GRABSUM SCHOOL INC.

Masalukot1 ,Candelaria,Quezon
Values
Week 14
Education
Name

VALUE BASED EDUCATION AND METHODS, STRATEGIES, APPROACHES TO IMPART IT IN

EDUCATION
1. INTRODUCTION:
Values education is the process by which people give values to others. It can be an activity that can take place in any
organisation during which people are assisted by others, who may be older, in a position of authority or are more
experienced, to make explicit those values underlying their own behaviour, to assess the effectiveness of these values
and associated behaviour for their own and others' long term well-being and to reflect on and acquire other values and
behaviour which they recognise as being more effective for long term well-being of self and others. Another definition of
value education is "learning about self and wisdom of life" in a self exploratory, systematic and scientific way through
formal education. Values education can take place at home, as well as in schools, colleges, universities, jails and voluntary
youth organisations. There are two main approaches to values education, some see it as inculcating or transmitting a set
of values which often come from societal or religious rules or cultural ethics while others see it as a type of Socratic
dialogue where people are gradually brought to their own realisation of what is good behaviour for themselves and their
community. values education can address to varying degrees are character, moral development, Religious Education,
Spiritual development, citizenship education, personal development, social development and cultural development.

2. CONCEPT OF VALUE EDUCATION:

Value education means inculcating in the children a sense of humanism, a deep concern for the well being of others and
nation. Value education does not mean value imposition or value indoctrination. Value education teaches us to preserve
what is good and worthwhile in what we have inherited form our culture Value education has capacity to transform a
diseased mind into a fresh, young, innocent healthy natural and attentive mind. The transformed mind is capable of
higher sensitivity and heightened level of perception. It helps us to accept respect the attitude and behaviour of those
who differ from us. The term values is often used to refer to the principles and beliefs which act as general guides to
behaviour and enable the individual to judge what is desirable and what is not. It is necessary to teach values in the
formative years and no child is born with such knowledge. The phrase `Value Education' as used in the area of school
education refers to the study of development of essential values in pupils and the practices suggested for the promotion
of the same. In its full range of meaning, value education includes developing the appropriate sensibilities moral, cultural,
spiritual and the ability to make proper value judgment and internalize them in one's life. It is an education for
`becoming' and involves the total personality of the individual. Value education is essentially `Man Making' and
`Character Building'.

3. NEED FOR VALUE BASED EDUCATION:

The National Curriculum Frame work for school education (2000) placed importance on the need to develop qualities as
regularity, punctuality, cleanliness, self control, industriousness, sense of duty, desire to serve, responsibility, enterprise ,
creativity, sensitivity to greater equality, fraternity democratic attitude and sense of obligation to environmental
protection. Education that builds these fundamental values is essential. Value-based education promotes a thought
provoking and interactive environment for the students through the values incorporated in the curriculum. It promotes
quality education and holistic development of each child for a bright future. Value based education instils educational and
cultural values among students and aims at achieving multi-faceted development of a human being namely intellectual,
physical, spiritual and ethical development. The values incorporated in a value-based curriculum may include
cooperation, responsibility, happiness, simplicity, unity, peace, respect, love, tolerance, honesty, humility, and freedom.
The main purpose of holistic education is to prepare students to meet the challenges of living as well as academics.
Education can be considered as a means to impart general and specific information; teaching skills and most importantly
inculcate values. Education should be a process of acquiring true knowledge. In planning for good values and objectives,
the teacher and student will have to cooperate and work together. The purpose of education is to strengthen character in
the younger generation which is an answer to many of the problems that face people today. It can bring about a
widespread renewal of individual commitment to an active life of principle and this renewal is imperative. Values like
truth, right action, love, peace and non violence include in a balanced way the profound moral insights of the great
civilizations.

4. OBJECTIVES OF VALUE BASED EDUCATION:

All aims of education are invariably rooted in values.

 To provide realistic and broad based understanding of human values and educate students to become responsible
citizens in their personal and social life.
 To develop and promote the values such as truth, humility, honesty, perseverance, cooperation, compassion, love etc
 To enable students understand, appreciate, uphold, protect and promote the sovereignty, unity and integrity of India.
 To develop spirit of scientific inquiry and scientific temper and capacity for original and independent thinking.
 To offer science education conducive to the development of physical, intellectual , moral, social , spiritual and economic
aspects of life.
 To enable students to distinguish between good and bad, right and wrong.
 To develop respect for the dignity of the individual and society.

5. TYPES OF VALUES AND ITS NATURE:

Dr Gawande (1994)tried to investigate types of value and their aras. He noticed the following types of value and their
areas:

Type of value Area of value

Human value Human behaviour
National or constitutional value Constitutional rule
Social value Rules about society
Vocational value Ideals in various professions
Religious value Ideals related to religious
Aesthetic value Value in arts and literature

6. METHODOLOGIES AND TECHNIQUES:

The field of value education is as broad as life itself and touches every aspect of human life, personality and education.
Whether or not they offer specific programs, educational institutions provide some kind of value education. In many
institutions, the curriculum of value education is formal and direct, while in large majority of schools it is informal and
indirect. What makes learning and acquisition of values different form other aspect of school curriculum is that learning
of values cannot be reduced and restricted to classroom instruction alone. The pupils learning of values in the school is a
continuation of their learning in their family, community and through mass media. Therefore, the school should take into
cognizance and utilize all types of social and educational influences affecting the development of values in pupils for value
education purpose.
The methods and strategies of value education are many and varied the selection of, which depends much upon the
values chosen, sources of development of these values and many other limiting factors. The entire school curriculum
function as an important sources of value education. The democratic practice and activities sponsored though a student
self government contributes effectively for value learning. There is no way in which children can avoid catching values
and attitudes form their teachers. Values education in schools, therefore, is effected through direct, indirect, incidental
methods. Values get transmitted via both the implicit or hidden and planned curriculum. The following methods and
techniques may be suggested.

6. 1.Classroom learning activities methods/approach

These strategies should be used with any of the following sources of value education (a) Biographies (b) Stories (c)
Extracts form essays, articles, classics and news paper (d) Parables, proverbs, quotations and poems (e) value/moral
dilemmas (f) classroom incidents/anecdotes/ conflicts.

6. 2. Practical activities method

The essence of practical approach is that they provide the learners with suitable opportunities to practice and live their
lives according to the principles and values they have perceived and understood. A sound program of value education
may include a combination of a few or all activities mentioned below- (a) School campus/classroom maintenance
activities (b) Social forestry/community development activities (c) Work experience related activities (d) Organizing
campaigns on community sanitation, literacy, environmental awareness, AIDS prevention awareness (e) Yoga, meditation
and prayer sessions (f) eradication of social evils campaign activities (gender inequality, dowry, alcoholism…) (g) co _
curricular/self government activities

6. 3. Socialized techniques and activities

A variety of group oriented techniques may be used in value education. The effectiveness of the social experiences
planned to promote healthy development among children could be increased with the better understanding of social role
playing. Socialized strategies for value education purpose are listed belowa. Dramatization activities like staging play,
dramas, both of traditional folk and modern on value themes. b. Enacting opportunities to take up and practice the role
of different kinds, taking the role form epics/scriptures. c. Modeling exercise, the ideal persons and groups on themes
such as 1) gender inequality 2) problems pertaining to women's role and education 3) caring animals and human beings
4) problems related to environmental protection 5) consequences of air water pollution

6. 4. Incidental learning method

An incident is an episode or experience in the life of an individual or group. It consists in identifying the wrong or right
actions of an individual or group, either pre-planned to occur or observed by accident, and reprimanding or rewarding
those concerned.

7. APPROACHES TO VALUE BASED EDUCATION: Douglas Supreka (1976) outlines eight different approaches to value
Education, which may be briefly stated as under:

7. 1. Evocation Approach: The students are encouraged to make spontaneously free, non-rational choices, without
thought or hesitation. It provides an environment which allows maximum freedom for students, and provide a
provocative situation for which spontaneous reactions are elicited . For example, The reaction to a picture of starving
children.

7. 2. Inculcation Approach: Students are forced to act according to specific desired values. A positive and negative
reinforcement by the teacher helps value inculcation. This can be done by a teacher's natural actions and responses. This
time honored method has been notably unsuccessful.
7. 3. Awareness Approach: This approach helps students to become aware and identify their own values. The students
are encouraged to share their experiences. The teacher presents value laden situations or dilemmas through readings,
films, role playing, small group discussions and simulation. Students thus engage themselves in the process of making
inferences about values from the thoughts, feelings, beliefs or behavior of themselves and others.

7. 4. Moral Reasoning Approach: Kohlberg's theory of six stages of moral development is the framework most frequently
used in this approach. The teachers setup learning experiences which will facilitate moral development. These
experiences fall under the general category of what Kohlberg calls role taking. The critical factor in role taking is empathy.
Through placing themselves in a role and experiencing the process of deciding, students can begin to see moral decisions
in a larger framework than their single point of view. It consists of the students discussing a dilemma and by reasoning
they attain a higher level of knowledge. In this way by discussion and reflection students are encouraged to express a
value position rather than compromise on a consensus.

7. 5. Analysis Approach: The group or individuals are encouraged to study social value problems. They are asked to clarify
value questions, and identify values in conflict. They are encouraged to determine the truth and evidence of purported
facts, and arrive at value decision, applying analogous cases, inferring and testing value principles underlying the decision.

7. 6. Value Clarification Approach: It helps students to use both rational thinking and emotional awareness to examine
personal behavior patterns and classify and actualize values. This approach has been detailed by Raths et al (1966) and
Simon et at (1972) where the child is made to jot down a self _ analysis _ reaction work sheet, consisting of drawings,
questions and activities.

7. 7. Commitment Approach: It enables the students to perceive themselves not merely as passive reactors or as free
individuals but as inner-relative members of a social group and system. The Action Project helps to clarify and restructure
One's value system and to ascertain the depth of commitment of one's values.

7. 8. The Union Approach: The purpose is to help students to perceive themselves and act not as separate egos but as
part of a larger inter-related whole-the human race, the world, the cosmos.

7. ROLE OF TEACHERS IN IMPARTING VALUE EDUCATION:

Teachers can bring about extraordinary transformation in the society. A teacher should practice what he preaches.
Teachers are a role-model for the students. Their actions convey more than their words. There is a saying "as the teacher,
so as thought" and "as the school so the student" is some thing which cannot be disputed. Teacher responsibility in this
national task is tremendous. They can make a modest beginning by helping and guiding children to keep their school
premises clean, instilling them a sense of punctuality and a sense of duty. Many of these qualities can be inculcated by
teachers themselves through personal examples. There is a good deal that can be done by united efforts of efforts
teachers and parents. Students learn values from what the teachers are rather than from what they say. Teacher makes a
maximum impact on the personality of a student in the formative years. Students imbibe virtues and vices knowingly and
unknowingly from theses role models. Teachers demonstrate the appropriate behaviour of their students by their
actions. Teachers must have healthy attitude and should possess rich values. Teaching is all about attitude positive/
negative towards their job of imparting quality education. Teacher should act as a friend, philosopher and guide. A
teacher is not only a source of information but is also a mentor and guardian. For this teacher must respect the teaching
profession, love her subjects and students, Students will seek inspiration from teachers who have high self-esteem. A
decade back or so the role of a teacher was limited to being a source of information. But today this place is shared by
books, coaching classes, multimedia technology etc. So the role of a teacher is marginalized. Role of a teacher has
increased manifold. In modern times we are experiencing transition. A teacher can maintain values and nurture them. A
teacher has an immense potential of bringing about a sea change in the society by demonstrating essential values of head
and heart. Teacher can impart values in students by giving them instructions through discussion, experimentation and
lectures and by the following mentioned ways:  Teachers can maintain a case-study register to closely observe the
students and note down the positive and negative traits of their personality.  Teachers should also tell the students to
maintain a spiritual diary in which they will surrender themselves to God and take an oath to follow the path shown buy
him. By organizing cultural and sports events values like team spirit, sharing, spirit of cooperation, patience, courtesy etc.
can be imparted.

