Min pågående forskning berör främst drama för hållbar utveckling inom högre utbildning. Ett exempel är en jämförande studie baserad på dramaworkshops vid universitet i Atén, Helsingfors och Stockholm. Nyligen (2020) har jag också fått medel från Vetenskapsrådet för projektet "Interaktiva workshops i högre utbildning för hållbarhet". I projektet medverkar bl.a forskare vid Stockholm Resilience Center. Syftet är att jämföra olika gestaltande, interaktiva undervisningsformer som forumspel, rollspel och processdrama, men även osynlig teater, outdoor education och performance, i relation till hållbar utveckling. Två internationella workshops kommer att genomföras med universitetslärare från olika europeiska universitet. På grund av coronarestriktioner inleds projektet hösten 2021 med två workshops, en ditigal och en på campus, för universitetslärare vid svenska lärosäten.

I urval från Stockholms universitets publikationsdatabas

• Drama workshops as single events in higher education – what can we learn?

  2022. Eva Österlind. The Routledge Companion to Drama in Education, 324-337

  Kapitel

  In Swedish higher education, drama is often seen as a teaching method to be utilised in other subjects, and Drama in Education/Applied Drama is put forward by drama teachers as a creative form of learning in pre-schools as well as at university level. Here, drama is often organised as single workshops, but this chapter problematises drama work as single events, drawing on experiences of drama workshops on sustainability for university students in Athens, Helsinki, and Stockholm. Preliminary results, based on questionnaires, indicate significant differences in the students’ learning, connected to previous drama knowledge and level of teacher training. The findings provide a more precise understanding of the interplay between context and outcome. This may inform decisions about when, how, and why drama is applied in various educational settings.

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• Insights and outlooks

  2021. Ulrika von Schantz, Eva Österlind. Beyond Text

  Kapitel

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• "I Can Be the Beginning of What I Want to See in the World"

  2020. Eva Österlind. Designing an Innovative Pedagogy for Sustainable Development in Higher Education, 49-68

  Kapitel

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• Arts based approaches for sustainability

  2020. Tony Wall, Eva Österlind, Julia Fries. Encyclopedia of Sustainability in Higher Education

  Kapitel

  The arts encompass a broad and diverse landscape of interrelated creative practices and professions, including performance arts (including music, dance, drama, and theatre), literary arts (including literature, story, and poetry), and the visual arts (including painting, design, film) (see UNESCO 2006). They have been explicitly linked to sustainable development in higher education at a global level through UNESCO’s Road Map for Arts Education (UNESCO 2006) and The Seoul Agenda: Goals for the Development of Arts Education (UNESCO 2010). Specifically, the arts have been deployed to promoting human rights, enhancing education, promoting cultural diversity, enhancing well-being, and, most broadly, “resolving the social and cultural challenges facing today’s world” (UNESCO 2010: 8).

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• Drama and theatre for health and wellbeing

  2020. Tony Wall (et al.). Good Health and Well-Being

  Kapitel

  The rock art of indigenous communities from 20,000 years ago have been interpreted as early indications of how humans have connected performance, in a broad sense, with the health and well-being of their communities (Fleischer and Grehan, 2016). Now, at a global level, there is increasing recognition that drama and theatre can facilitate a variety of health and wellbeing outcomes for an extensive range of groups, not pre-determined by affluence or socioeconomic status (APPG, 2017). In a broad sense, drama and theatre are a constellation of arts based practices, processes, and spaces, which intentionally work with more or less fictive characters, roles, relationships, and plots, in order to generate a wide range of experiences or outcomes (Wall, Österlind and Fries, 2018, forthcoming). Indeed, theatre and drama have been described as “the most integrative of all the arts: they include singing, dancing, painting, sculpture, storytelling, music, puppetry, poetry and the art of acting” (British Medical Association, 2011, p 10), which can help people to understand and then change how they relate to and then live out their own world.

