See, hear, do.

Lots of decisions are made through informal discussions with colleagues.
Not at minuted meetings, conferences and so on, but in corridors, the canteen, down the pub.
Colleagues are then left to interpret meaning and if possible, act upon them.
In the course of one morning this week I had three colleagues tell me how they were using MoE to advance the learning of their students.
If they had heard each others approach to their MoE learning they might have been left wondering if they had missed something in their own MoE INSET to their departments.
Experience tells me that each colleague will deliver learning of value to their students and that their students, in turn, will become better equipped to recognise progress in their approach.
Some of the MoE documentation still baffles them, and probably most of us at some point, we shape as we see fit seems to be the approach that is working for many at present.

Sources

Several years ago I used a Drama studio at The University of Warwick.
Each week I would follow on from a session usually taken by Jonothan Neelands. Each week I would find handouts and notes, presumably from the session, left lying around by his students.
These, along with very informative wall displays, proved to be quite a valued resource in preparing my own sessions with my students.
I hadn't thought about this for some time until this week I found myself taking notes from student's displays. The quality it must be said was superb. Their understanding of MoE quite clearly indicated.
I then found handouts and flyers on tables in the staff room which inevitably led to the photocopier and into my preparation for sessions later this term.
How long have I been working like this? I've not really given it a great deal of thought before.
Teach with your ears and write with your eyes.

Creative Learning

The student wasn't being difficult, he was just having difficulties.
So I told him to him to imagine he was me, and to tell me what I needed to do to solve the problem.
In my notes I recorded this as MoE.
Luke would strongly disagree I suspect, but Andy would tell us all that this is probably about the level most Drama practitioners use MoE.
I have written extensively about creative teaching and learning and the importance for creative teachers to be willing to take chances. Go ahead blur the boundaries, interpret the definitions as you see fit.
DIE and particularly MoE within DIE, is surely about interpreting the guidance to meet the needs of the learner.
Yet again this week, I see students of mine quite happily demonstrating a good understanding of MoE. But they also seem to want right from the outset, to stamp their own imprint on it. It is important to them that they own the learning they create.
I think this is a good thing. To say otherwise would just be churlish.
MoE feels like it is becoming part of a long production line creating yet another educational tool to advance the learning of young people, just another module on ITT courses.
MoE is beginning to feel like just another product that must be packaged, marketed and be able to work.
Surely we must allow the customer / teacher / lecturer / student to use as they see fit.
My student solved his problem, thanks to MoE. Trust me.

Hornbrook

Over the last few years I have been guided to a variety of excellent Drama sites by my students.
The sheer range and quality of the undertaking by individuals, theatre companies and universities, for example, is really impressive.
I have found much to inform my practice and to aid the undertakings of my students.
Recently however, I have been astounded by the narrowing of requirements from Drama teachers I meet. This has certainly been been happening for the last 3/4 years or so.
It would seem that the need for appropriate texts for monologues and duologues, schemes for exploring texts, Drama ideas for new Drama teachers and so forth has become a major priority. Pearson Publishing [Edxcel?], must be preparing their warehouses for a surge come next term!
I never really agreed with much of the thrust behind Hornbrook's ideas for Drama in Schools.
I always tell my students to make up their own minds about content once they know their students, parents and schools expectations. Normally in that order as well!
Not being part of the National Curriculum means they could truly be creative as teachers.
So how come the narrowing? What is happening in the training process guys? Has Hornbrook realised a dream?
Drama in schools, it seems to me, is currently rudderless. We appear to be drifting aimlessly. Just look at the range of Drama work at Key Stage 3 today compared to say 10 years ago.
MoE is fine if given enough time. Great for KS2 and early KS3 and then?
Drama in Education will not develop in the 21c. if it continues this narrow view. I am not persuaded by the current practice of many of my colleagues, in Higher and Further Education, that this is not the case. I only have to look at the work of my own colleagues and students to see this.

Bellamy, Starkey, Heathcote

You spend your life in academia. You write papers and books, attend conferences, give keynote speeches, become a reader, maybe even a professor.
Having gained a reputation for your subject knowledge, your university, yourself, you are then told to retire.
What do you do?
Well?
You get an 'agent', maybe somebody who has studied in your department or even a friend.
They then help you create a new career after university.
It could be Environmental Ecology, English History or Mantle of The Expert.
You need to update a little sure; a new idea possibly, even introduce new 'enterprises' to your 'clients', just remember to stay one step ahead of any competition, because your future depends on it.

Oh... and just hope that your new audience has no, in depth, understanding of your previous academic life.

You must then try to remain relevant, so that your ideas will then dominate current thinking in your subject area. This should then render all other attempts to move ideas forward redundant.
Years later like, for example, Slade, Way, Byron, Bolton, O'Neill, Neelands, Kempe you will be placed, eventually [ nowadays metaphorically ], on the university library shelf. Useful references for Drama in Education modules on English, Media Studies or Theatre courses.

Useful concepts in Education remain useful. Trust me.
Dorothy made a shrewd selection from a broad range of ideas worked over 30+ years in academia.
Like my students tell me, they always work better and feel sharper when being observed. Not when alone with a class.
MoE is a first class performance idea for all concerned but not the only one.

Let me explain!

My students have really enjoyed trying to to tell colleagues at their school about MoE.
First they start with the theory and then they are usually asked to give a practical demonstration.
They have to prove themselves?
Show MoE can actually work?
Who knows?

I can remember when students were encouraged to not experiment on teaching practice, but to "...save that for the real job!."
Ermm...
There are a lot of positives around the developing world of MoE, but it is becoming clear to me at least, that there is an awful long way to go.
After how long? 30/40 years?
How much longer can this be sustained?

Handy Hints

Information, advice and guidance.
The jargon issue pursues us all in education, doesn't it?
Andy Kempe has discussed this, at length, and he is absolutely right.
If you get caught in the 'jargon' trap you will end up having to constantly defend your stance, point of view and so on.
This, it seems to me, is the 'trap' Dorothy has created for all of us who use MoE.
Our attempts to convince colleagues of MoEs value and worth will always be thwarted by her 'meta-language'.

I dare you to create, with me if you wish, a Dorothy Heathcote Glossary.
Then take it to your colleagues for their assessment.
I, for one, would really appreciate their thoughts and observations!