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The objective of this study was to look closely at how domestic violence is represented in Pakistani drama serials to see if portrayals are reinforcing stereotypical and/or patriarchal values, or breaking the rigid norms.

With the help of dispositive analysis within the critical discourse approach, the prominent and non-dominant discourses about domestic violence were identified and discussed. Episodes from two popular drama serials, Kaisa Yeh Naseeban and Khaas, released in 2019, were watched with special focus on texts on domestic violence alongside objects and actions.

Analysis showed that both drama serials gave importance to socio-systemic and liberal humanist instrumentalism discourses, which describe domestic violence as a result of social structures and that abuse is used to assert control, respectively. However, some instances were noted where patriarchal values were encouraged.

As media has become a powerful tool of influence and awareness in the recent times, it is imperative that the content watched on it by millions of people be studied and analyzed. It is claimed that Pakistani drama serials with wide following and that are made on social issues around women aim to raise awareness and empower them. Domestic violence is a prevalent issue in Pakistan, and no research till date has examined representation of domestic violence on Pakistani popular media, which may influence response to domestic violence, which this paper aims to do.

The purpose of this paper is to consider the growing interest in oracy and to propose the pedagogy of process drama as an ideal model for the dialogic classroom.

This paper takes the form of an explanatory case study where the author draws on a successful drama/oracy project in a primary school in Brisbane, Australia, to illustrate the connections between Alexander’s five indicators of a dialogic classroom and the process drama in which the students participated.

The application of this process drama as pedagogy for the teaching and learning of oracy has contributed positively to students’ oral communication skills and intercultural awareness. In addition, parents provide positive feedback about student engagement in school and developing self-confidence because “they have something to say”.

There was no formal pre-post test for the oral communication skills on this study, instead the researchers developed a draft “oracy” checklist which deserves further interrogation and development.

There are implications for the use of process drama as a means of creating and sustaining the dialogic classroom. Teacher professional development would be required to assist the planning and delivery of dramas that allow for the deep and complex learning evidenced in this study.

This is an ideal vehicle for assisting in the development of empathy, collaboration, emotional intelligence and intercultural understanding.

This is an example of an extremely high-quality curriculum plan and implementation. The importance of engaging in implicit and explicit instruction of oral communication for the twenty-first century should not be underestimated. The process drama allows oral language to be foregrounded, with additional learning opportunities from a range of other learning areas, brought together in a coherent and complex model of practice.

The purpose of this study is to address the situation that although the theoretical benefits of using drama projects in the Teaching of English as a Foreign Language (TEFL) have been described in a number of studies, researchers have identified a lack of literature on their practical use, particularly in terms of different institutional settings, teaching styles, learning styles and proficiency levels. This paper therefore describes three case studies in universities in Korea, showing that the use of drama projects can be successfully used in different teaching situations and is an effective means of promoting meaningful language learning in students often demotivated by traditional methods and the test-driven classroom.

In these adult-learner EFL settings, a process approach to drama projects aimed to promote meaningful language acquisition and holistic learning in students of different proficiencies and majors. Drama projects were used as: syllabus supplementation by an individual teacher in a Korean-mediated English program (Case Study 1); core content on an English-mediated pre-service teacher training course (Case Study 2); and syllabus content on a Freshman English program taught by 25 native-speaking instructors (Case Study 3). Data were collected from pre/post-course questionnaires, semi-structured interviews and students’ evaluations. These were then triangulated to identify trends in participant perceptions.

Results indicated positive attitude change and promotion of cognition, positive affect and social skills in all three case studies, confirming earlier research findings and showing that the drama project is a viable and effective educational tool for the foreign language teacher, from individual syllabus supplementation to incorporation into a language program curriculum. Rather than resisting the innovation presented by drama projects, the adult learners involved welcomed the opportunities for creativity, autonomy, group work and performance.

The practical confirmation of the theoretical benefits of EFL drama projects across individual and institutional settings indicates the potential value of including them in university language programs and teacher-training EFL curricula, enabling and encouraging language teachers to promote holistic, meaningful language learning.

The purpose of this paper is to highlight the use of drama in the context of professional learning for sustainability, and specifically, a drama workshop on sustainability for in-service teachers. The workshop was designed to explore environmental problems from several perspectives, by using drama techniques like bodily expressions, visualisations and role-play.

