Threat, School, Danger, Nuisance, Floor, Troublemaker, Hazard,

Movement,

Curiosity: Interest, Fidget, Prying, Inquisitiveness, Fright, Bully.

Character: Role Player, Goat, Personality, Behaviour, Teach, Player.

Grit: Clench, Smile, Gnash, Sing, Suffer, Grind and Come.

Fidget: Toy, Ball, Move About, Sad, Chuckle, Beauty, Snigger, Fiddle, Jiggle.

Amusement: Entertainments, Promote, Enjoyment, Judgement, Pleasure, Primary,

Delight, Secondary, Fun, Pen, Glee.


119

Make two words out of the words below:

Budge- ‘Slasher’ Troublemaker

Character- Menace- Enjoyment

Fidget- Fright-

Splash- Bully

Write short sentences with the following words/phrases.

1. Newcomer

2. ‘Langalanga’

3. Character

4. Bully

5. Happy


120

APPENDIX 15:

SECOND ASSESSMENT - CLASS 5

ST JOHN’S PRIMARY SCHOOL / A.N.T ‘1’ EXPERIMENTAL PRIMARY SCHOOL

ENGLISH LANGUAGE

CLASS 5

Unit 26- Communication – FINAL/SECOND ASSESSMENT

Answer the following:

Underline the right answers. 30 marks

1. Speaking, talking, miming, signaling are forms of communication. (TRUE/FALSE)

2. Communication can be done through interviews, printing books, newspapers, telephones,

computer (TRUE/FALSE)

3. Play, drama, watching television is communication. (YES/NO)

4. Using Sign language is communication and interaction. (YES/NO)

5. Laughing is a form of communication. (YES,NO)

6. TO SHARE IDEAS AND INFORMATION is (computer, communication).

7. Apart from writing letters; posting, emailing, face booking; tweeting are forms of

(communication, radio).

8. Write four new words from communication.

9. Dancing can be used for interaction/communication. (- - - -) Clay, True, Form, Post.

10. ‘What’s-Up’ is a recent (chat, test) platform in Ghana. It is therefore communication.

11. Write short sentences with any three of the following words below:

Telephone, computer, television, radio, chat,


121

APPENDIX 16: 2nd ASSESSMENT – JHS 2A & 2B

A.N.T ‘1’ EXPERIMENTAL J.H .S

FORM 2A; 2B ENGLISH

LANGUAGE

“BULLIES MEET THEIR MATCH”

WORD DEVELOPMENT IN CREATIVE DRAMATICS

Write short sentences with the following words/phrases.

1. Newcomer

2. ‘Langalanga’

3. Character

4. Bully

5. Happy

Make two words out of the words below:

Budge- ‘Slasher’ Troublemaker

Character- Menace- Enjoyment

Fidget- Fright-

Splash- Bully


122

APPENDIX 17: TEST SCORES

ANT ‘1’ EXPERIMENTAL PRIMARY SCHOOL- CLASS 5 PUPILS

PUPIL ( BOYS)