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• Drama in Education for Sustainability

  2020. Anna Lehtonen, Eva Österlind, Tuija Leena Viirret. International Journal of Education and the Arts 21 (19), 1-27

  Artikel

  In this article, we argue that drama can serve as an interconnecting method for climate change education. In this study, we elaborate the practice of drama and participation experiences through three drama workshops: 1) process drama work on the global, social, and individual aspects of climate change, 2) outdoor drama practice on relations to nature, and 3) reflections through drama practice. The human dimension of the sustainability issues, conditions of interdependence, and collaboration were explored and manifested through the drama practices, which created frames for embodied, creative and cognitive dialogues between people with different perspectives. Being differently-as experienced through the embodied, collective, and creative practices of drama-seemed to promote experiences of interconnectedness, widen perspectives of sustainability, and motivate acting differently.

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• Art-Based teaching on sustainable development

  2019. Tony Wall, Eva Österlind, Julia Fries. Encyclopedia of Sustainability in Higher Education

  Kapitel

  The connections between art, art making, education, and responsibility in relation to the wider natural and social world have been given increasing attention over the last thirty years. For example, there have been a variety of journal special issues dedicated to art, education, and: ecology (Krug, 1997), social justice and social change (Bolin, 1999), community and responsibility (Carpenter, 2004), ecology and responsibility (Stout 2007), health and wellbeing (Haywood Rolling 2017), and human rights (Kraehe 2017). Such a rise has been linked to trends in the human search for meaning and significance amongst (and resistance against) globalisation, domination of market forces, and an increasingly complex and chaotic environment (Taylor and Ladkin, 2009)...

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• Att lära "utanför bokens kanter"

  2019. Julia Fries, Eva Österlind. Att utveckla forskningsbaserad undervisning, 331-356

  Kapitel

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• Drama och teater i kulturskolan ur pedagogernas perspektiv

  2019. Kerstin Grip, Sofia Cedervall, Eva Österlind.

  Rapport

  Föreliggande rapport rörande drama/teater i kulturskolan bygger på en undersökning av drama- och teaterpedagogers uppfattningar om sitt arbete och dess villkor. Drama/teater i kulturskolan präglas av en kombination av två olika traditioner: dramapedagogik och teater som konstform. Inom denna kombination betonas den ena eller den andra traditionen olika mycket beroende av olika drama- och teaterpedagogers och kulturskolors inriktning.

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• Drama Workshop for Sustainability - can anyone learn through drama?

  2019. Eva Österlind. NOFA7 ABSTRACTS, 229-229

  Konferens

  In Sweden Drama has traditionally been labelled a ‘teaching method’, a tool for ‘aesthetic learning’ to be utilized in other subjects. The main reason for this is that drama is not (yet) a subject in compulsory schools. Drama is often promoted as a successful way to teach, creating increased motivation and deeper understanding among participants, in pre-schools as well as at university level. This assumption can be questioned. Perhaps drama isn’t a great way of learning, regardlessof the circumstances? Finding out more about this will allow a more precise understanding, and may affect how drama is applied in various educational settings.

  To investigate this, a drama workshop on sustainability was given to university students in Athens, Helsinki and Stockholm, during 2017. Research reveals that many young people associate environmental problems with feelings of hopelessness, guilt and insecurity.

  Therefore, new ways of teaching, that gives students an opportunity to learn more about sustainable development, despite emotional constraints, need to be developed. Research also suggests that aesthetic forms of instruction, like drama, may open up for more experience based and value integrated learning processes. Previous research on the potential of drama related to education for sustainability is, however, limited. This small-scale study is based on a drama workshop designed to explore sustainability issues from several perspectives. Based on a questionnaire to the participants, a comparative analysis will be presented.

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• Process Drama in Civic Education

  2019. Eva Hallgren, Eva Österlind. Education Sciences 9 (3)

  Artikel

  The purpose is to investigate process drama for teaching civics, mainly democracy and migration. Process drama implies students and teacher to take on roles, to explore a subject content collectively. The study is based on a secondary school educational initiative where a drama pedagogue was invited to address civics through process drama. Four civic lessons were video recorded and analyzed through an activity theory framework. From this perspective, process drama can be understood as two activities with different motives/objects, the educational and the fictional, where the fictional activity should have a playful format. The results show that the dialogical approach used by the drama pedagogue created a democratic opportunity and also established the playful format. The students' engagement was notably high. However, it was obvious there were no challenging or probing questions being asked by the drama pedagogue or the civics teacher, neither in nor out of role. As a consequence, the full learning potential of process drama in civics education could not be achieved. We suggest a co-teaching approach between civic teachers and drama pedagogues, to overcome challenges in using process drama in civic education for learning objectives to be attained.

