Fine Art & Interactive Media

Stand-up comedy has something serious to say. It demonstrates through creative and playful language that ‘seriousness is most emphatically not the opposite of play’ (Huizinga).

Stand-up comedy is actually governed by rules of creative play and narrative construction. It uses humorous structural qualities of the English language to stimulate thought. This paper will demonstrate how the use of semantic ambiguity and narrative construction inform this creative, comical and cognizant form of communication. The context of humour grants greater access to broad ranges of subject matter and means of communication, giving the comedian a platform to discuss conceptually and socially difficult ideas. This ‘comic license’ facilitates freedom to mix disparate references from literary and sociocultural sources, to inform the relevant diegetic context of the performance. While these references engage the audience’s socio-emotional understanding, studies in Neuroscience suggest that Stand-up comedy also stimulates higher order processing within the audience. To appreciate jokes, audiences perform cognitive leaps of understanding, in relation to the narrative presented. The narrative can be manipulated to be lexically and structurally ambiguous, engaging the audience's curiosity and attention by constructing cognitive puzzles and narrative tension. The performer can then subvert the audience's expectations with a comic result, released in the form of laughter.

Stand-up comedy is an art form that can be analysed from many interdisciplinary perspectives: Linguistics, Psychology, Philosophy, Sociology, Anthropology, and Performance Arts. It is a complex and diverse communicative cultural artifact, which, through selective arrangement of language, reflects contemporary mentality and deserves serious study.

The aim of this paper is to form a broad comparison of the similarities and differences in the communicative abilities of Stand-up comedians and Teachers. To discover what makes Stand-up comedy an effective communicative medium, not just for entertainment, but also for engaging, stimulating and informing an audience. It will also provide a context and examples of effective teaching practice and how Stand-up comedy techniques may relate to effective teaching practice.

The research methods of this paper consist of observation of teaching practice and analysis of Stand-up comedy performances, these are combined alongside interviews with practitioners within both fields of study. The data collected is matched against Humour theory, Education theory, as well as studies in Sociology and Neuroscience in order to produce a broad but informed academic argument.

In summation Stand-up comedians and Teachers are similar in several ways, however comedians may be considered to be more effective in formative and personalised communication methods. Comedians are able to obtain signals towards their effect and adapt their communicative ability, almost instantaneously. Which allows them to optimise their performance, communicating information effectively for the specific group they're encountering.

Audiences appear to use a range of intellectual, emotive, social and other cognitive abilities in order to comprehend and appreciate a Stand-up comedy performance. Stand-up comedians may inform their audiences and make them think, teachers may produce an effective, personal and engaging learning environment with the use of humour theory. Date of submission: 30/08/2014

Stand-Up​ ​ comedians​ ​ have​ ​ an​ ​ array​ ​ of​ ​ communicative​ ​ techniques,​ ​ transferrable​ ​ to​ ​ the Educational​ ​ industry.​ ​ The​ ​ goal​ ​ of​ ​ the​ ​ research​ ​ is​ ​ not​ ​ to​ ​ introduce​ ​ 'funny​ ​ teachers'​ ​ into​ ​ the classroom;​ ​ the​ ​ focus​ ​ will​ ​ be​ ​ on​ ​ improving​ ​ communication​ ​ and​ ​ teacher-student​ ​ engagement, modelled​ ​ by​ ​ the​ ​ interactive​ ​ relationship​ ​ between​ ​ the​ ​ Stand-Up​ ​ comedian​ ​ and​ ​ audience.​ ​ '​ only the​ ​ teacher​ ​ and​ ​ the​ ​ stand-up​ ​ comedian​ ​ rely​ ​ on​ ​ the​ ​ continuous​ ​ interaction​ ​ between​ ​ themselves and​ ​ the​ ​ people​ ​ in​ ​ front​ ​ of​ ​ them​ '​ ​ (McCarron).