8. CONCLUSION:

Values education help students find their place in the world and build their self-confidence. Values in a school curriculum
add a dimension to that promote holistic development of the students and benefits their academic achievement.
Teachers feel a need to introduce experiential approaches to values education as a means to counter an overly cognitive
national curriculum and to address issues of behavior, discipline and social attitudes. The role of teachers cannot be
deemed minor in developing good character among students.

REFERENCES:
1. Ramnath Kishan N (2007). Global Trends in Teacher Education, APH publishing house. New Delhi.
2. Venkataiah N(2007).Value Education. S
3. Nangia , APH publishing corporation, New Delhi. 3. Gawande E. N (2004). Value Oriented Education. Publish by Saroop
and sons, New Delhi.
4. Goel Aruna Goel S. L.(2005) Human Values and Education. Deep and Deep publication pvt ltd, New Delhi.
5. Dr Iyer Balaji Ranjani(2013). Value -Based Education: Professional Development vital towards effective integration.
IOSR Journal of Research & Method in Education (IOSR-JRME), Volume 1, Issue 1 (Jan. – Feb. 2013), PP 17-20.

Learning Activity:

What strategies will you use in teaching values education?

 GRABSUM SCHOOL INC.
Masalukot1 ,Candelaria,Quezon
Values
Week 15
Education
Name

Cooperative Learning
Cooperative learning is the process of breaking a classroom of students into small groups so they
can discover a new concept together and help each other learn.
The idea of cooperative learning has been around for decades, but it never got to the same prominence as  blended
learning or differentiated instruction.
While it’s debatable as to why cooperative learning flew under the radar for so long, it’s undeniably a powerful and
effective teaching strategy.

But what are the details behind cooperative learning? And how does it work in the classroom? More importantly, can
cooperative learning work in a career and technical education (CTE) setting?

Cooperative learning is based on group work, but it’s also so much more than that.

The core element of cooperative learning is to showcase the positive effects of interdependence while underlining the
importance of personal responsibility.

This happens naturally in cooperative learning since students work with one another, but they all have a different task to
accomplish or concept to explain.

As a bonus, your students are being social while they’re working in cooperative learning. That could be an advantage or
disadvantage for you, depending on the class.

Regardless, the experience of working socially can help students with soft skills, which is a nice bonus to cooperative
learning in general.  

What Should You Know before Starting with Cooperative Learning?

The key to cooperative learning is keeping students on task.
As the teacher, this is where you fit into the cooperative learning experience.
You’re not directly “teaching” when cooperative learning occurs. Instead, you’re ensuring groups of students stay on task.
You know first-hand just how easy it is for students to get off-topic and start socializing instead of working together in a
social setting.
With that in mind, it’s crucial that you keep an ear to the ground for the entire classroom when they’re broken into groups.
Can you be everywhere at once? No.
But you can enlist the aid of another teacher, listen for the tell-tale signs of off-topic behavior (laughter, loud noises, etc.),
or break students into large, easy-to-manage groups to monitor them more effectively.
You can also create a list of specific cooperative learning strategies that you want to use with your students. That way,
you constantly have another strategy in the hopper for whenever your students wrap up one activity and move onto the
next!
Plus, once you have those strategies in play, you can create a structured approach to cooperative learning in your
classroom that makes it exceptionally hard for students to goof off, lose focus, or go off-topic.

How Do You Structure Cooperative Learning for the Classroom?

Like any learning strategy, it’s completely up to you how you want to use cooperative learning in your classroom.
However, it’s important to note that most teachers don’t start a class period with cooperative learning.
The reason is simple: Students haven’t focused on the class subject yet, so they’re not going to be focused when they
break into groups.
After all, maintaining focus is one of the chief obstacles in effective cooperative learning. If your students just come from
talking to their friends in the hall to talking to their friends in the classroom, they’re not going to have the required focus
to learn anything.
That’s why many of the teachers in our community start class periods with bell work. It could be working through a
lesson on a computer, completing a quick worksheet, setting goals for that class period, or anything else that helps a
student think about the class.
After bell work, teachers go in a variety of different directions depending on what they want to teach that day.
During early days of the semester, it may make the most sense to transition into a standard lecture that introduces a topic
to students.
But lectures are old-school, and they don’t always hold the attention of today’s always-connected generation.
That’s when you can jump to a cooperative learning activity. Students have heard the conceptual details of what they’re
learning, and now they can apply those to a group activity.
That activity could be a discussion, project, exercise, or almost anything else. As long as your students are working
together toward a goal, you’re on the right track!
To wrap things up, have student groups present their end results to one another. This is a great way to spur a class-wide
discussion, allowing other groups to hear ideas that they may have never considered.
It’s also an excellent way to start an academic debate, in the event groups disagree with one another.
That may sound like a negative outcome of cooperative learning, but classroom disagreements are actually wonderful
learning opportunities for both you and your students.
Students get to hear both sides of an opinion, which is always good. Understanding an opposing viewpoint helps keep
students grounded in a debate and prevents them from characterizing or generalizing people who think differently from
them.
You also get to hear the way your students think. This keeps you in touch with your students’ generation, and it also lets
you notice trend shifts, value changes, and even maturity in the thought processes of your students.
Finally, remember that you’re in control of your classroom. The debate, if it happens, ends when you say it ends.
Once you end it, give yourself enough time to recap the day. That’ll help students keep everything they’ve learned and
accomplished in context.
The next class period, you do it again! 

Where Can You Start with Cooperative Learning?

Cooperative learning is just one part of a well-rounded and diverse classroom experience.
If you want to add cooperative learning to your curriculum – along with blended learning, differentiated instruction, and
collaborative learning – you need a digital curriculum!
A digital curriculum is an entire system of teaching, grading, and assessing your students that comes packed with
incredible features like automatic grading and pre-made materials.
Plus, a digital curriculum exists solely online, meaning you can access it with any Internet-connected device via your web
browser. (In other words, you don’t have to install anything!)

Dyadic
Dyadic describes the interaction between two things, and may refer to:

 Dyad (sociology), interaction between a pair of individuals

 Dyadic counterpoint, the voice-against-voice conception of polyphony
 People who are not intersex (see also endosex)

What are some examples of dyadic communications?

 Dyadic communications refers to an exchange of information between two people.
  Dyadic simply means “between two,” so dyadic communication is communication between two
people or creatures. Here are some examples:

 A conversation between two friends.

 An exchange of letters or emails.
 A private professional conversation, such as a consultation with a lawyer.
 Me petting my cat, and my cat starting to purr.
 Two dogs getting to know each other by sniffing each other’s butts.

 Dyadic communication is an interpersonal conversation between two people. There are personal
information being engaged between face to face interactions. The conversation can be between a
discovery, creating a relationship, or an emotion.

Group: Definition, Functions, Types of Groups

A group is a collection of individuals who interact with each other such that one
person’s actions have an impact on the others. In other words, a group is defined as two
or more individuals, interacting and interdependent, who have come together to
achieve particular objectives.

What is a Group?
Groups where people get along, feel die desire to contribute to the team, and are capable of coordinating their
efforts may have high-performance levels. Group can be defined as a collection of individuals who have regular
contact and frequent interaction, mutual influence, the common feeling of camaraderie, and who work
together to achieve a common set of goals.
The definition of a group can be given by some other simple ways like:
 Several people or things that are together or in the same place.
 Several people who are connected by some shared activity, interest, or quality.
 Several individuals assembled or having some unifying relationship.
 A set of people who meet or do something together because they share the same purpose or ideas.
The term group can be defined in several different ways, depending on the perspective that is taken.
A comprehensive definition would say that is a group exists in an organization, its members:
 Are motivated to join.
 Perceive the group as a unified unit of interacting with people.
 Contribute in various amounts to the group processes (that is, some people contribute more time or
energy to the group than do Others).
 Reach agreements and have disagreements through various forms of interaction.

Functions of Groups
The organizational functions of groups help to realize an organization’s goals.
Such functions include the following:
 Working on a complex and independent task that is too complex for an individual to perform and that
cannot be easily broken down into independent tasks.
 Generating new ideas or creative solutions to solve problems that require inputs from several people.
 Serving liaison or coordinating functions among several workgroups whose work is to some extent
independent.
 Facilitating the implementation of complex decisions. A group composed of representatives from
various working groups can coordinate the activities of these interrelated groups.
 Serving as a vehicle for training new employees, groups teach new members methods of operations
and group norms.
The list is not comprehensive. The importance of groups in organizations cannot be overemphasized because
most of the organizational activities are carried out by groups.
Since jobs in organizations are becoming more complex and interdependent, the use of groups in performing
task functions will become increasingly important.
One of the most common findings from the research on groups in organizations is that most groups turn out
to have both formal and informal functions, they serve the needs of both organizational and individual
members.
Psychological groups, therefore, may well be the key unit for facilitating the integration of organizational goals
and personal needs.
For example, a formal workgroup in an industrial establishment often evolves into a psychological group that
meets a variety of its members’ psychological needs.
If this process occurs, the group often becomes the source of much higher levels of loyalty, commitment, and
energy in the service of organizational goals that would be possible if the members’ psychological needs had
to be met elsewhere.

Types of Groups
Groups may be classified according to many dimensions, including function, the degree of personal
involvement and degree of organization.
Types of Groups are;
 Formal Group.
 Informal Group.
 Managed Group.
 Process Group.
 Semi-Formal Groups.
 Goal Group.
 Learning Group.
 Problem-Solving Group
 Friendship Group.
 Interest Group.

Formal Groups

Formal groups are created to achieve specific organizational objectives. Usually, they are concerned with the
coordination of work activities.
People are brought together based on different roles within the structure of the organization. The nature of the
task to be undertaken is a predominant feature of the formal groups.
Goals are identified by management and short and rules relationships and norms of behavior established.
Formal groups chain to be related to permanent although there may be changes in actual membership.
However temporary formal groups may also be created by management, for example, the use of project teams
in a matrix organization.