Data are drawn from questionnaires evaluating the effects of a drama workshop delivered in Helsinki in 2017. In total, 15 in-service teachers answered open-ended questions. Responses from experienced teachers were chosen as particularly interesting in relation to work-based learning.

The findings demonstrate that drama work contributes to education for sustainability in terms of increased self-awareness, critical reflections and signs of transformation; experienced professional learners bring their workplace context into the university, which enriches teaching and learning; and sustainability is a non-traditional subject in need of non-traditional teaching approaches.

The results of this small-scale study are only valid for this particular group.

The study gives an example of how applied drama can contribute to learning for sustainability in higher education.

This paper contributes to a growing literature concerning how drama allows participants to work on real problems, from a safe position in a fictive situation, providing both closeness and distance. When students become involved in an as-if situation, it leads to increased motivation and practice-oriented learning. As the content of sustainability can be challenging, drama work offers a meaningful context in which concepts and issues can be explored. Fictive situations may contribute to more realistic learning experiences.

The purpose of this paper is to reflect on reflective practice as a qualitative methodology, and reflection-in-action as a modus operandi to engage with the artistry of cross-language qualitative research.

The author draws on the doctoral research, a cross-language multiple case study aimed at investigating the author’s evolving understanding, as a reflective practitioner, of drama-based pedagogy for teaching Italian as a second language.

A reflective analysis of the author’s tacit decision making during drama improvisation unveiled a clash between covert beliefs and overt attitudes in the author’s practice. In this paper, the author examine this process and highlight the value of translingual writing (writing in two languages) as a method of enquiry that allowed me to become aware of this clash.

A limitation of this research is that the nature of this clash of beliefs is confined to the idiosyncrasy of one practitioner. However, the methodological implications are relevant to cross-language qualitative researchers fluent in two (or more) languages. Frequently, translingual researchers focus all writing efforts in one language only, because of the absence of methodological guidelines bridging cross-language research, reflective practice and translingual studies.

Strategies to investigate awareness of tacit beliefs in educational practice may help other second language/drama reflective practitioners to better understand their knowing in-action.

This paper represents a first step in disseminating knowledge about translingual writing as method, and is of value to all those translingual researchers who are interested in reflective methodologies.

The aim of this study is to investigate whether educational drama can be used as a tool to facilitate expert knowledge development and to help students prepare themselves for working life.

The target group consisted of 41 students of Forest Sciences who had participated in a course of professional ethics taught through educational drama. Qualitative research data were collected from learning journals and quantitative data from questionnaires.

The results indicate that educational drama has a potential to foster expert knowledge development, because it can bring a sense of real life to classrooms and thus give experiences that resemble working‐life experiences. The course that was taught through educational drama gave students a sense of putting theory into practice and of solving working‐life problems. The students also felt that this course had made them more prepared for unforeseen situations in working life. Further, teaching professional ethics through educational drama may be a worthwhile tool to help students encounter the working‐life challenges of ethics and sustainability in particular.

Further studies are needed to determine the quality of the students’ professional learning in educational drama and the long‐term impacts of teaching through drama.

The findings have practical implications for higher education related to the enhancement of expert knowledge development and preparing students for working life.

This paper introduces educational drama as an encouraging tool in higher education to simulate real‐life situations in the classrooms, and thus providing students with opportunities to practise for working life and grow as experts.

This study aims to expand the understanding of the implicit exposure of brands in Web dramas with congruent branding messages shared on social media Moments. This study also aims to examine the mediating role of word of mouth (WOM) and brand love in the relationship between Web-drama connectedness and viewers’ intention to spend and spending per week.

A total of 657 usable questionnaires were gathered from Chinese participants who watch the famous weekly drama “My Huckleberry Friends” and make weekly purchases from McDonald’s. Partial least squares regression was used to test the theoretical model of the study.

Results of this study reveal that WOM and brand love mediate the relationship between Web-drama connectedness and intention to spend on the exposed brand. Intention to spend mediates the relationship between brand love and spending. WOM mediates the relationship between Web-drama connectedness and spending.

Tencent’s WeChat is a well-known Chinese social media platform with a history of forbidding advertising. Users constantly flood social media with Web-drama content, influencing consumers’ spending habits. To the best of the authors’ knowledge, the present study is one of the first attempts to develop an understanding of Web-drama connectedness, brand love, WOM and behavioural intention by tracing the spending on advertised brands. This study highlights how brands maintain consumer spending by enhancing brand love via Web-drama advertising and instigating ticklish moments as “print screens” of WOM on social media.