Ken​ ​ Robinson​ ​ states​ ​ that​ ​ the​ ​ current​ ​ teaching​ ​ methods​ ​ are​ ​ still​ ​ '​ modelled​ ​ on​ ​ the​ ​ interests​ ​ of industrialism​ .'​ ​ Imposing​ ​ modes​ ​ of​ ​ '​ standardisation​ '​ ​ and​ ​ linear​ ​ thinking​ ​ in​ ​ a​ ​ world​ ​ that​ ​ requires greater​ ​ use​ ​ of​ ​ divergent​ ​ and​ ​ lateral​ ​ thinking.​ ​ An​ ​ ability​ ​ to​ ​ problem​ ​ solve​ ​ creatively​ ​ and​ ​ socially​ ​ is increasingly​ ​ important​ ​ for​ ​ the​ ​ modern​ ​ work​ ​ context;​ ​ Stand-up​ ​ comedy​ ​ is​ ​ a​ ​ Socio-Cultural​ ​ artifact and​ ​ as​ ​ such,​ ​ a​ ​ means​ ​ to​ ​ evaluate​ ​ the​ ​ presence​ ​ of​ ​ these​ ​ skills.​ ​ Studies​ ​ in​ ​ Neuroscience​ ​ suggest that​ ​ the​ ​ application​ ​ and​ ​ appreciation​ ​ of​ ​ Stand-Up​ ​ Comedy​ ​ reflects​ ​ the​ ​ capacity​ ​ for creative-social​ ​ problem​ ​ solving​ ​ in​ ​ both​ ​ audience​ ​ and​ ​ performer.​ ​ As​ ​ Miller​ ​ states,​ ​ skills​ ​ in '​ cooperation,​ ​ empathy​ ​ and​ ​ flexibility'​ ​ ​ are​ ​ becoming​ ​ more​ ​ vital​ ​ in​ ​ the​ ​ modern-day​ ​ workplace. These​ ​ are​ ​ some​ ​ of​ ​ the​ ​ chief​ ​ components​ ​ of​ ​ Stand-up​ ​ comedy​ ​ and​ ​ can​ ​ be​ ​ applied​ ​ via Educational​ ​ practice. Scholars​ ​ such​ ​ as​ ​ Sarason,​ ​ have​ ​ postulated​ ​ links​ ​ between​ ​ Teaching​ ​ and​ ​ Performing​ ​ Arts.​ ​
This paper​ ​ posits​ ​ a​ ​ closer​ ​ link​ ​ between​ ​ Teaching​ ​ and​ ​ Stand-up​ ​ Comedy​ ​ performance,​ ​ such​ ​ as:​ ​ the relationship​ ​ dynamic​ ​ between​ ​ teacher​ ​ and​ ​ student​ ​ body,​ ​ an​ ​ ability​ ​ to​ ​ adapt​ ​ information differentially​ ​ and​ ​ the​ ​ use​ ​ of​ ​ persona.​ ​ Stand​ ​ Up​ ​ Comedy​ ​ performance​ ​ highlights​ ​ the​ ​ presence​ ​ of the​ ​ 'moment'​ ​ (​ Allen)​ ​ ​ and​ ​ the​ ​ audience​ ​ as​ ​ an​ ​ integral​ ​ part​ ​ of​ ​ what​ ​ Chow​ ​ calls​ ​ a​ ​ '​ unique​ ​ cultural experience​ '​ ​ in​ ​ a​ ​ similar​ ​ way​ ​ that​ ​ teachers​ ​ immediately​ ​ facilitate​ ​ the​ ​ culture​ ​ of​ ​ learning.

The​ ​ aim​ ​ of​ ​ this​ ​ paper​ ​ is​ ​ to​ ​ highlight​ ​ intersections​ ​ between​ ​ Educational​ ​ and​ ​ Humour​ ​ theory,​ ​ with a​ ​ further​ ​ aim​ ​ to​ ​ produce​ ​ a​ ​ practical​ ​ system​ ​ of​ ​ teacher​ ​ training​ ​ in​ ​ the​ ​ future.

Teaching and stand-up comedy are both forms of communicative performance. The primary aim of this paper is to provide a broad investigation of the similarities between the two; with a particular focus on the means, procedures and the role of the ‘performer’’ within these communicative events. This paper originally acted as a grounding for my master’s thesis: ‘Can stand-up comedy techniques aid effective teaching practice?’ and now provides a platform for future study.