Informal Groups

Within the formal structure of the organization, there will always be an informal structure.
The formal structure of the organization and system of role relationship, rule, and procedures, will be
augmented by interpretation and development at the informal level.
Informal groups are based more on personal relationships and agreement of group’s members than on defined
role relationships. They serve to Satisfy psychological and social needs not related necessarily to the tasks to be
undertaken.
Groups may devise ways of attempting to satisfy members’ affiliations and other social motivations that are
lacing in the work situation, especially in industrial organizations.

Managed Group

Groups may be formed under a named manager, even though they may not necessarily work together with a
great deal. The main thing they have in common, at least the manager and perhaps a similar type of work.

Process Group

The process group acts together to enact a process, going through a relatively fixed set of instructions. The
classic environment is a manufacturing production line, where every movement is prescribed.
There may either be little interaction within process groups or else it’ is largely prescribed, for example where
one person hands something over to another.

Semi-Formal Groups

Many groups act with less formality, in particular where power is distributed across the group, forcing a more
collaborative approach that includes- negotiation rather than command and control.
Families, communities and tribal groups often act as semi-formal ways as they both have nominal leaders yet
members can have a high degree of autonomy.

Goal Group

The goal group acts together to achieve a shared objective or desired outcome. Unlike the
process groups, there is no clear instruction on how they should achieve this, although
they may use some processes and methods along the way.
As there is no detailed instruction, the members of the goal group need to bring more
intelligence, knowledge, and experience to the task.

Learning Group
 The learning group comes together to increase their net knowledge. They may act collaboratively with
discussion and exploration, or they may be a taught class, with a teacher and a syllabus .

6 Reasons Why Individuals Join Groups

A small group is a combination of more than two people who are interdependent on one another.
So communication among the members of a group consisting of a small number of members is known as small
group communication.
Every organization employs small groups to collect, process, and produce information, solve problems and
make decisions.
Group communication helps to get a synergistic benefit. Synergy means combined efforts of a group result in
greater output than the sum of the individual output.
That is, groups can do more for individuals than individuals can do for themselves. People join groups for many
reasons.
Some group members are motivated by working in a group and others are motivated by creating interpersonal
relationships with other members of the group.
Great OB scholar K. Aswathappa said there is no single reason why individuals join groups.
Since most people belong to many groups, it is obvious that different groups offer different attractions and
benefits to their members.
The most popular reasons for joining a group are related to our needs for security, esteem, affiliation, power,
identity, huddling, and task functions.
1. Security.
2. Esteem.
3. Affiliation.
4. Power.
5. Identity.
6. Huddling.

Security

Probably the strongest reason for group formation is the people’s need for security. By joining a group we can
reduce our insecurity – we feel stronger, have fewer self-doubts, and are more resistant to threats.

Security

Probably the strongest reason for group formation is the people’s need for security. By joining a group we can
reduce our insecurity – we feel stronger, have fewer self-doubts, and are more resistant to threats.

Esteem

An individual can increase his self-esteem through group membership.

First, one may gain esteem by becoming a member of a high-status group. Associating with high-status people
is reinforcing, and one who belongs to such a group is usually accorded a high status by outsiders.
Second, the close relationship an individual can develop as a group member provides opportunities for
recognition and praise that are not available outside of the group.
 Learning Task 1: Search, Read and analyze
 Dyadic ( Topic: Birds on a Wire)
 Group ( The New Millenium)

Learning Task 2:

 Differentiate dyadic and group learning

GRABSUM SCHOOL INC.

Masalukot1 ,Candelaria,Quezon
Values
Week 16
Education
Name

Role Playing
Role playing is a learning structure that allows students to immediately apply content as they are put in the
role of a decision maker who must make a decision regarding a policy, resource allocation, or some other
outcome. This technique is an excellent tool for engaging students and allowing them to interact with their
peers as they try to complete the task assigned to them in their specific role. This work can be done in
cooperative groups and/or students can maintain the persona of their role throughout the class period.
Students are more engaged as they try to respond to the material from the perspective of their character.

Advantages of role playing

 Students immediately apply content in a relevant, real world context.

 Students take on a decision making persona that might let them diverge from the confines of their
normal self-imposed limitations or boundaries.

 Students can transcend and think beyond the confines of the classroom setting.

 Students see the relevance of the content for handling real world situations.

 The instructor and students receive immediate feedback with regard to student understanding of
the content.

 Students engage in higher order thinking and learn content in a deeper way.

 Instructors can create useful scenarios when setting the parameters of the role play when real
scenarios or contexts might not be readily available.

 Typically students claim to remember their role in these scenarios and the ensuing discussion long
after the semester ends.

Steps and tips for using role playing

1. Offer a relevent scenario to students. This scenario should include the role the student must play, the
informational details relevant for decision making in this role, and a task to complete based on the
information. This information might be provided on the screen through power point or by using a
handout. It is highly recommended that the instructions be provided in writing so it is clear to students
what they must do and how?

2. Give students five to ten minutes to complete the task. The instructor might have students do this alone or
in small groups or follow the think-pair-share format in which students work individual and then
discuss their results with their partner.

3. Find a way to process student deliberations. The instructor might ask students to write their replies to
submit or this might be a very good lead in to a larger class discussion where students can justify their
differing outcomes or opposing views.

Challenges of the role playing technique

One of the biggest challenges of the role playing technique is to get all students to participate and be truly
engaged. Instructors might want to consider ways of increasing the likelihood of strong student participation.
The instructor might offer a participation grade somehow tied to a short product students produce from their
perspective in their given role. It is a good idea to find ways to increase student awareness of the likelihood
their group might being called upon to share their answer with the entire class if they are playing their roles in
a group context. The instructor might also consider using some of the role playing tasks in questions on
exams and make it clear to students that that is the case. The instructor could even tell them that they might
have to answer a question from the perspective of any of the roles, not just the one they were assigned.

Specific examples of role playing

For example, in economics we teach that changes in revenue generated by a change in the price of a product
are related the the price elasticity of demand for this product. Students are asked to imagine that they are
members of a high school soccer team booster club. To make more money for the team, one parent has
recommended an increase in ticket prices at the gate for games as a way to make more money. Another
parent has suggested that the boosters would make more money if they actually cut ticket prices. While placed
in the role of booster club member and parents of soccer players, students are asked to vote for either raising
prices at games or lowering admission prices. After each student votes they are asked to convince their
neighbor to vote the same way they voted. After a few minutes another vote is taken and then a fuller
discussion takes place as students are asked to explain why they voted the way they did. The resulting
discussion is usually a comprehensive list of reasons why attendance at high school soccer matches might be
price-elastic or price-inelastic even though students might not yet be using those exact terms.

References
See modules on Role-Playing Exercises and Context-Rich Problems (as many context-rich problems are
structured as students taking on a role of some sort).
https://serc.carleton.edu/introgeo/interactive/roleplay.html

Puppetry

Puppetry, the making and manipulation of puppets for use in some kind of theatrical show. A puppet is a
figure—human, animal, or abstract in form—that is moved by human, and not mechanical, aid .

Guignol
Guignol (right) with a gendarme, puppet performance in Lyon, France.
Brücke-Osteuropa

These definitions are wide enough to include an enormous variety of shows and an enormous variety of puppet
types, but they do exclude certain related activities and figures. A doll, for instance, is not a puppet, and a girl
playing with her doll as if it were a living baby is not giving a puppet show; but, if before an audience of her
mother and father she makes the doll walk along the top of a table and act the part of a baby, she is then
presenting a primitive puppet show. Similarly, automaton figures moved by clockwork that appear when a
clock strikes are not puppets, and such elaborate displays of automatons as those that perform at the cathedral
clock in Strasbourg, France, or the town hall clock in Munich, Germany, must be excluded from consideration.

Puppet shows seem to have existed in almost all civilizations and in almost all periods. In Europe, written
records of them go back to the 5th century BCE (e.g., the Symposium of the Greek historian Xenophon).
Written records in other civilizations are less ancient, but in China, India, Java, and elsewhere in Asia there are
ancient traditions of puppet theatre, the origins of which cannot now be determined. Among the  American
Indians, there are traditions of puppetlike figures used in ritual magic. In Africa, records of puppets are
meagre, but the mask is an important feature in almost all African magical ceremonies, and the dividing line
between the puppet and the masked actor, as will be seen, is not always easily drawn. It may certainly be said
that puppet theatre has everywhere antedated written drama and, indeed, writing of any kind. It represents one
of the most primitive instincts of the human race.

This article discusses the various types of puppets as well as historical and contemporary styles of puppet
theatre around the world. Some specific national styles of puppetry are treated in the articles arts, East Asian,
and arts, Southeast Asian.

Character Of Puppet Theatre

It may well be asked why such an artificial and often complicated form of dramatic art should possess a
universal appeal. The claim has, indeed, been made that puppet theatre is the most ancient form of theatre, the
origin of the drama itself. Claims of this nature cannot be substantiated, nor can they be refuted; it is
improbable that all human dramatic forms were directly inspired by puppets, but it seems certain that from a
very early period in man’s development puppet theatre and human theatre grew side by side, each perhaps
influencing the other. Both find their origins in sympathetic magic, in fertility rituals, in the human instinct to
act out that which one wishes to take place in reality. As it has developed, these magical origins of the puppet
theatre have been forgotten, to be replaced by a mere childlike sense of wonder or by more sophisticated
theories of art and drama, but the appeal of the puppet even for modern audiences lies nearer a primitive sense
of magic than most spectators realize.

Granted the common origin of human and puppet theatre, one may still wonder about the particular features of
puppet theatre that have given it its special appeal and that have ensured its survival over so many centuries. It
is not, for instance, simpler to perform than human theatre; it is more complicated, less direct, and more
expensive in time and labour to create. Once a show has been created, however, it can provide the advantage of
economy in personnel and of portability; one man can carry a whole theatre (of certain types of puppet) on his
back, and a cast of puppet actors will survive almost indefinitely. These are clear advantages, but it would be a
mistake to imagine that they can explain the whole popularity of puppet theatre. They do not apply to every
kind of puppet—some puppets need two or even three manipulators for each figure, and many puppets need
one manipulator for each figure. The company employed by a major puppet theatre, whether it be a traditional
puppet theatre from Japan or a modern one from eastern Europe, will not be fewer than for an equivalent
human theatre. The appeal of the puppet must be sought at a deeper level.

The essence of a puppet is its impersonality. It is a type rather than a person. It shares this characteristic
with masked actors or with actors whose makeup is so heavy that it constitutes a mask. Thus, the puppets have
an affinity with the stock characters of ancient Greek and Roman drama, with the masked characters of the
Renaissance commedia dell’arte, with the circus clown, with the ballerina, with the mummers, and with
the witch doctor and the priest.

In an impersonal theatre, where the projection of an actor’s personality is lacking, the

essential rapport between the player and his audience must be established by other means. The audience must
work harder. The spectators must no longer be mere spectators; they must bring their sympathetic imagination
to bear and project upon the impersonal mask of the player the emotions of the drama. Spectators at a puppet
show will often swear that they saw the expression of a puppet change. They saw nothing of the kind; but they
were so wrapped up in the passion of the piece that their imaginations lent to the puppets their own fears and
laughter and tears. The union between the actor and the audience is the very heart and soul of the theatre, and
this union is possible in a special way, indeed in a specially heightened way, when the actor is a puppet.