FIRST TEST SCORES

SECOND TEST SCORES

1. PUPIL ONE 26 27

2. PUPIL TWO 28 29

3. PUPIL THREE 25 24

4. PUPIL FOUR 23 21

5. PUPIL FIVE 26 25

6. PUPIL SIX 25 27

7. PUPIL SEVEN 15 17

8. PUPIL EIGHT 26 28

9. PUPIL NINE 18 18

10. PUPIL TEN 21 23

11. PUPIL ELEVEN 20 21

12. PUPIL TWELVE 28 29

13. PUPIL THIRTEEN 25 27

14. PUPIL FOURTEEN 18 15

15. PUPIL FIFTEEN 25 27

16. PUPIL SIXTEEN 24 -

17. PUPIL SEVENTEEN 14 27

18. PUPIL EIGHTEEN 22 15


19. ” NINETEEN 16 27

20. ” TWENTY 24 23

21. ” TWENTY ONE 26 16

22. ” TWENTY TWO 28 20

23. ” TWENTY THREE 28 18

24. ” TWENTY FOUR 24 23

25. ” TWENTY FIVE 23 25

26. ” TWENTY SIX 28 29

27. ” TWENTY SEVEN 19 25

28. ” TWENTY EIGHT 22 30

29. ” TWENTY NINE 24 29

30. ” THIRTY - 25

31. ” THIRTY ONE 24 23

32. ” THIRTY TWO - 27

33. ” THIRTY THREE 18 20

TOTAL

PUPIL ( GIRLS) FIRST TEST SCORES SECOND TEST SCORES

1. PUPIL ONE 23 25

2. PUPIL TWO 26 25

3. PUPIL THREE 23 24

4. PUPIL FOUR 16 14

5. PUPIL FIVE 14 13

6. PUPIL SIX 25 24

123


7. PUPIL SEVEN 27 25

8. PUPIL EIGHT 21 22

9. PUPIL NINE 25 26

10. PUPIL TEN 24 23

12. PUPIL TWELVE 20 17

13. PUPIL THIRTEEN 18 15

14. PUPIL FOURTEEN 26 28

15. PUPIL FIFTEEN 20 15

16. PUPIL SIXTEEN 21 19

17. PUPIL SEVENTEEN 20 18

18. PUPIL EIGHTEEN 14 12

19. PUPIL NINETEEN 24 26

20. PUPIL TWENTY 23 27

21. PUPIL TWENTY ONE 25 23

22. PUPIL TWENTY TWO 25 27

23. PUPILTWENTY THREE 15 13

24. PUPIL TWENTY FOUR 26 28

25. PUPIL TWENTY FIVE 24 25

26. PUPIL TWENTY SIX 15 14

27. PUPILTWENTY SEVEN 21 23

28. PUPIL ” EIGHT 22 26

29. PUPIL ” NINE - -

124


30. PUPIL THIRTY 20 21

31. PUPIL THIRTY ONE 13 11

32. PUPIL THIRTY TWO 19 21

33. PUPIL THIRTY THREE 26 30

34. PUPIL THIRTY FOUR 16 13

35. PUPIL THIRTY FIVE 15 14

36. PUPIL THIRTY SIX 13 14

37. PUPIL THIRTY SEVEN 24 24

38. PUPIL THIRTY EIGHT 19 19

39. PUPIL THIRTY NINE 15 14

TOTAL

125


APPENDIX 18: TESTS SCORES – St. John’s – C. 5

ST. JOHN’S PRIMARY SCHOOL – CLASS 5 RESEARCH TEACHING

ASSESSMENTS

BOYS - PUPIL NUMBER 1ST

SCORES 2ND

SCORES

Student one 24

Student two 27

Student three 24

Student four 22

Student five 12

Student six 24

Student seven 24

Student eight 25

Student nine 26

Student ten 20

Student eleven 25

Student twelve 24

Student thirteen 25

Student fourteen 24

Student fifteen 24

Student sixteen 26

Student seventeen 26

Student eighteen 26

TOTAL

126


Girls - St. John’s Primary Sch. Class 5

PUPIL NUMBER.

1ST

SCORES 2ND

SCORES

Student one 26

Student two 27

Student three 17

Student four 23

Student five 20

Student six 25

Student seven 21

Student eight 23

Student nine 24

Student ten 22

Student eleven 25

Student twelve 25

Student thirteen 25

Student fourteen 24

Student fifteen 25

Student sixteen 26

Student seventeen 21

Student eighteen 20

Student nineteen 27

Student twenty 12

Student twenty – one 19

127


Student twenty – two 21

Student twenty – three 28

Student twenty – four 22

Student twenty – five 26

Student twenty – six 23

Student twenty – seven 28

Student twenty – eight 25

Student twenty – nine 27

Student thirty 22

Student thirty – one 26

Student thirty – two 24

TOTAL

128


APPENDIX 19: TEST SCORES FOR JHS 2A

ANT. JHS STUDENTS: 2A

NAME OF PUPIL (BOYS)

FIRST TEST SCORES

SECOND TEST SCORES

Student 1 23 20

Student 2 17 16

Student 3 19 18

Student 4 30 25

Student 5 20 19

Student 6 25 20

Student 7 20 18

Student 8 21 24

Student 9 27 19

Student 10 27 19

Student 11 21 17

Student 12 29 16

Student 13 17 14

Student 14 20 17

Student 15 23 18

Student 16 23 23

Student 17 23 19

Student 18 30 19

Student 19 19 20

Student 20 19 21

Student 21 16 19

Student 22 15 16

Student 23 18 19

Student 24 14 13

Student 25 26 21

TOTAL

NAME OF PUPIL (GIRLS)

FIRST TEST SCORES

SECOND TEST SCORES

Student 1 17 18

Student 2 14 19

Student 3 25 20

Student 4 22 19

Student 5 26 19

Student 6 25 14

Student 7 29 17

Student 8 18 19


Student 9 17 17

Student 10 21 17

Student 11 19 18

Student 12 29 19

Student 13 20 18

Student 14 28 19

Student 15 24 19

Student 16 18 20

Student 17 18 22

Student 18 27 18

Student 19 23 18

Student 20 18 18

Student 21 25 18

Student 22 19 20

Student 23 25 15

Student 24 21 18

Student 25 17 18

Student 26 16 15

TOTAL

130


131

APPENDIX 20: TEST SCORES FOR JHS 2B

BOYS NAME

1ST

SCORES

2ND

SCORES Student 1

20

17

Student 2

19

21

Student 3

15

19

Student 4

20

21

Student 5

20

24

Student 6

16

17

Student 7

13

19

Student 8

22

26

Student 9

11

16

Student 10

15

21

Student 11

14

19

Student 12

11

11

Student 13

12

13

Student 14

14

12

Student 15

22

25

Student 16

26

20

Student 17

12

16

Student 18

20

27

Student 19

19

23

Student 20

15

23

Student 21

23

19

Student 22

19

24


132

Student 23 23 21

Student 24

23

22

2B - GIRLS

Student 1 18 17

Student 2 20 19

Student 3 17 21

Student 4 21 25

Student 5 16 16

Student 6 18 22

Student 7 19 23

Student 8 21 23

Student 9 20 22

Student 10 19 25

Student 11 18 21

Student 12 20 24

Student 13 21 23

Student 14 22 25

Student 15 20 24

Student 16 16 19

Student 17 18 22

Student 18 20 20

Student 19 11 14

Student 20 22 18

Student 21 17 21


Student 22 10 15

133


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