The distinction between stand-up comedy performance and other forms of drama / public performance is that stand-up comedy requires the audience to become participants; unlike the comic actor, the stand-up comedian will break the fourth wall to create direct interaction. Fundamentally, both stand-up comedy and teaching requires constant interaction between performer and ‘audience’ in order to be successful. In both disciplines, the audience is not passive, they are active agents of change – they are ‘spect-actors’ [Boal].

The methodology of this paper is to utilise both educational and humour theory as well as case studies of teaching sessions and observational analysis of stand-up comedy performance to discern the interrelationship between the two disciplines. This research is also informed by my own experience as a stand-up comedian and as an educational theorist and practitioner, with students ranging from primary through to adult education (Pedagogy – Andragogy).

This paper also identifies stand-up comedians with an intent beyond entertainment, performers set on informing their audience and with a purpose to prompt behavioural or social change. In this regard, observations of the similarities in behavioural dynamics between the performer with audience, and the teacher with students, are made to inform my argument.

Humour is certainly the primary purpose of stand-up comedy, however humour is merely one of many communicative tools that stand-up comedians use to engage, inform and manage the dialogic relationship between speaker and audience. The purpose of this research is to identify a means in which to inform teachers’ ability to use the dynamics of dialogue and ‘perform’ more effectively within their own ‘performative space’ of the classroom and with their ‘audience’ – the student body.

Teaching and stand-up comedy are both forms of communicative performance. The primary aim of this paper is to provide a broad investigation of the similarities between the two; with a particular focus on the means, procedures and the role of the ‘performer’’ within these communicative events. This paper originally acted as a grounding for my master’s thesis: ‘Can stand-up comedy techniques aid effective teaching practice?’ and now provides a platform for future study.

The distinction between stand-up comedy performance and other forms of drama / public performance is that stand-up comedy requires the audience to become participants; unlike the comic actor, the stand-up comedian will break the fourth wall to create direct interaction. Fundamentally, both stand-up comedy and teaching requires constant interaction between performer and ‘audience’ in order to be successful. In both disciplines, the audience is not passive, they are active agents of change – they are ‘spect-actors’ [Boal].

The methodology of this paper is to utilise both educational and humour theory as well as case studies of teaching sessions and observational analysis of stand-up comedy performance to discern the interrelationship between the two disciplines. This research is also informed by my own experience as a stand-up comedian and as an educational theorist and practitioner, with students ranging from primary through to adult education (Pedagogy – Andragogy).

This paper also identifies stand-up comedians with an intent beyond entertainment, performers set on informing their audience and with a purpose to prompt behavioural or social change. In this regard, observations of the similarities in behavioural dynamics between the performer with audience, and the teacher with students, are made to inform my argument.

Humour is certainly the primary purpose of stand-up comedy, however humour is merely one of many communicative tools that stand-up comedians use to engage, inform and manage the dialogic relationship between speaker and audience. The purpose of this research is to identify a means in which to inform teachers’ ability to use the dynamics of dialogue and ‘perform’ more effectively within their own ‘performative space’ of the classroom and with their ‘audience’ – the student body.

Stand-Up comedians have an array of communicative techniques, transferrable to the Educational industry. The goal of the research is not to introduce ‘funny teachers’ into the classroom; the focus will be on improving communication and teacher-student engagement, modelled by the interactive relationship between the Stand-Up comedian and audience. ‘only the teacher and the stand-up comedian rely on the continuous interaction between themselves and the people in front of them’ (McCarron).

Ken Robinson states that the current teaching methods are still ‘modelled on the interests of industrialism.’ Imposing modes of ‘standardisation’ and linear thinking in a world that requires greater use of divergent and lateral thinking. An ability to problem solve creatively and socially is increasingly important for the modern work context; Stand-up comedy is a Socio-Cultural artifact and as such, a means to evaluate the presence of these skills. Studies in Neuroscience suggest that the application and appreciation of Stand-Up Comedy reflects the capacity for creative-social problem solving in both audience and performer. As Miller states, skills in ‘cooperation, empathy and flexibility’ are becoming more vital in the modern-day workplace. These are some of the chief components of Stand-up comedy and can be applied via Educational practice.