Forensic psychiatric treatment is aimed at reducing violence risk factors (Bonta and Andrews, 2017) and achieving positive, prosocial life goals (Willis et al., 2013). Drama education can be provided as part of this treatment, but the evidence base is scarce. Therefore, the present study aims to provide insight into experiences with drama education as part of forensic psychiatric treatment.

A qualitative study was conducted, based on participant observation and 16 interviews, to explore the experiences of patients and treatment providers with drama education during forensic psychiatric treatment. Analyses were conducted following the consensual qualitative research method (Hill et al., 1997).

The five central themes that emerged from the analysis were knowledge, happiness, excellence in play, community and staff-patient hierarchy. Participants reported that they enjoyed the drama lessons, appreciated the group atmosphere and were able to practice their social-emotional skills. Furthermore, patients and their treatment providers became better acquainted with each other because the power differences between patients and staff decreased during the drama lessons.

Drama education can be considered a useful part of clinical forensic psychiatric treatment, given the positive experience of participants and its perceived positive impact on treatment.

This was one of the first studies to examine the influence that drama education may have on forensic psychiatric treatment. Four of the five themes were in line with the good lives model (Willis et al., 2013), indicating that drama education fulfiled basic human needs or “primary goods” that are important to address in forensic psychiatric treatment, as it decreases the need to compensate these goods with criminal behaviour.

This purpose of this paper is to describe a collaborative project from the University of Waikato, Hamilton New Zealand, in which the authors used process drama to engage final year teaching students with complex issues of cultural diversity, enabling them to “grow into” different kinds of leadership positions in an imagined educational setting. The paper describes the project and makes a case for process drama as a means of providing opportunities for leadership and as a potent tool for learning about issues of social justice.

The drama was based on a fictional scenario described by Hall and Bishop, where a beginner teacher (of European descent) unwittingly diminishes the experiences of Maori and other non‐European children in her class. Using a three‐phase process planning model and with facilitators in role alongside the students, the drama explored the scenario from all points of view. Students were encouraged to build empathy for the beginner teacher and for the children and also to explore the dilemma faced by the teacher's tutor in deciding whether, and how, to confront the teacher on the issue.

Through the drama, students built a sense of empathy for all sides of the issue and engaged in deep thinking about the experience of cultural exclusion. The safety and distance provided by the drama “frame” spurred students to take leadership roles and “stand up” for issues of social justice. The authors suggest that through such dramas students gain skills and perspectives that they may carry into their professional lives.

The paper describes a small project, over one lesson with a specific group of students. More research is needed into the effectiveness of process drama as a sustained strategy for teacher education.

This scenario explored in the drama has currency in Aotearoa New Zealand, where the population is increasingly culturally diverse, where underachievement of Maori students continues to be of concern, and where research has shown the centrality of teacher‐student relations in raising educational achievement for Maori. The authors believe this paper makes a compelling case for the value of drama as a tool for student teachers to encounter social justice issues in a meaningful way, and suggest that the paper is a valuable contribution to more than one discipline, as it straddles the fields of professional practice and drama as pedagogy.

The purpose of this paper is to probe aid readers’ understanding of the areas in which drama-based trainings are being used and how drama as a tool acts as a means to achieve desired learning and behavioral changes in organizations.

The paper uses literature review to analyze the practice of drama-based training.

Drama-based training is one of the most effective tools to engage participants. It elicits the desired response in them when they ruminate over familiar circumstances or behaviors being depicted and leads to instant recall and associations that acts as a propeller to imbibing new learning. Coming up with an alternative response or behavior as a result of experiencing events through drama could help them learn or manage the situation through behavioral transformation.

Being conceptual in nature, this model must be tested empirically by relevant stakeholders in the area of learning and development to add further weightage to literature.

By detailing drama-based training used in varied areas of specialization and how its usage has tremendous potential to facilitate bringing about desired behavioral changes, the paper demonstrates the importance of creating a lasting impact through this method of training that will specially be relevant to HRD managers.

Multidisciplinary areas in which drama- or theatre-based trainings are being used have been studied through literature review and a conceptual model of training, abbreviated as DRAMA for easy recall, has been proposed with inclusion of salient features that make drama-based interventions for training so engaging and effective for disseminating learning. This model also finds some connection with the Kolb’s experimental learning theory.