The impersonality of the puppet carries other characteristics. There is the sense of unreality. In the traditional
English Punch-and-Judy puppet shows, for instance, no one minds when Punch throws the Baby out of the
window or beats Judy until she is dead; everyone knows that it is not real and laughs at things that would
horrify if they were enacted by human actors. Psychologists agree that the effect is cathartic—one’s innate
aggressive instincts are released through the medium of these little inanimate figures.

The puppet also carries a sense of universality. This, too, springs from its impersonality. A puppet Charlemagne
in a Sicilian puppet theatre is not merely an 8th-century Frankish king but a symbol of royal nobility; and the
leader of his rear guard dying on the pass of Roncesvalles is not merely a petty knight ambushed in a skirmish
but a type representing heroism and chivalry. Similarly, in the Javanese puppet theatre, a grotesque giant is a
personification of the destructive principle, while an elegantly elongated local deity is a personification of the
constructive principle. Here the puppet theatre reveals its close relationship with the whole spirit of folklore
and legend.

The puppet achieves its elemental qualities of impersonality, unreality, and universality through the
stylizations imposed upon it by its own limitations. It is a mistake to imagine that the more lifelike or natural a
puppet can be, the more effective it is. Indeed, the opposite is often the case. A puppet that merely imitates
nature inevitably fails to equal nature; the puppet only justifies itself when it adds something to nature—by
selection, by elimination, or by caricature. Some of the most effective puppets are the crudest: at Liège,
Belgium, for instance, there is a tradition of puppets whose arm and leg movements are not controlled but
purely accidental. The Rajasthani puppets of India have no legs at all. Even less naturalistic are the
hunchbacked grotesques of the European tradition, the birdlike profiles of the Indonesian shadow figures, and
the intricately shaped leather cutouts of Thailand, but it is precisely among these most highly stylized types of
puppets that the art reaches its highest manifestations.

While these puppets that exist furthest from nature can be admired, it cannot be denied that there is a charm
and a fascination in the miniaturization of life. Much of the appeal of the puppet theatre has come from the
spectators’ delight in watching a world in miniature. This can be appreciated best of all in a toy theatre, in
which a tiny stage on a drawing room table can be filled with choruses of peasants, troops of banditti, or armies
locked in combat, while the scenery behind them depicts far vistas of beetling cliffs or winding rivers.

An English toy theatre, 1850; in Pollock's Toy Museum, London.

Courtesy of Pollock's Toy Museum, London; photograph, A.C. Cooper Ltd.

And to the appreciation, often instinctive, of these characteristics that mark the puppet theatre, there must be
added admiration for the sheer human skill that has gone into the making and manipulation of the figures. The
manipulator is usually unseen; his art lies in hiding his art, but the audience is aware of it, and this knowledge
adds an element to the dramatic whole. In some kinds of presentation—for instance, in a type of  cabaret floor
show that became popular in the mid-20th century—the manipulator works in full view of the audience, who
may, if they wish, study his methods of manipulation. This is a far cry from the philosophy of the traditional
European puppet players of earlier generations, who guarded the secrets of their craft as if they were conjuring
tricks. It is, indeed, fair to say that any presentation that deliberately draws attention to the mechanics of how
it is done is distorting the art of puppetry, but the realization, nevertheless, of the expertise involved in a
performance and some knowledge of the technical means by which it is achieved do add an extra dimension to
the appreciation of this difficult and highly skilled art.

Puppetry
KEY PEOPLE
 Ping Chong
 Jan Švankmajer
 Jim Henson
 Robert Clampett
 Sergey Vladimirovich Obraztsov
 Jiří Trnka
 Michael Meschke
 Richard Teschner
 Kermit Love
 Imre Madách

RELATED TOPICS
  Theatrical production
 Toy theatre
 Bunraku
 Wayang
 Ombres chinoises
 Karagöz
 Marionette
 Rājasthānī puppet
 Shadow play
 Hand puppet

Types Of Puppets
There are many different types of puppets. Each type has its own individual characteristics, and for each there
are certain kinds of suitable dramatic material. Certain types have developed only under specific cultural or
geographic conditions. The most important types may be classified as follows:

Hand or glove puppets

These have a hollow cloth body that fits over the manipulator’s hand; his fingers fit into the head and the arms
and give them motion. The figure is seen from the waist upward, and there are normally no legs. The head is
usually of wood, papier-mâché, or rubber material, the hands of wood or felt. One of the most common ways to
fit the puppet on the hand is for the first finger to go into the head, and the thumb and second finger to go into
the arms. There are, however, many variants of this. The “two-fingers-and-thumb” method is used for Punch-
type figures; it allows the puppet to pick up and grasp small props very well and is obviously useful when
wielding the stick that plays a big part in the show, but it tends to produce a lopsided effect, with one arm
higher than the other. The performer normally holds his hands above his head and stands in a narrow booth
with an opening just above head height. Most of the traditional puppet folk heroes of Europe are hand puppets;
the booth is fairly easily portable, and the entire show can be presented by one person. This is the typical kind
of puppet show presented in the open air all over Europe and also found in China. But it need not be limited to
one manipulator; large booths with three or four manipulators provide excellent scope for the use of these
figures. The virtue of the hand puppet is its agility and quickness; the limitation is small size and ineffective
arm gestures.

Rod puppets

These figures are also manipulated from below, but they are full-length, supported by a rod running inside the
body to the head. Separate thin rods may move the hands and, if necessary, the legs. Figures of this type are
traditional on the Indonesian islands of Java and Bali, where they are known as wayang golek. In Europe they
were for a long time confined to the Rhineland; but in the early 20th century Richard Teschner in Vienna
developed the artistic potentialities of this type of figure. In Moscow Nina Efimova carried out similar
experimental productions, and these may have inspired the State Central Puppet Theatre in Moscow, directed
by Sergey Obraztsov, to develop this type of puppet during the 1930s. After World War II Obraztsov’s theatre
made many tours, especially in eastern Europe, and a number of puppet theatres using rod puppets were
founded as a result. Today the rod puppet is the usual type of figure in the large state-supported puppet
theatres of eastern Europe. In a similar movement in the United States, largely inspired by Marjorie
Batchelder, the use of rod puppets was greatly developed in school and college theatres, and the hand-rod
puppet was found to be of particular value. In this figure the hand passes inside the puppet’s body to grasp a
short rod to the head, the arms being manipulated by rods in the usual way. One great advantage of this
technique is that it permits bending of the body, the manipulator’s wrist corresponding to the puppet’s waist.
Although in general the rod puppet is suitable for slow and dignified types of drama, its potentialities are many
and of great variety. It is, however, extravagant in its demands on manipulators, requiring always one person,
and sometimes two or three, for each figure on stage .

Faun and Nymph, rod puppets by Richard Teschner, 1914; in the Puppet Theatre Collection, Munich.
Courtesy of the Puppentheatermuseum, Munich

SIMILAR TOPICS
 Mime and pantomime
 Commedia erudita
 Afterpiece
 Improvisation
 Droll
 Ludi scaenici
 Harlequinade
 Theatre
 Circus
 Acting

Marionettes or string puppets

These are full-length figures controlled from above. Normally they are moved by strings or more often threads,
leading from the limbs to a control or crutch held by the manipulator. Movement is imparted to a large extent
by tilting or rocking the control, but individual strings are plucked when a decided movement is required. A
simple marionette may have nine strings—one to each leg, one to each hand, one to each shoulder, one to each
ear (for head movements), and one to the base of the spine (for bowing); but special effects will require special
strings that may double or treble this number. The manipulation of a many-stringed marionette is a highly
skilled operation. Controls are of two main types—horizontal (or aeroplane) and vertical—and the choice is
largely a matter of personal preference.
Chinese children playing with marionettes, detail from The Hundred Children, a hand scroll of the 17th century; in
the British Museum.
Courtesy of the trustees of the British Museum

The string marionette does not seem to have been fully developed until the mid-19th century, when the English
marionettist Thomas Holden created a sensation with his ingenious figures and was followed by many
imitators. Before that time, the control of marionettes seems to have been by a stout wire to the crown of the
head, with subsidiary strings to the hands and feet; even more primitive methods of control may still be
observed in certain traditional folk theatres. In Sicily there is an iron rod to the head, another rod to the sword
arm, and a string to the other arm; the legs hang free and a distinctive walking gait is imparted to the figures by
a twisting and swinging of the main rod; in Antwerp, Belgium, there are just rods to the head and to one arm;
in Liège there are no hand rods at all, merely one rod to the head. Distinctive forms of marionette control are
found in India: in Rajasthan a single string passes from the puppet’s head over the manipulator’s hand and
down to the puppet’s waist (a second loop of string is sometimes used to control the arms); in
southern India there are marionettes whose weight is supported by strings attached to a ring on the
manipulator’s head, rods controlling the hands.

In European history the marionette represents the most advanced type of puppet; it is capable of imitating
almost every human or animal gesture. By the early 20th century, however, there was a danger that it had
achieved a sterile naturalism that allowed no further artistic development; some puppeteers found that the
control of the marionette figure through strings was too indirect and uncertain to give the firm dramatic effects
that they required, and they turned to the rod puppet to achieve this drama. But, in the hands of a sensitive
performer, the marionette remains the most delicate, if the most difficult, medium for the puppeteer’s art.

Flat figures

Hitherto, all the types of puppets that have been considered have been three-dimensional rounded figures. But
there is a whole family of two-dimensional flat figures. Flat figures, worked from above like marionettes, with
hinged flaps that could be raised or lowered, were sometimes used for trick transformations; flat jointed
figures, operated by piston-type arms attached to revolving wheels below, were used in displays that featured
processions. But the greatest use of flat figures was in toy theatres. These seem to have originated in England
by a printseller in about 1811 as a kind of theatrical souvenir; one bought engraved sheets of characters and
scenery for popular plays of the time, mounted them and cut them out, and performed the play at home. The
sheets were sold, in a phrase that has entered the language, for “a penny plain or twopence coloured,” the
colouring by hand in rapid, vivid strokes of the brush. During a period of about 50 years some 300 plays—all
originally performed in the London theatres—were adapted and published for toy-theatre performance in what
came to be called the “Juvenile Drama,” and a hundred small printsellers were engaged in publishing the plays
and the theatrical portraits for tinseling that often went with them. It was always a home activity, never a
professional entertainment, and provided one of the most popular and creative fireside activities for Regency
and Victorian families. Although few new plays adapted for the toy theatre were issued after the middle of the
19th century, a handful of publishers kept the old stock in print until the 20th century. After World War II this
peculiarly English toy was revived. Toy theatres also flourished in other European countries during the 19th
century: Germany published many plays; Austria published some extremely impressive model-theatre scenery;
in France toy-theatre sheets were issued; in Denmark a line of plays for the toy theatre remains in print. The
interest of these toy-theatre plays is largely social, as a form of domestic amusement, and theatrical, as a record
of scenery, costume, and even dramatic gesture in a particular period of stage history.
Shadow figures

These are a special type of flat figure, in which the shadow is seen through a translucent screen. They may be
cut from leather or some other opaque material, as in the traditional theatres of Java, Bali, and Thailand, in the
so-called ombres chinoises (French: literally “Chinese shadows”) of 18th-century Europe, and in the art
theatres of 19th-century Paris; or they may be cut from coloured fish skins or some other translucent material,
as in the traditional theatres of China, India, Turkey, and Greece, and in the recent work of several European
theatres. They may be operated by rods from below, as in the Javanese theatres; by rods held at right angles to
the screen, as in the Chinese and Greek theatres; or by threads concealed behind the figures, as in the ombres
chinoises and in its successor that came to be known as the English galanty show. Shadow figures need not be
limited to two dimensions; rounded figures may also be used effectively. A particular type of shadow show that
was conceived in terms of film is the silhouette films first made by the German filmmaker Lotte Reiniger in the
1920s; for these films, the screen was placed horizontally, like a tabletop, a light was placed beneath it, the
camera was above it, looking downward, and the figures were moved by hand on the screen, being
photographed by the stop-action technique. The shadow theatre is a medium of great delicacy, and the
insubstantial character of shadow puppets exemplifies all the truest features of puppetry as an art form.