Scholars such as Sarason, have postulated links between Teaching and Performing Arts. This paper posits a closer link between Teaching and Stand-up Comedy performance, such as: the relationship dynamic between teacher and student body, an ability to adapt information differentially and the use of persona. Stand Up Comedy performance highlights the presence of the ‘moment’ (Allen) and the audience as an integral part of what Chow calls a ‘unique cultural experience’ in a similar way that teachers immediately facilitate the culture of learning.

The aim of this paper is to highlight intersections between Educational and Humour theory, with a further aim to produce a practical system of teacher training in the future.

Fundamentally, teaching English is teaching effective communication.

Communication is learning through dialogue – students interact with the text, speech and crucially with each other.  However, it is often difficult to measure, monitor and track the qualities, trends and progress of students’ interactions. The dialogic classroom study is a method to analyse the state of dialogue in the classroom and a means to highlight and promote positive dialogic interaction.

The aim of this paper is to highlight the process in which the dialogic classroom CPD can create a culture of expertise amongst teachers. It can support students in becoming better communicators and subsequently more effective learners.

The CPD takes teachers through a cycle of reflective practice: observation, analysis, working diagnosis, group evaluation, re-planning and reapplication. This enables them to effectively monitor and track the progress of their students’ ability to absorb, build on, synthesise and interact with the contributions of others. 

Utilising grounding text and case studies from ‘Better than Best Practice: Developing teaching and learning through dialogue’ (Lefstein and Snell, 2013), internal case studies were created from recording and transcribing dialogue, followed by separate group observation, discussion and reflection between teaching staff.

Using the four strands of oracy, this research demonstrates the process of balancing effective speaking & listening skills – the key qualities of students’ interaction. The result is a curriculum for oracy (construct for speaking and listening) that can be built within departments. One that truly reflects the communicative learning needs of students and adaptive to changing cohorts and individual needs.

Not only can this be used to improve the learning of students, but it can cultivate a team of staff that are both teachers and active researchers; exploring and building upon dialogic interaction theory through reflective practise.

Understanding how groups talk, think and act is essential for contemporary educational practice. The body of research within assessment of collaborative learning, dialogic learning and oracy is substantial, but the practical outcome of this research is currently limited.

If we value the capacity for learners to talk, think and work collectively, we must produce pragmatic and practical tools for observation, assessment and intervention.

This paper acts as a field work study in which differing assessment methods from across collaborative learning, dialogic learning and oracy are trailed within varied collaborative and dialogic events. This paper reflects upon the applicability and impact of using these methods in an attempt promote further study, with a long term goal of refining methods of assessment into a practical toolkit for educators and to inform the design of group work activities in the future.

Stand-up Comedy has more to do with teaching than you might think. Is there more to Stand-up Comedy than just 'being funny'? what can teachers learn from interactive performance? How does the experience of Stand-up Comedy relate to: Oracy, Formative assessment and Dialogic learning?

Measuring active participation and Citizenship

Martin Billingham, MA. Institute of Education, University College London.

Keywords: communication, cooperation, participation, assessment, teamwork, dialogic education

UNICEF have declared that ‘communication, cooperation, participation’ are necessary for active and informed citizenship. We can predict that the problems the next generation face will be complex, multifaceted and fundamentally require social cohesion. Therefore, we need a society
that has the ability and the drive to solve problems from varying perspectives, a wide set of skills and the drive for collaborative action. However, students are leaving compulsory education lacking in these valuable skills and so lacking the agency and ability to understand and improve the world around them.

To assess something is to reach for an understanding of value and if we believe that these skills are indeed ‘valuable’ for citizenship we must find a means to assess them. This is not just to demonstrate its value to stakeholders, not just to manage the function of learning outcomes, but
in order to make iterative and continual improvements in the skills, knowledge and ability of the next generation to function as a society that values equality of outcome, inclusion and co-production.