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• Conjuring a ‘Spirit’ for Sustainability

  2018. Tony Wall (et al.). Sustainability and the Humanities, 313-327

  Kapitel

  Evidence suggests that wider sociological structures, which embody particular values and ways of relating, can make a sustainable living and working problematic. This chapter introduces ideology critique, an innovative methodological perspective crossing the fields of theology, cultural studies and politics to examine and disturb the subtle and hidden ‘spirit’ which is evoked when we engage with everyday objects and interactions. Such a ‘spirit’, or ideology, embodies particular models of how humans relate to other humans, animals and the planet more broadly. This chapter aims, first, to document and demonstrate the subtleties of how the hidden ‘spirit’ can render attempts at sustainable working futile in the context of education, and then, second, to demonstrate how it can be used to intentionally evoke alternative ‘spirits’ which afford new relationality amongst humans, animals and the planet. In a broader sense, therefore, this chapter explores how concepts and political commitments from the humanities, such as ideology critique and ‘spirit’, can help (1) analyse how wider social structures shape our values and beliefs in relation to sustainable learning, living and working, (2) explain how these behaviours are held in place over time and (3) provoke insight into how we might seek to disrupt and change such persistent social structures.

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• Drama in higher education for sustainability

  2018. Eva Österlind. Higher Education, Skills and Work-based Learning 8 (3), 337-352

  Artikel

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

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

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

  Research limitations/implications - The results of this small-scale study are only valid for this particular group.

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

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

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• Drama in Higher Education – learning for sustainability through fiction?

  2018. Eva Österlind.

  Konferens

  Research on Education for Sustainable Development reveals that many young people associate environmental problems with feelings of helplessness, guilt and insecurity. Therefore, ways of teaching that give students an opportunity to learn more about sustainability, despite emotional constraints, need to be developed. Research also suggests that aesthetic forms of instruction, like drama, may open up for more experience based and value integrated learning processes. There is a body of research on role-play regarding sustainability in higher education, but research on drama related to higher education for sustainability is very limited. The seminar is based on a drama workshop given at universities in Athens, Helsinki and Stockholm. The focus is drama in the context of professional learning, and responses from a small sample of in-service teachers will be presented. Drama in education for sustainability is discussed as a way to integrate emotional aspects and scientific knowledge.

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• Drama Workshop on Sustainability – could the context confuse the content?

  2018. Eva Österlind.

  Konferens

  Previous research on Education for Sustainable Development, ESD, reveals that many young people associate environmental problems with feelings of helplessness, guilt and insecurity. Therefore, new ways of teaching that gives students an opportunity to learn more about sustainable development, despite emotional constraints, needs to be developed. Research suggests that aesthetic forms of instruction, like drama, may open up for more experience based and value integrated learning processes. Previous research on the potential of drama related to education for sustainable development is, however, limited. This study is based on a drama workshop designed to explore sustainability issues from several perspectives. It was given to university students in Athens, Helsinki and Stockholm during 2017. The participants answered a questionnaire. Preliminary results will be presented, comparing students' experiences of exploring the complexity of sustainability from several perspectives by means of drama.

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• Estetiska uttrycksformer – syskon eller kusiner?

  2018. Eva Österlind. De estetiska ämnenas didaktik, 45-66

  Kapitel

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• Estetiska ämnen: syskon eller kusiner?

  2018. Eva Österlind.

  Konferens

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• Drama and theatre in a Nordic curriculum perspective

  2016. Eva Österlind, Anna-Lena Østern, Rannveig Björk Thorkelsdóttir. Research in Drama Education 21 (1), 42-56

  Artikel

  The aim of this article is to present a Nordic curriculum perspective on drama and theatre in education ranging from preschool to upper secondary education and cultural schools. Underlined in the Nordic welfare model is an equity, inclusive and democracy perspective, which guarantees free access to compulsory education and to upper secondary education. How is drama/theatre presented and positioned in the national curriculum frameworks of the Nordic countries? This comparative analysis concerns drama and/or theatre in the curricula in Denmark, Finland, Iceland, Norway, and Sweden.