Other types

These five types by no means exhaust every kind of figure or every method of manipulation. There are, for
instance, the puppets carried by their manipulators in full view of the audience. The most interesting of these
are the Japanese bunraku puppets, which are named for a Japanese puppet master, Uemura Bunrakuken, of
the 18th century. These figures, which are one-half to two-thirds life size, may be operated by as many as three
manipulators: the chief manipulator controls head movements with one hand by means of strings inside the
body, which may raise the eyebrows or swivel the eyes, while using the other hand to move the right arm of the
puppet; the second manipulator moves the left arm of the puppet; and the third moves the legs; the
coordination of movement between these three artists requires long and devoted training. The magnificent
costumes and stylized carving of the bunraku puppets establish them as among the most striking figures of
their kind in the world.

Somewhat similar figures, though artistically altogether inferior, are the dummies used by

ventriloquists; ventriloquism, as such, has no relation to puppetry, but the ventriloquists’ figures, with their
ingenious facial movements, are true puppets. The technique of the human actor carrying the puppet actor
onto the stage and sometimes speaking for it is one that has been developed a great deal in some experimental
puppet theatres in recent years. The human actor is sometimes invisible, through the lighting technique of
“black theatre,” but is sometimes fully visible. This represents a total rejection of much of the traditional
thinking about the nature of puppetry, but it has become increasingly accepted.

Another minor form of puppet representation is provided by the jigging puppets, or marionnettes à la

planchette, that were, during the 18th and 19th centuries, frequently performed at street corners throughout
Europe. These small figures were made to dance, more or less accidentally, by the slight variations in the
tension of a thread passing through their chests horizontally from the performer’s knee to an upright post.
Similar were puppets held by short rods projecting from the figures’ backs, which were made to dance by
bouncing them on a springy board on the end of which the performer sat. The unrehearsed movements of
figures like these, when loosely jointed, have a spontaneous vitality that more sophisticated puppets often miss.
Another interesting, if elemental, type of puppet, the “scarecrow puppets,” or lileki, of Slovenia, is constructed
from two crossed sticks draped with old clothes; two of these figures are held up on either side of a bench
draped with a cloth, under which the manipulator lies. The puppets talk with each other and with a human
musician who always joins in the proceedings. The playlets usually end with a fight between the two puppets.
Marionnettes à la planchette, or jigging puppets, being operated by a young puppeteer who provides his own
accompaniment on his drum and whistle in the engraving Les Petites Marionnettes, an illustration from Le Bon
Genre (1820), a work on the entertainments of early 19th-century Paris.
Namur/Lalance

Still another minor puppet form is the finger puppet, in which the manipulator’s two fingers constitute the
limbs of a puppet, whose body is attached over the manipulator’s hand. An even simpler finger puppet is a
small, hollow figure that fits over a single finger.

Amusement with a simple finger puppet, lithograph by an unknown artist, c. 1850.

Courtesy of the Puppentheatermuseum, Munich

The giant figures that process through the streets of some European towns in traditional festivities are puppets
of a kind, though they do not normally enact any plays. The same applies to the dragons that are a feature of
street processions in China and are to be found in some places in Europe—as, for example, at Tarascon, France.
Indeed, when a man hides himself within any external frame or mask, the result may be called a puppet. Many
of the puppet theatres in Poland today also present plays acted by actors in masks; the Bread and Puppet
Theatre in the United States is another example of the same tendency. The divisions between human actors and
puppet actors are becoming increasingly blurred; if, in the past, many puppets tried to look and act like
humans, today many human actors are trying to look and act like puppets. Clearly, puppetry is being
recognized not merely as a particular form of dramatic craft but as one manifestation of total theatre.

Styles Of Puppet Theatre

Puppet theatre has been presented in many diverse styles and for many different kinds of audience.
Throughout history, the chief of these has been the performance of folk or traditional plays to popular
audiences. The most familiar examples are the puppet shows that have grown up around a number of national
or regional comic heroes who appear in a whole repertory of little plays. Pulcinella, for example, was a human
character in the Italian commedia dell’arte who began to appear on the puppet stages early in the 17th century;
he was carried around Europe by Italian puppet showmen and everywhere became adopted as a new character,
hunchbacked and hook-nosed, in the native puppet plays. In France he became Polichinelle, in England Punch,
in Russia Petrushka, and so on. In England alone did this wide repertory of plays based on
popular legend become limited to the one basic pattern of the Punch-and-Judy show. At about the time of
the French Revolution, at the end of the 18th century, a great many local puppet heroes displaced the
descendants of Pulcinella throughout Europe: in France it was Guignol, in Germany Kasperl, in the
Netherlands Jan Klaassen, in Spain Christovita, and so on. All these characters are glove puppets; many speak
through a squeaker in the mouth of the performer that gives a piercing and unhuman timbre to their voices;
and all indulge in the fights and other business typical of glove-puppet shows. It is a mistake, however, to
regard them all as the same character; they are distinct national types. In Greece the comic puppet hero is
Kararkiózis, a shadow puppet, who originally came from Turkey, where he is known as Karagöz.

An English Punch-and-Judy show, detail from Punch or May Day, oil on canvas by Benjamin Robert Haydon, 1829;
in the Tate Britain, London.
Courtesy of the trustees of the Tate Britain, London; photograph, A.C. Cooper Ltd.

The dramatic material in which these popular puppets play is sometimes biblical, sometimes based on folk
tales, and sometimes from heroic sagas. A play on the Passion of Christ, for instance, is still presented by the
Théâtre Toone in Brussels; the Faust legend has provided the classic theme for the German puppet theatre, and
the Temptation of St. Anthony for the French; and the poems of the Italian Renaissance poet Ariosto, handed
on through many popular sources, provide the themes of crusading chivalry for the puppet theatres
of Sicily and Liège. More specifically dramatic or literary sources were used by the traveling marionette
theatres of England and the United States in the 19th century, when popular plays such as East
Lynne and Uncle Tom’s Cabin were played to village audiences almost everywhere.

In Asia the same tradition of partly religious and partly legendary sources provides the repertory for the puppet
theatres. The chief of these are the Hindu epics Ramayana and Mahabharata, which provide the basic plots
for the puppet theatres of southern India and of Indonesia.

A puppet-style modern dance-drama based on the Ramayana, originally produced and choreographed by Shanti
Bardhan, c. 1952.
Mohan Khokar

In distinction to these essentially popular shows, the puppet theatre has, at certain periods of history, provided
a highly fashionable entertainment. In England, for instance, Punch’s Theatre at Covent Garden, London,
directed by Martin Powell from 1711 to 1713, was a popular attraction for high society and received many
mentions in the letters and journalism of the day. From the 1770s to the 1790s several Italian companies
attracted fashionable audiences and the commendation of Samuel Johnson. In Italy a magnificent puppet
theatre was established in the Palace of the Chancellery in Rome in 1708, for which Alessandro Scarlatti, with
other eminent composers, composed operas. In Austria-Hungary Josef Haydn was the resident composer of
operas for a puppet theatre erected by Prince Esterházy about 1770. In France the ombres chinoises of
François-Dominique Seraphin had been established at the Palais-Royal, in the heart of fashionable Paris, by
1781. The Italian scene designer Antonio Bibiena painted the scenery for a marionette theatre belonging to a
young Bolognese prince, which performed in London in 1780. Exquisite Venetian marionette theatres
preserved in the Bethnal Green Museum in London and the Cooper-Hewitt Museum in New York City indicate
the elegance of these fashionable puppet theatres of the 18th century.
During the 18th century English writers began to turn to the puppet theatre as a medium, chiefly for satire. The
novelist Henry Fielding presented a satiric puppet show, under the pseudonym of Madame de la Nash, in 1748.
The caustic playwright and actor Samuel Foote used puppets to burlesque heroic tragedy in 1758
and sentimental comedy in 1773. In a similar vein, the dramatist Charles Dibdin presented a satiric
puppet revue in 1775, and a group of Irish wits ran the Patagonian Theatre in London from 1776 to 1781 with a
program of ballad operas and literary burlesques. In France there was a great vogue for the puppet theatre
among literary men during the second half of the 19th century. This seems to have begun with the theatre
created in 1847 at Nohant by George Sand and her son Maurice, who wrote the plays; well over a hundred plays
were produced during a period of 30 years. These productions were purely for guests at the house; they are
witty, graceful, and whimsical. Some years later another artistic dilettante conceived the idea of presenting a
literary puppet show, but this time for the public; Louis Duranty opened his theatre in the Tuileries Gardens in
Paris in 1861, but it lacked popular appeal and did not survive in its original form for very long. The next year
Duranty’s experiment inspired a group of literary and artistic friends to found the Theatron Erotikon, a tiny
private puppet theatre, which only ran for two years, presenting seven plays to invited audiences. The moving
spirit, however, was Lemercier de Neuville, who went on to create a personal puppet theatre that played in
drawing rooms all over France until nearly the end of the century.

All these literary puppet theatres in France had made use of hand puppets, while the English literary
puppeteers of the previous century had used marionettes. In 1887 a French artist, Henri Rivière, created a
shadow theatre that enjoyed considerable success for a decade at the Chat Noir café in Paris; Rivière was joined
by Caran d’Ache and other artists, and the delicacy of the silhouettes was matched by especially
composed music and a spoken commentary. Another type of puppet was introduced to Paris in 1888
when Henri Signoret founded the Little Theatre; this theatre used rod puppets mounted on a base that ran on
rails below the stage, the movement of the limbs being controlled by strings attached to pedals. The plays
presented were pieces by classic authors—Cervantes, Aristophanes, Shakespeare—and new plays by French
poets. The Little Theatre, like all the 19th-century French literary puppet theatres, performed infrequently to
small audiences in a bohemian milieu; as a movement, this literary enthusiasm for the puppet theatre had little
popular influence, but it served as a witness to the potential qualities of puppet theatre.