There are emerging assessment methods focused on the measurement of teamwork, oracy and dialogue - but how valid and reliable are these methods? To what extent are these assessments for formative or summative purposes? and fundamentally can these tools be used
to support disadvantaged students to reach their potential and become active citizens that can learn, negotiate and take action together?

This paper will explore the use of 'codifying speaking and listening' as a means to assess communicative abilities through the Cambridge SEDA model and the assessment of ‘communication, cooperation, and participation’ in group work. There will also be a demonstration of ‘Team Talk Tracker’ a piece of software in development to help educators and
students measure, track and assess their ability to think, talk and work together as active citizens.

Delivered at the 'Measuring and evaluating the effectiveness of active citizenship education' conference Roehampton university, 27th Sept 2020

Measuring active participation and Citizenship

Martin Billingham, MA. Institute of Education, University College London.
Keywords: communication, cooperation, participation, assessment, teamwork, dialogic education

UNICEF have declared that ‘communication, cooperation, participation’ are necessary for active and informed citizenship. We can predict that the problems the next generation face will be complex, multifaceted and fundamentally require social cohesion. Therefore, we need a society
that has the ability and the drive to solve problems from varying perspectives, a wide set of skills and the drive for collaborative action. However, students are leaving compulsory education
lacking in these valuable skills and so lacking the agency and ability to understand and improve the world around them.

To assess something is to reach for an understanding of value and if we believe that these skills are indeed ‘valuable’ for citizenship we must find a means to assess them. This is not just to demonstrate its value to stakeholders, not just to manage the function of learning outcomes, but
in order to make iterative and continual improvements in the skills, knowledge and ability of the next generation to function as a society that values equality of outcome, inclusion and co-production.

There are emerging assessment methods focused on the measurement of teamwork, oracy and dialogue - but how valid and reliable are these methods? To what extent are these assessments for formative or summative purposes? and fundamentally can these tools be used
to support disadvantaged students to reach their potential and become active citizens that can learn, negotiate and take action together?
This paper will explore the use of 'codifying speaking and listening' as a means to assess communicative abilities through the Cambridge SEDA model and the assessment of ‘communication, cooperation, and participation’ in group work. There will also be a demonstration of ‘Team Talk Tracker’ a piece of software in development to help educators and
students measure, track and assess their ability to think, talk and work together as active citizens.

Delivered at the  'Measuring and evaluating effectiveness of active citizenship' conference, Roehampton university 27th September 2020

Contact and Address details:
Website: https://www.listen-learn-standup-speak.com
Academic profile: https://ucl.academia.edu/MartinBillingham
Personal email: martinbillingham3@gmail.com

The purpose of this Action Research project is explicitly not the promotion of comedy within the classroom, nor the production of 'funny teachers' the focal point of the project is what useful communicative dynamics can be applied from Stand-up Comedy towards improved teaching practice.

‘only the teacher and the stand-up comedian rely on the continuous interaction between themselves and the people in front of them’ (McCarron).

Several scholars, such as Sarason, have postulated links between Teaching and Performing Arts. However, this paper posits that the most applicable focus for a direct link between Applied Theatre and Teaching is in fact with Stand-up Comedy performance; it is the necessity of a direct, interactive, dynamic and dialogic relationship between 'performer' and their respective groups that make this connection robust and therefore worthy of serious consideration.

Fundamentally the role of the teacher and the comedian is to facilitate the socio-cultural dynamics of their groups - what Kottak refers to as a process of ‘enculturation’ - this facilitation process is under constant negotiation (between performer - audience and teacher - student group) in other words a 'social contract' is formed and reformed allowing the performer or teacher to continue leading their respective groups through a series of narrativised expectations. 

Although teacher training contains some preparation for this activity, teacher training is imbalanced towards the organisation of material, schemes of work and curricula over the immediate needs of communicative and behavioural dynamics within the learning environment itself. Therefore, training and experience in performative group dynamic communication may provide a needed supplement to teacher education, allowing new teachers to be better prepared for the immediate needs to elicit, prompt and adapt their objectives in response to the immediate group dynamics of their students. It is the ability to facilitate dialogic interaction - what Mercer refers to as 'Inter-thinking' through 'performance' that may be most valuable for education purposes.