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• A lost opportunity

  2014. Eva Österlind, Brad Haseman. Research in Drama Education: The Journal of Applied Theatre and Performance 19 (4), 409-413

  Artikel

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• Drama stärker elevers språkutveckling

  2014. Eva Österlind. DramaForum (1-2)

  Artikel

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• Heathcote in Sweden – just passing by?

  2014. Eva Österlind, Eva Hallgren. Drama Research 5 (1), 1-20

  Artikel

  The first written introduction to Dorothy Heathcote’s work was published in Swedish in 1974, while she herself visited Sweden to teach in the early 1980s. How has drama for learning, i.e. process drama, evolved since then? We will try to answer this question by looking into the Swedish context, including courses and publications that clearly connect to the work of Dorothy Heathcote and Gavin Bolton. We have used interviews with a few key informants to complement information from written sources. The investigation uncovered more publications and teaching events than expected, but the practice of Heathcote’s work does not appear to be well-defined or extensive. After a period of decline it looks like process drama is gaining renewed attention, as more workshops, university courses and new books have been available in the last few years than in many years before.

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• Evaluation of Theatre for Social Change

  2013. Eva Österlind. Applied Theatre Research 1 (1), 91-106

  Artikel

  Is it possible to evaluate drama and Theatre for Social Change in a way that contributes to the body of knowledge and is meaningful for those involved? Applied theatre is often claimed to have a huge potential, and projects are described as having a strong impact. Requested by external funders, evaluation reports are produced around the world. Here, three projcts – from Palestine, Serbia and Sweden/European Union – are described. The cases are used to discuss how to evaluate Theatre for Social Chang in a fruitful way: What is the result of the evaluations? What kinds of conclusions are drawn? How credible, useful or generative are these evaluations? Special attention is given to the evaluators’ role. If the evaluators express their personal and professional preferences, the outcome may be a more credible evaluation –‘objectivity’ through declared values. Still, dilemmas related to different interests and tie perspectives remain to be solved.

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• Acting out of habits - can Theatre of the Oppressed promote change?

  2008. Eva Österlind. Research in Drama Education 13 (1), 71-82

  Artikel

  Habits make everyday life manageable, but can also become obstacles and cause problems. The tendency to repeat old patterns of behaviour is a common problem for individuals and for society as a whole. Unreflexive habitual actions constitute an important aspect of social reproduction. In this article, two questions are addressed: Why is change so hard to achieve? Can Theatre of the Oppressed be used to promote change? A close reading of the French sociologist Bourdieu in relation to Boal's theatre methods is undertaken to answer these questions. Bourdieu's concept of habitus serves to explain the persistence of status quo; structural aspects are embedded in how we think and act, and are also inscribed in the body. These unconscious aspects of habitus are interesting in relation to theatre, where the conscious use of body language, inner dialogue and action are central. Looking at Boal's theatre methods in the light of Bourdieu's concept of habitus, Theatre of the Oppressed clearly has the potential to make social structures, power relations and individual habitus visible and, at the same time, provide tools to facilitate change. It is one of the few methods that offers an integrated approach to work on individual, group and social levels, and involves both the body and the mind. If the methods are practised according to the principles outlined by Boal, they can be used not only to become aware of, but also to expand, habitus. As participants describe effects on their attitudes and actions, do they make changes in their daily lives? Are there any long-term effects of Theatre of the Oppressed? The work of Boal and others is promising, but to answer those questions more evidence is needed.

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• Drama Research in Sweden.

  2008. Eva Österlind. NJ (Drama Australia journal) 31 (2), 95-109

  Artikel

  A review of drama research in Sweden is presented, based on a descriptive analysis of Swedish doctoral dissertations. Bourdieu’s field-concept is used as a framework, and the results are discussed in relation to the perceived need for a research discipline in drama. How can Swedish drama research be described? Which theoretical perspectives and research methods are being used? The overview shows the academic disciplines that are hosting research of drama in education, and influences from their theoretical perspectives are briefly discussed. There is no autonomous field, but a domain of drama research which includes dissertations within the disciplines of Education and Literature. Conditions in Sweden are not as good compared to some other Nordic countries, where subject specific education and expert tutors are available at the research level. Is an autonomous research discipline unnecessary, or even impossible to achieve, taking into account the general tendencies towards inter- and cross-disciplines and ‘knowledge areas’ within higher education?

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