Andy Martin, Massey University, Palmerston North, New Zealand
Bill Krouwel, dare2, Shepton Mallet, England


The Background
It’s a long way from the work of the Czech educator John Amos Comenius (1592-1670), to the Forest of Dean in the early 21st Century – and yet a connection now exists.

Perhaps an explanation is called for.

Commenius, - the ‘Teacher of Nations’ - believed in educating the whole person and recognised the importance of learning through experiences achieved by one’s own senses. He foreshadowed much experiential theory and practice by asserting that teaching and learning must be interconnected with experience in nature and must prepare for life itself. His ideas remain influential in the Czech Republic, and are part of the foundations of a uniquely Czech and Slovak method of experiential learning.

This unique approach to programme design has had proponents in Britain and the English- speaking world for some time: In the early 1990’s, Richard Alexander started the ball rolling by initiating contact with Prazdninova Skola Lipnice, the nascent Czech
Outward Bound. Bill Krouwel, one of the co-authors of this article was an early convert following successful attendance by his son on a Czech programme. Bill’s enthusiasm was noted by Andy Martin, who became much more closely involved with the Czechs, earning a PhD through study of the process, and co-writing Outdoor and Experiential Learning, published by Gower in 2004.

The interest generated by the book was enough for the outdoor-based charity dare2, to organise and host a trainers’ programme in Britain. We hoped that with luck we might get ten or so trainers to attend. As it turned out, demand was much greater, and thirty people eventually signed-up. So it was that in November 2005 a group of British trainers gathered at Viney Hill Outdoor Centre in the Forest of Dean for a three-day train-the-trainer programme. Thus also was the link between Comenius and the Forest of Dean completed.

The Theory
This particular approach to experiential learning tends to revolve round the idea of Dramaturgy. This term, borrowed from theatre, describes a process involving elements of psychology, role play and theatre that concentrates, blends and weaves a web of physical, social, creative and reflective/emotional activities, addressing a wider range of aptitudes than is usually possible if only physical (or only social, or only creative, or only reflective) activities are used.

Dramaturgy thus aims to create a holistic experience, and to promote planning and activities that support social and developmental goals. This was reflected in the course design at Viney Hill, where participants found themselves moving from exercises involving the creation of large-scale works of art to ones in which teamwork and orienteering skills were required; to quiet contemplation in the forest; to interdependence through trust; to teamwork in movie-making, and so on. The range of activities was sequenced in a ‘dramaturgy wave’ (Martin, 2001 - see below) to maintain a balance of intensity and rhythm.

‘The dramaturgy wave’ - intertwining social, physical, creative, and reflection waves

Reflection
Reflection is vital to effective experiential learning, and it’s incorporated as one of the “waves” in course dramaturgy. This is particularly important as dramaturgical courses don’t have externally-set and pre-planned learning objectives - no frontloading here! Instead, what is learned is emergent and highly personal, differing from one individual to another. On the programme at Viney Hill, some engaged in quite fundamental reflection about their work, whilst others engaged at another level, perhaps just gaining lots of ideas for more creative approaches to their existing activities.

One of the aims of dramaturgy is to push comfort zones in an atmosphere of physical, social and emotional safety. This pushing of comfort zones is related to the individual’s perceived risk of any activity. Each individual’s perception of risk is different and may be situated in the physical, social, psychological or spiritual realms. This was certainly reflected in the programme, with different individuals coming forward at different times and in different circumstances – and gaining different things from different tasks.

What happened…

The workshop illustrated the development of dramaturgy waves with a range of social, physical, creative and reflective activities integrated and linked throughout the first two days. The first day focused on creativity. Activities included conversations carried on between pairs using only paper and pen to draw pictures (no words allowed). The group also painted an abstract mural without brushes, participated in role play and dance, recreated impressionist masterpieces by painting with only noses and toes. At the end of the day, the group room had been transformed into a “gallery”.

The second day revolved around an environmental theme, with participants in groups making their own environmental videos, reflecting alone in the forest using land art, playing an environmentally-based orienteering activity, and enjoyed an award evening.

On the final day participants created four new games, experienced playing them and then applied the dramaturgical approach in planning their own programmes in a variety of contexts and settings (for example, local education authorities and schools; programmes for corporate clients and marginalised youth).

What did People Learn?
As might be expected, what was learned was as varied as the personalities of those attending. We incorporate a small selection in the text below.

Some learned what we set out to teach: “…The value of creative, spiritual and social activities within an outdoor programme … not just time fillers”, thus widening their approach to experiential learning. Similarly others learned to “bring…creativity into the outdoors”.

Others took a more fundamental view of what was learned and we confess to delight at the participant who wished to return home and “take the rule book and throw it out of the window”. Others expressed similar thoughts in less fundamental language: “…Don’t be afraid to be creative and questioning” and another wished to go back to work and “… explore new ways of how NOT to be a “typical instructor”

Some had detailed thoughts - for example that “facilitation doesn’t equal domination” while others were comforted by the fact that discussion had revealed that, as far as the big picture is concerned “…My own thoughts on how outdoor ed needs to change in the UK beyond activities is shared by others – particularly practitioners in the UK…”

For others, there was a process of rediscovery – “…I learned that I have let go much of the good experiential (but non-mainstream) stuff that I used to do with groups and I need to re-engage with it”

As to long-term uptake, we’re already receiving reports of particular exercises being successfully incorporated into programmes. Indeed, the course has spawned its own internet discussion group – which has been built by participants, without undue pressure from the organisers…..

Watch this space for further opportunities to learn about dramaturgy.

Selected bibliography
Leberman, S. I., & Martin, A. J. (2002). Does pushing comfort zones produce the most learning? Australian Journal of Outdoor Education, 7(1), 71-81.

Leberman, S. I., & Martin, A. J. (2005). Applying Dramaturgy to Management Education. Journal of Management Education, 29(2), 319-332.

Martin, A. J. (2001). The Dramaturgy Wave. Horizons,15,, 26-29

Martin, A. J., Franc, D., & Zounková, D. (2004). Outdoor and Experiential Learning. Aldershot, UK: Gower.

Neuman, J. (2004). Education and learning through outdoor activities. Prague: DUHA.

Andy Martin, PhD is a Senior Lecturer at Massey University, Palmerston North, New Zealand. His doctoral thesis ‘Towards the next generation of experiential education programmes’ and book ‘Outdoor and Experiential Learning’ (Gower, 2004) focused on the outcomes and educational process of Vacation School Lipnice in the Czech Republic. Andy has worked with a variety of organisations developing experiential programmes. Email a.j.martin@massey.ac.nz

Bill Krouwel is Resources Development Manager for dare2 (www.dare2.org), and has been in development training since 1981. After very early experience with Czech methods, his writing led others (including Andy) to explore the “Czech Way”. His M.A. dissertation contrasted dramaturgical processes with current approaches to outdoor management development. Bill is co-author (with Steve Goodwill) of “Management Development Outdoors” (Kogan Page, 1994) and author of “A Critical Guide to Outdoor Management Development” (ITOL, 2002).

He has wide-ranging experience as a Development Trainer. Email: will@dare2.org

dare2 is an independent charity working in outdoor education. Among its objectives is the promotion of good practice in the field, to which end it runs occasional not-for-profit practitioner development programmes. Contact Bill for details or to be added to the mailing list.