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  <title>FDA Collection:</title>
  <link rel="alternate" href="http://hdl.handle.net/2451/75082" />
  <subtitle />
  <id>http://hdl.handle.net/2451/75082</id>
  <updated>2026-04-11T04:43:25Z</updated>
  <dc:date>2026-04-11T04:43:25Z</dc:date>
  <entry>
    <title>Arts Integration: A Proposal for Transformative Education Reform and Critical Pedagogy in New York City Public Schools</title>
    <link rel="alternate" href="http://hdl.handle.net/2451/75208" />
    <author>
      <name>Connolly, Elise</name>
    </author>
    <id>http://hdl.handle.net/2451/75208</id>
    <updated>2025-08-20T20:54:14Z</updated>
    <published>2023-12-01T00:00:00Z</published>
    <summary type="text">Title: Arts Integration: A Proposal for Transformative Education Reform and Critical Pedagogy in New York City Public Schools
Authors: Connolly, Elise
Abstract: In a post-pandemic world, what can education look like? What can arts integration offer as a transformative education reform in New York City? As a former NYC middle school dance teacher, current Director of Education in Musical Theater, and daughter of arts educators, I’ve seen the benefits of arts integration first hand where student engagement increases, and students achieve better academic results. The following article details New York City schools chancellor’s desire to change the reading curriculum and start a “massive turnaround” in New York City schools. It highlights the latest state test scores and reading curriculum overhaul, and instead calls for a more transformative education reform by using the National A+ Schools Program model, offering not just a new curriculum model but an arts-based pedagogy as well. The National A+ Schools Program is research-based with proven results for nearly 30 years, and while it will not be easy, it is certainly possible.</summary>
    <dc:date>2023-12-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Teaching the Anxious Actor</title>
    <link rel="alternate" href="http://hdl.handle.net/2451/75207" />
    <author>
      <name>Logghe, David L.</name>
    </author>
    <id>http://hdl.handle.net/2451/75207</id>
    <updated>2025-08-20T20:52:57Z</updated>
    <published>2023-12-01T00:00:00Z</published>
    <summary type="text">Title: Teaching the Anxious Actor
Authors: Logghe, David L.
Abstract: The purpose of this article is to shed light on the challenges of teaching theatre to students with anxiety. It includes specific situations educators have faced, patterns of gaps in training or knowledge, and methods with which educators have handled these situations. The data for this article came from an extensive literature review as well as a qualitative research study wherein 11 educators of differing grade range and location were asked about their personal experiences as professional theatre educators. Subjects were given pseudonyms to protect their anonymity. School, city, and state names were omitted when possible. The data was coded and analyzed, with special note given to patterns in educator experience. The research revealed an almost unanimous gap in training, a wide variety of issues, and some repeated failures in communication between administration and educator. It also revealed a growing pool of practical advice from outside the typical education system. While the challenges explored are told from the educator’s perspective, they all originate with student needs and issues. In helping educators prepare for these challenges, one also helps the students who are suffering.</summary>
    <dc:date>2023-12-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Dyslexia and Dramatic Growth: Exploring Theatre's Impact on Cognitive Skills</title>
    <link rel="alternate" href="http://hdl.handle.net/2451/75206" />
    <author>
      <name>Norland, Anne</name>
    </author>
    <id>http://hdl.handle.net/2451/75206</id>
    <updated>2025-08-20T20:51:43Z</updated>
    <published>2023-12-01T00:00:00Z</published>
    <summary type="text">Title: Dyslexia and Dramatic Growth: Exploring Theatre's Impact on Cognitive Skills
Authors: Norland, Anne
Abstract: In the demanding world of theatre, where actors must navigate a myriad of language-based skills, the question arises: can individuals with dyslexia, a neurobiological disorder that impairs language processing, and associated learning challenges, thrive in such a setting? While some patterns in education suggest that students with dyslexia  lack the cognitive skills necessary for theatrical participation, this article seeks to challenge that assumption. Its purpose is to explore the compatibility of dyslexia with theatre training and make a compelling case for theatre as an effective intervention in helping students with dyslexia and related learning differences overcome their challenges. By reviewing literature and sharing empirical evidence from real-life anecdotes, I seek to demonstrate the transformative impact of theatre on cognitive skills, confidence, and personal growth for dyslexic learners. The transformative power of theatre as a success-oriented and purpose-driven activity cannot be underestimated, and through a deeper understanding of theatre's potential, educators and practitioners can create inclusive learning environments where dyslexic students not only succeed but also thrive in their academic pursuits and beyond.</summary>
    <dc:date>2023-12-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Embracing Failure in the Drama Classroom</title>
    <link rel="alternate" href="http://hdl.handle.net/2451/75205" />
    <author>
      <name>Lindgren Galloway, Sofia</name>
    </author>
    <id>http://hdl.handle.net/2451/75205</id>
    <updated>2025-08-20T20:50:23Z</updated>
    <published>2023-12-01T00:00:00Z</published>
    <summary type="text">Title: Embracing Failure in the Drama Classroom
Authors: Lindgren Galloway, Sofia
Abstract: Inspired by Valerie Curtis-Newton’s keynote address at the 2023 AATE conference, this piece explores the necessity of creating failure-friendly drama classrooms. In a time when students are experiencing unprecedented rates of anxiety and other mental health challenges, I argue that explicit instruction about and opportunities for failure are necessary for the social, emotional, and academic success of students. Furthermore, I address why drama educators and theatre classrooms are uniquely positioned to facilitate healthy relationships with failure. I end the piece with suggestions for ways to incorporate more failure-learning opportunities into drama and theatre education spaces.</summary>
    <dc:date>2023-12-01T00:00:00Z</dc:date>
  </entry>
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