The puppet theatre in Japan entered literature with the plays of Chikamatsu Monzaemon (1653–1725). This
writer, known as the Shakespeare of Japan, took the form of the existing crude Japanese puppet dramas and
developed it into a great art form with over a hundred pieces, many of which remain in the repertoire of the
bunraku theatre today. In this form of theatre the text, or jōruri, is chanted by a tayū who is accompanied by a
musician on a three-stringed instrument called a samisen.

In Europe the art-puppet movement was continued into the 20th century by writers and artists associated with
the Bauhaus, the highly influential German school of design, which advocated a “total” or “organic” theatre.
One of its most illustrious teachers, the Swiss painter Paul Klee, created figures of great interest for a home
puppet theatre, and others designed marionettes that reflected the ideas of Cubism. The eminent English man
of the theatre Gordon Craig campaigned vigorously for the puppet as a medium for the thoughts of the artist.
Between World Wars I and II and through the 1950s and ’60s, a number of artists endeavoured in difficult
economic conditions to demonstrate that puppets could present entertainment of high artistic quality for adult
audiences. The marionettes of the Art Puppet Theatre in Munich, for instance, were striking exemplars of the
German tradition in deeply cut wood carving. In Austria the Salzburg Marionette Theatre specializes in Mozart
operas and has achieved a high degree of naturalism and technical expertise. In Czechoslovakia—a country with
a fine puppet tradition—Josef Skupa’s marionette theatre presented musical turns interspersed with witty
satiric sketches introducing the two characters who gave their names to the theatre: Hurvínek,
a precocious boy, and Špejbl, his slow-witted father. In France the prominent artists who designed for Les
Comédiens de Bois included the painter Fernand Léger. Yves Joly stripped the art of the puppet to its bare
essentials by performing hand puppet acts with his bare hands, without any puppets. The same effect was
achieved by the Russian puppeteer Sergey Obraztsov with a performance of charm and wit that was quite
different from those of the great rod-puppet theatre that he founded. In England the fine craftsman Waldo
Lanchester played an important part in the marionette revival; his productions included the early madrigal
opera L’Amfiparnaso. Jan Bussell, with the Hogarth Puppets, achieved an international reputation with his
marionette ballets and light operas. In London a permanent marionette theatre, the Little Angel, was opened
by John Wright in 1961. Other permanent puppet theatres have been established in Birmingham and Norwich
and at Biggar near Edinburgh.
In the United States the artistic puppet revival was largely inspired by Ellen Van Volkenburg at the Chicago
Little Theatre with productions that included A Midsummer Night’s Dream in 1916. She later directed plays
for Tony Sarg, who became the most important influence in American puppetry, with such large-scale
marionette plays as Rip Van Winkle, The Rose and the Ring, and Alice in Wonderland. A small group, the Yale
Puppeteers, created a theatre in Hollywood, the Turnabout Theatre, that combined human and puppet stages
at opposite ends of the auditorium and attracted fashionable audiences for its songs and sketches from 1941 to
1956. Bil Baird ran a puppet theatre in Greenwich Village, New York City, for some years from 1967 and made a
great contribution to every aspect of puppetry. But the lack of the kind of state subsidy that is taken for granted
in eastern Europe has made the development of large touring puppet theatres impossible in the United States.
Professional puppetry there has developed in three main ways: in large, commercially supported productions
for television (see below); in socially involved groups, such as the Bread and Puppet Theatre, which uses giant
puppets to carry a political or idealistic message; and—at the other end of the scale—as a medium
for intimate tabletop presentations by artists such as Bruce Schwartz, who makes no attempt to conceal himself
as he handles a single figure with great delicacy.

Meanwhile, the puppet theatre was continuing on a less exalted plane to demonstrate that it could still provide
enjoyable entertainment for popular audiences. From the 1870s a number of English marionette companies
had developed the technique of their art to an extraordinarily high level, and their influence was widely spread
through Europe, Asia, and America by a series of world tours. Their performances made a great feature of trick
effects: there was the dissecting skeleton, whose limbs came apart and then came together again; the Grand
Turk, whose arms and legs dropped off to turn into a brood of children while his body turned into their mother;
the crinolined lady, who turned into a balloon; the Scaramouch, with three heads; and a host of jugglers and
acrobats. The last of the great touring marionette theatres in this tradition was the Theatre of the Little Ones
of Vittorio Podrecca, which introduced the marionette pianist and the soprano with heaving bosom that have
been widely copied ever since.

During the 20th century there has been an increasing tendency to regard the puppet theatre as an
entertainment for children. One of the first people to encourage this development was Count Franz Pocci, a
Bavarian court official of the mid-19th century, who wrote a large number of children’s plays for the traditional
marionette theatre of Papa Schmid in Munich. Important also was Max Jacob, who developed the traditional
folk repertoire of the German Kasperltheater, between the 1920s and ’50s, into something more suited to
modern ideas of what befits children’s entertainment. Almost all contemporary puppeteers have created
programs for audiences of children.

In this survey of the various styles of puppet theatre in different countries and in different cultures, there are
certain features that are common to many otherwise differing forms. In many forms of puppet theatre, for
instance, the dialogue is not conducted as if through the mouths of the puppets, but instead the story is recited
or explained by a person who stands outside the puppet stage to serve as a link with the audience. This
technique was certainly in use in England in Elizabethan times, when the “interpreter” of the puppets is
frequently referred to; this character is well illustrated in Ben Jonson’s Bartholomew Fair, in which one of the
puppets leans out of the booth (they were hand puppets) and hits the interpreter on the head because it does
not like the way he is telling the story. The same technique of the reciter is found in the
Japanese bunraku theatre, in which the chanter contributes enormously to the full effect and is, indeed,
regarded as one of the stars of the company. The technique is also found in the French shadow theatre at the
Chat Noir, and its imitators and successors, which depended to a great extent upon the chansonnier. Many
recent puppet productions utilize this technique as well. Elsewhere, such as in traditional puppet theatres
of Java, Greece, and Sicily, all the speaking is done by the manipulator. The plays consist of a mixture of
narration and dialogue, and, though the performer’s voice will certainly vary for the different characters, the
whole inevitably acquires a certain unity that is one of the most precious attributes of the puppet theatre.

Musical accompaniment is an important feature of many puppet shows. The gamelan gong and cymbal
orchestra that accompanies a Javanese wayang performance is an essential part of the show; it establishes the
mood, provides the cadence of the puppets’ movements, and gives respite between major actions. Similarly, the
Japanese samisen supports and complements the chanter. In the operatic puppet theatre of 18th-century
Rome, the refined musical scores of Scarlatti and the stilted conventions and long-held gestures of the opera of
that time must have been admirably matched by the slow, contrived but strangely impressive movements of the
rod puppets. When in 1662 Samuel Pepys visited the first theatre to present Punch in England, he noted in his
famous diary that “here among the fiddlers I first saw a dulcimer played on with sticks knocking of the strings,
and it is very pretty.” Even an old-fashioned Punch-and-Judy show had a drum and panpipes as an overture.
Puppets without music can seem rather bald. At one time the gramophone was used extensively by puppeteers,
and more recently the tape recorder has provided a more adaptable means of accompanying a puppet
performance with music and other sound effects.

wayang kulit puppets
Wayang kulit puppets being manipulated during a shadow-play performance in Jakarta, Indonesia.
flydime
Lighting effects can also play an important part in a puppet production. The flickering oil lamp of the Javanese
wayang enhances the shadows of the figures on the screen; as long ago as 1781, the scene painter Philip James
de Loutherbourg used a large model theatre called the Eidophusikon to demonstrate the range of lighting
effects that could be achieved with lamps. Modern methods using ultraviolet lighting have enabled directors of
puppet productions to achieve astonishing and spectacular effects.

Indonesian wayang shadow puppet and decoration.

Courtesy of the Puppentheatermuseum, Munich

Puppetry In The Contemporary World

The puppet theatre in the contemporary world faces great difficulties and great opportunities. The audiences
for the traditional folk theatres have almost disappeared. Punch and Judy on the English beaches
and Guignol in the parks of Paris still draw a crowd, but the indoor theatres that once attracted humble
audiences survive with difficulty, usually with the aid of a sympathetic town council or a local museum.
Puppets are increasingly regarded as an entertainment only for children. They certainly do provide a kind of
theatre to which children respond with enthusiasm, and, in the general development of children’s theatre, the
puppet theatre has a part to play. Some puppeteers are happy to play only for children. But others are eager to
play also on an adult level; and, for these, audiences are few. No professional puppet theatre can exist in the
West on a purely adult repertoire. Even those theatres that do play for children face great economic difficulties
from the small size of audience to which puppets can play and from the modest admission fees that can be
charged to children. If a few companies do continue to present performances of quality, this is a tribute to their
dedication to their art.
There are some possible means of performance beyond the children’s theatre. There are cruise ships and
nightclubs, which provide an opportunity for short turns but obviously no scope for serious drama. And there
is television. At first sight, television would seem an ideal medium for puppetry, and many puppet shows have
in fact appeared on it, but initially the great possibilities that it seemed to offer were not fully realized. A
straight transference of a puppet production to the television screen proved not to be effective, and puppet acts
on television were often limited to short presentations on variety shows. Several programs designed for
television, sometimes combining puppets with human performers, did, however, gain great success. In
England, for instance, Muffin the Mule and his animal friends, manipulated by Ann Hogarth, appeared from
1946 on the top of a piano at which Annette Mills played and sang. In the United States a series featuring the
Kuklapolitans, created by Burr Tillstrom, began airing in 1947; Kukla, a small boy, had a host of friends,
including Ollie the Dragon, who exchanged repartee with Fran Allison, a human actress standing outside the
booth. In 1969, puppets were introduced on the educational program “Sesame Street”; these were created
by Jim Henson and represented a type of figure that reached its full potential in “The Muppet Show,” which
attracted enormous audiences in more than a hundred countries between 1976 and 1981. Henson went on to
create puppet films in which fantastic puppet characters were manipulated by radio-controlled mechanisms of
extraordinary ingenuity. Another type of television puppetry could be seen in “Spitting Image,” a program
introduced in 1984 with caricatured puppets designed by Roger Law and Peter Fluck. It consisted of satiric
sketches, originally of English politicians and personalities, and represented a revival of the 18th-century
tradition of adult satiric puppet theatre.

Fran Allison with Kukla and Ollie, two puppets created by Burr Tillstrom for the television series “Kukla, Fran,
and Ollie.”
Courtesy of WTTW-TV, Chicago—Public Broadcasting Service
The economic difficulties facing puppet companies in western Europe and the United States have been lifted in
eastern Europe and China, where the state provides generous subsidies for puppet theatres. Whereas in the
West a puppet theatre is lucky if it can afford to pay a company of 5 or 6 performers, it is not unusual for a
puppet theatre in the East to employ 50 or 60 performers, artists, and technicians. Interest in the puppet
theatre has surged in eastern Europe since World War II, and, while the state supports these theatres, there is
very little sign of any direct political propaganda in their programs. The results of all this aid have often been
impressive in the sheer weight of numbers and scenic effects, and the productions have often been
experimental and imaginative. Mere size, however, does not necessarily guarantee artistic success, and some of
the best of these theatres would seem to feel a lack of confidence in their medium by their restless searching for
new methods of presentation through “black theatre,” mask theatre, and other techniques.

A great feature of education during the 20th century was the introduction of puppet making into schools as
a craft activity. The difficulties facing professional puppet theatre are entirely absent here, and a puppet
performance can synthesize many of the arts and skills of a group of children in making, costuming, and
manipulating puppets, in writing plays for them, and in acting them. When this activity was first introduced,
undue importance was often placed upon the mere construction of figures according to certain set methods and
upon the painstaking preparation of a showing, so that the creative release of the performance was long
delayed and sometimes never reached. Today the tendency is to create puppets quickly from scrap materials or
from natural objects and to perform them impromptu, without rehearsal, as a form of dramatic self-expression.
It is from such activities that the therapeutic potentialities of puppets have been utilized by psychiatrists
working with disturbed children.

The future of the puppet theatre will certainly be greatly influenced by the cross-fertilization between different
traditions in puppetry that will result from puppeteers meeting each other and seeing each other’s
performances at international festivals of the puppet theatre. These festivals now take place almost every year
and are usually sponsored by UNIMA, the Union Internationale de la Marionnette, an international society of
puppeteers. Originally founded in 1929 and reconstituted in 1957, UNIMA has members in some 65 countries
and provides a common meeting ground for professional and amateur performers, critics, and enthusiasts. In
the meantime traditional styles of puppetry will not be neglected. Many countries now boast national
organizations—the Puppeteers of America in the United States and Canada or The Puppet Centre in Great
Britain, for example—which promote the differing local traditions of this minor but fascinating art.

Problem Solving Strategies

What Are Problem Solving Strategies?
Strategies are things that Pólya would have us choose in his second stage of problem solving and use in his third
stage (What is Problem Solving?). In actual fact he called them heuristics. To Pólya they were things to try that
he couldn’t guarantee would solve the problem but, of course, he sincerely hoped they would. So they are some
sort of general ideas that might work for a number of problems. And then again they might not.
As speaking in riddles isn’t likely to be of much assistance to you, let’s get down to some examples. There are a
number of common strategies that children of primary age can use to help them solve problems. We discuss
below several that will be of value for problems on this web-site and in books on problem solving. In this site
we have linked the problem solving lessons to the following groupings of problem solving strategies. As the site
develops we may add some more but we have tried to keep things simple for now.
Common Problem Solving Strategies

1. Guess (this includes guess and check, guess and improve)

2. Act It Out (act it out and use equipment)
3. Draw (this includes drawing pictures and diagrams)
4. Make a List (this includes making a table)
5. Think (this includes using skills you know already)

An In-Depth Look At Strategies                

We now look at each of the following strategies and discuss them in some depth. You will see that each strategy
we have in our list is really only a summary of two or more others.
1 Guess
This stands for two strategies, guess and check and guess and improve.
Guess and check is one of the simplest strategies. Anyone can guess an answer. If they can also check that the
guess fits the conditions of the problem, then they have mastered guess and check. This is a strategy that would
certainly work on the Farmyard problem but it could take a lot of time and a lot of computation.
Because it is such a simple strategy to use, you may have difficulty weaning some children away from guess
and check. If you are not careful, they may try to use it all the time. As problems get more difficult, other
strategies become more important and more effective. However, sometimes when children are completely stuck,
guessing and checking will provide a useful way to start and explore a problem. Hopefully that exploration will
lead to a more efficient strategy and then to a solution.
Guess and improve is slightly more sophisticated than guess and check. The idea is that you use your first
incorrect guess to make an improved next guess. You can see it in action in the Farmyard problem. In relatively
straightforward problems like that, it is often fairly easy to see how to improve the last guess. In some problems
though, where there are more variables, it may not be clear at first which way to change the guessing.
2 Act It Out
We put two strategies together here because they are closely related. These are Act it Out and Use Equipment.
Young children especially, enjoy using Act it Out. Children themselves take the role of things in the problem. In
the Farmyard problem, the children might take the role of the animals though it is unlikely that you would have
87 children in your class! But if there are not enough children you might be able to press gang the odd teddy or
two.
There are pros and cons for this strategy. It is an effective strategy for demonstration purposes in front of the
whole class. On the other hand, it can also be cumbersome when used by groups, especially if a largish number
of students is involved. We have, however, found it a useful strategy when students have had trouble coming to
grips with a problem.
The on-looking children may be more interested in acting it out because other children are involved.
Sometimes, though, the children acting out the problem may get less out of the exercise than the children
watching. This is because the participants are so engrossed in the mechanics of what they are doing that they
don’t see through to the underlying mathematics. However, because these children are concentrating on what
they are doing, they may in fact get more out of it and remember it longer than the others, so there are pros and
cons here.
Use Equipment is a strategy related to Act it Out. Generally speaking, any object that can be used in some way
to represent the situation the children are trying to solve, is equipment. This includes children themselves, hence
the link between Act it Out and Use Equipment.
One of the difficulties with using equipment is keeping track of the solution. Actually the same thing is true for
acting it out. The children need to be encouraged to keep track of their working as they manipulate the
equipment.
In our experience, children need to be encouraged and helped to use equipment. Many children seem to prefer
to draw.  This may be because it gives them a better representation of the problem in hand. Also, if they’re a
little older, they may feel that using equipment is only 'for babies'. Since there are problems where using
equipment is a better strategy than drawing, you should encourage children’s use of equipment by modelling its
use yourself from time to time.
3 Draw 
It is fairly clear that a picture has to be used in the strategy Draw a Picture. But the picture need not be too
elaborate. It should only contain enough detail to solve the problem. Hence a rough circle with two marks is
quite sufficient for chickens and a blob plus four marks will do for pigs. There is no need for elaborate drawings
showing beak, feathers, curly tails, etc., in full colour. Some children will need to be encouraged not to over-
elaborate their drawings (and so have time to attempt the problem). But all children should be encouraged to use
this strategy at some point because it helps children ‘see’ the problem and it can develop into quite a
sophisticated strategy later.
It’s hard to know where Drawing a Picture ends and Drawing a Diagram begins. You might think of a diagram
as anything that you can draw which isn’t a picture. But where do you draw the line between a picture and a
diagram? As you can see with the chickens and pigs, discussed above, regular picture drawing develops into
drawing a diagram.
Venn diagrams and tree diagrams are particular types of diagrams that we use so often they have been given
names in their own right.
It’s probably worth saying at this point that acting it out, drawing a picture, drawing a diagram, and using
equipment, may just be disguises for guessing and checking or even guessing and improving. Just watch
children use these strategies and see if this is indeed the case.
4 Make a list
Making Organised Lists and Tables are two aspects of working systematically. Most children start off
recording their problem solving efforts in a very haphazard way. Often there is a little calculation or whatever in
this corner, and another one over there, and another one just here. It helps children to bring a logical and
systematic development to their mathematics if they begin to organise things systematically as they go. This
even applies to their explorations.
There are a number of ways of using Make a Table. These range from tables of numbers to help solve
problems like the Farmyard, to the sort of tables with ticks and crosses that are often used in logic problems.
Tables can also be an efficient way of finding number patterns.
When an Organised List is being used, it should be arranged in such a way that there is some natural order
implicit in its construction. For example, shopping lists are generally not organised. They usually grow
haphazardly as you think of each item. A little thought might make them organised. Putting all the meat
together, all the vegetables together, and all the drinks together, could do this for you. Even more organisation
could be forced by putting all the meat items in alphabetical order, and so on. Someone we know lists the items
on her list in the order that they appear on her route through the supermarket.
5 Think
In many ways we are using this strategy category as a catch-all.  This is partly because these strategies are not
usually used on their own but in combination with other strategies.

The  strategies that we want to mention here are Being Systematic, Keeping Track, Looking For Patterns, Use
Symmetry and Working Backwards and Use Known Skills.
Being Systematic, Keeping Track, Looking For Patterns and Using Symmetry are different from the strategies
we have talked about above in that they are over-arching strategies. In all problem solving, and indeed in all
mathematics, you need to keep these strategies in mind.

Learning Task
 What are the 10 Filipino Values?
 What are the positive Filipino values that are unique from other cultures?
 GRABSUM SCHOOL INC.
Masalukot1 ,Candelaria,Quezon
Values
Week 17
Education
Name

What Is a Case Study?

A case study is an in-depth study of one person, group, or event. In a case study, nearly
every aspect of the subject's life and history is analyzed to seek patterns and causes of
behavior. Case studies can be used in a variety of fields including psychology, medicine,
education, anthropology, political science, and social work.

The hope is that learning gained from studying one case can be generalized to many
others. Unfortunately, case studies tend to be highly subjective and it is
sometimes difficult to generalize results to a larger population.

While case studies focus on a single individual or group, they follow a format that is
similar to other types of psychology writing. If you are writing a case study, it is
important to follow the rules of APA format.  
Benefits and Limitations
A case study can have both strengths and weaknesses. Researchers must consider these
pros and cons before deciding if this type of study is appropriate for their needs.

One of the greatest advantages of a case study is that it allows researchers to

investigate things that are often difficult to impossible to replicate in a lab. Some other
benefits of a case study:

 Allows researchers to collect a great deal of information

 Give researchers the chance to collect information on rare or unusual cases
 Allows researchers to develop hypotheses that can be explored in experimental
research

On the negative side, a case study:

 Cannot necessarily be generalized to the larger population

 Cannot demonstrate cause and effect
 May not be scientifically rigorous
 Can lead to bias

Researchers may choose to perform a case study if they are interested in exploring a
unique or recently discovered phenomenon. The insights gained from such research can
then help the researchers develop additional ideas and study questions that might then
be explored in future studies.

Case Study Examples

There have been a number of notable case studies in the history of psychology. Much
of Freud's work and theories were developed through the use of individual case studies.
Some great examples of case studies in psychology include:

 Anna O: Anna O. was a pseudonym of a woman named Bertha Pappenheim, a

patient of a physician named Josef Breuer. While she was never a patient of
Freud's, Freud and Breuer discussed her case extensively. The woman was
experiencing symptoms of a condition that was then known as hysteria and found
that talking about her problems helped relieve her symptoms. Her case played an
important part in the development of talk therapy as an approach to mental health
treatment.
 Phineas Gage: Phineas Gage was a railroad employee who experienced a terrible
accident in which an explosion sent a metal rod through his skull, damaging
important portions of his brain. Gage recovered from his accident but was left with
serious changes in both personality and behavior.
 Genie: Genie was a young girl subjected to horrific abuse and isolation. The case
study of Genie allowed researchers to study whether language could be taught
 even after critical periods for language development had been missed. Her case
also served as an example of how scientific research may interfere with treatment
and lead to further abuse of vulnerable individuals.

Such cases demonstrate how case research can be used to study things that researchers
could not replicate in experimental settings. In Genie's case, her horrific abuse had
denied her the opportunity to learn language at critical points in her development.

This is clearly not something that researchers could ethically replicate, but conducting a
case study on Genie allowed researchers the chance to study phenomena that are
otherwise impossible to reproduce.

 Tips for Selecting a Good Topic for Psychology Case Studies

Types
There are a few different types of case studies that psychologists and other researchers
might utilize:

 Collective case studies: These involve studying a group of individuals.

Researchers might study a group of people in a certain setting or look at an entire
community of people.
 Descriptive case studies: These involve starting with a descriptive theory. The
subjects are then observed and the information gathered is compared to the pre-
existing theory.
 Explanatory case studies: These are often used to do causal investigations. In
other words, researchers are interested in looking at factors that may have
actually caused certain things to occur.
 Exploratory case studies: These are sometimes used as a prelude to further,
more in-depth research. This allows researchers to gather more information before
developing their research questions and hypotheses.
 Instrumental case studies: These occur when the individual or group allows
researchers to understand more than what is initially obvious to observers.
 Intrinsic case studies: This type of case study is when the researcher has a
personal interest in the case. Jean Piaget's observations of his own children are
good examples of how an intrinsic cast study can contribute to the development of
a psychological theory.

The type of case study that is used depends on the unique characteristics of the
situation as well as the case itself.

How to Write a Case Study

There are also different methods that can be used to conduct a case study, including
prospective and retrospective case study methods.
Prospective case study methods are those in which an individual or group of people is
observed in order to determine outcomes. For example, a group of individuals might be
watched over an extended period of time to observe the progression of a particular
disease.

Retrospective case study methods involve looking at historical information. For example,
researchers might start with an outcome, such as a disease, and then work their way
backward to look at information about the individual's life to determine risk factors that
may have contributed to the onset of the illness.

Where to Find Data

There are a number of different sources and methods that researchers can use to gather
information about an individual or group. Six major sources that have been identified by
researchers are:

 Archival records: Census records, survey records, and name lists are examples
of archival records.
 Direct observation: This strategy involves observing the subject, often in
a natural setting. While an individual observer is sometimes used, it is more
common to utilize a group of observers.
 Documents: Letters, newspaper articles, administrative records, etc., are the
types of documents often used as sources.
 Interviews: Interviews are one of the most important methods for gathering
information in case studies. An interview can involve structured survey questions
or more open-ended questions.
 Participant observation: When the researcher serves as a participant in events
and observes the actions and outcomes, it is called participant observation.
 Physical artifacts: Tools, objects, instruments, and other artifacts are often
observed during a direct observation of the subject.

Section 1: A Case History

This section will have the following structure and content:

Background information: The first section of your paper will present your client's
background. Include factors such as age, gender, work, health status, family mental
health history, family and social relationships, drug and alcohol history, life difficulties,
goals, and coping skills and weaknesses.

Description of the presenting problem: In the next section of your case study, you
will describe the problem or symptoms that the client presented with.

Describe any physical, emotional, or sensory symptoms reported by the client.

Thoughts, feelings, and perceptions related to the symptoms should also be noted. Any
screening or diagnostic assessments that are used should also be described in detail and
all scores reported.
Your diagnosis: Provide your diagnosis and give the appropriate Diagnostic and
Statistical Manual code. Explain how you reached your diagnosis, how the client's
symptoms fit the diagnostic criteria for the disorder(s), or any possible difficulties in
reaching a diagnosis.

Section 2: Treatment Plan

This portion of the paper will address the chosen treatment for the condition. This might
also include the theoretical basis for the chosen treatment or any other evidence that
might exist to support why this approach was chosen.

 Cognitive behavioral approach: Explain how a cognitive behavioral therapist

would approach treatment. Offer background information on cognitive behavioral
therapy and describe the treatment sessions, client response, and outcome of this
type of treatment. Make note of any difficulties or successes encountered by your
client during treatment.
 Humanistic approach: Describe a humanistic approach that could be used to
treat your client, such as client-centered therapy. Provide information on the type
of treatment you chose, the client's reaction to the treatment, and the end result
of this approach. Explain why the treatment was successful or unsuccessful.
 Psychoanalytic approach: Describe how a psychoanalytic therapist would view
the client's problem. Provide some background on the psychoanalytic
approach and cite relevant references. Explain how psychoanalytic therapy would
be used to treat the client, how the client would respond to therapy, and the
effectiveness of this treatment approach.
 Pharmacological approach: If treatment primarily involves the use of
medications, explain which medications were used and why. Provide background
on the effectiveness of these medications and how monotherapy may compare
with an approach that combines medications with therapy or other treatments.

This section of a case study should also include information about the treatment goals,
process, and outcomes.

Discussion
When you are writing a case study, you should also include a section where you discuss
the case study itself, including the strengths and limitiations of the study. You should
note how the findings of your case study might support previous research. 

In your discussion section, you should also describe some of the implications of your
case study. What ideas or findings might require further exploration? How might
researchers go about exploring some of these questions in additional studies?

More Tips

Here are a few additional pointers to keep in mind when formatting your case study:
  Never refer to the subject of your case study as "the client." Instead, their name
or a pseudonym.
 Read examples of case studies to gain an idea about the style and format.
 Remember to use APA format when citing references.

A Word From Very well

Case studies can be a useful research tool, but they need to be used wisely. In many
cases, they are best utilized in situations where conducting an experiment would be
difficult or impossible. They are helpful for looking at unique situations and allow
researchers to gather a great deal of information about a specific individual or group of
people.

If you have been directed to write a case study for a psychology course, be sure to
check with your instructor for any specific guidelines that you are required to follow. If
you are writing your case study for professional publication, be sure to check with the
publisher for their specific guidelines for submitting a case study.

What is projected media in teaching and learning?

Projected and electronic materials are forms of media which could be visual, audio and audio-visual
in nature that requires projection and electricity in their using process for teaching and
learning situation. One advantage of projected visual is that the teacher can maintain eye contact
with the students.
Projected media include slides, filmstrips, opaque and overhead projections, and motion pictures.
The use of projected media helps teachers simplify, clarify, analyze, and synthesize relationships
between man and his environments.

Also Know, what is projected media and non projected media? 6. Non projected visuals are those
aids which are used without any projection. So they translate abstract ideas into a more realistic
format. They allow instruction to move from verbal representation to a more concrete level.

Also asked, what is media in teaching and learning?

Media are the means for transmitting or delivering messages and in teaching-learning perspective

delivering content to the learners, to achieve effective instruction. Instructional
Technology/media for learning-teaching process provide with the. tools to
engage learners powerfully in the learning process.

What is the importance of instructional media in teaching and learning?

Instructional media are vital in the teaching- learning process, enhancing ability to read and write

correctly, influencing pupils to actively participate in learning and leading pupils to remember
vocabularies.

What is a Portfolio?
A portfolio is a compilation of materials that exemplifies your beliefs, skills, qualifications, education,
training and experiences. It provides insight into your personality and work ethic.

Why should I have a portfolio?

The process of putting together a portfolio itself will help you become a more effective interviewee.
You will be identifying the skills you have gained through your various experiences and how they
relate to the career you are interested in. Choosing the most relevant experiences and putting them in
an easily understood format will help you better articulate your skills and experiences when asked
questions about your qualifications in an interview. A professional portfolio will also show an employer
proof of your organizational, communication, and tangible career related skills.

What should be included in my portfolio?

Save everything you create and decide later what you want to include in your portfolio. A portfolio is
a sample of your career related skills and experiences and should be presented in your own creative
style. The following is typically included in a career portfolio:

1. Statement of Originality: A paragraph stating that this is your work and that it is confidential.
It should also indicate if any parts of the portfolio should not be copied.
Example: Statement of Originality and ConfidentialityThis portfolio is the work of James Cook.
Please do not copy without permission. Some of the exhibits, work samples, and/or service
samples are the proprietary property of the organization whose name appears on the
document. Each has granted permission for this product to be used as a demonstration of my
work.
2. Work Philosophy: A brief description of your beliefs about yourself and the industry.
3. Career Goals: Your professional goals for the next five years.
4. Resume: (add Resume Writing link)
5. Skill Areas: Identify three to five of the major skill set areas you have that would be important
for someone in your career field to have. Examples include: Management, Computer Skills,
Public Relations, Leadership, Accounting, Communications, and Customer Service. Next,
select or request letters of recommendation and specific work samples or projects that
exemplify these skill sets. Sources of work samples include classroom projects, materials
generated on the job or during an internship/co-op experience, materials from community
service, volunteer work, campus clubs and organizations and professional memberships.

How to select the best work samples

Ask yourself the following questions about each sample: What will this work demonstrate-skills,
competencies or achievement of goals? Also, ask yourself. . .

 Which skills is the organization looking for in this position?

 What is your best work?
 Which samples show the most skills and competencies?
  Practice speaking about your sample.

Works in Progress: List career-related projects or activities you are currently working on that would
add to your list of skills and qualifications for that career field.

Certifications, Diplomas, Degrees or Awards: Include copies of these documents and any

documentation listing the skills attained for certification.

Community Services: Briefly explain the project or include a brochure explaining the organization or
project. Include any work samples, photographs of the experience and letters of recognition which
prove your participation and/or involvement.

Professional Memberships and Certifications: Include any documentation of proof. Also, include

information on any conferences or meetings you have attended that have provided you with
educational resources in your field of interest.

Academic Plan of Study: You can include a copy of your transcript which includes the classes you
have taken and grades you have earned in those classes, as well as a listing of those classes you
plan to take upon graduation.

Faculty and Employer Biographies: This is not essential to include. However, it is helpful if you
have mentioned someone throughout the portfolio frequently that has had a significant impact on your
professional development. For this section you would list the person’s name, who they are, and what
they do.

References: A list of three to five people who can verify your professional qualifications.
Recommendations of professional references include faculty members, internship supervisors,
employment supervisors and supervisors of other activities such as community service projects.

How should I present my professional portfolio?

 3-ring Notebook (cloth, vinyl, or leather)

 Table of Contents
 If clarification of a particular section is needed, write a brief description of what is included in
that section and why you have chosen to include it in your portfolio. Place the overview at the
beginning of that section.
 Use extra-wide 3 ring tabs with labels to separate each section so you can easily find the
information during an interview situation.
 Use a high quality paper (24#) as well as a high quality printer.
 Use colored paper to draw attention to special samples, but use a soft, subtle color and only
use a total of three different colors.
 Put all pages in page protectors using front and back sides (do not use three hole punch).
 Place three extra copies of your resume and list of references in a protective sleeve to hand
out during your interview.
Learning Activity
1. What are the examples of projected media?
2. What are instructional media?
3. What are non projected media?
4. What are the 5 types of portfolio?

REFERENCES:

https://www.verywellmind.com/how-to-write-a-psychology-case-study-2795722

https://askinglot.com/what-is-projected-media-in-teaching-and-learning#:~:text=Projected%20media%20include
%20slides%2C%20filmstrips,between%20man%20and%20his%20environments.

https://www.clarke.edu/academics/careers-internships/student-checklist/resume-writing-and-portfolios/what-is-a-
portfolio/#:~:text=A%20portfolio%20is%20a%20compilation,your%20personality%20and%20work%20ethic.