Professor i drama med didaktisk inriktning
Jag forskar om drama i pedagogiska sammanhang och undervisar i lärarprogrammet och på fristående kurser samt ansvarar för magisterprogrammet i Drama och Tillämpad Teater. Jag handleder doktorander med inriktning mot drama/teater och med inriktning mot estetiska lärprocesser i drama, bild och musik. Mitt forskningsintresse berör främst dramapedagogikens potential i undervisningen. Jag intresserar mig också för dramapedagogiskt ledarskap och sist men inte minst drama i undervisning för hållbar utveckling. Jag har bl.a. kartlagt introduktionen av processdrama i Sverige, analyserat dramapedagogikens förändringspotential, undersökt gymnasieelevers motiv till att välja teater i Sverige, Arizona och Palestina, gjort en översikt över svensk dramaforskning, samt beskrivit drama i olika läroplaner i Norden och Australien. Jag har även gjort en jämförande studie av gymnasieelevers motiv till att välja estetiska programmet, inriktning Bild, Musik respektive Teater. På senare år har jag medverkat i två studier om drama på högstadiet, och i en kartläggning av drama/teater inom Kulturskolan.
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.
Nätverk, internationella kontakter och handledning
Mitt nätverk består av nordiska och internationella kontakter inom dramapedagogisk forskning, t.ex. prof. em. Liora Bresler, University of Illinois, som var gästprofessor i Stockholm 2008-2010. I Norden har jag kontakter med prof. Anna-Lena Østern, prof. Aud Berggraf-Sæbø, prof. Björn Rasmussen, prof. Stig Eriksson, prof.Tor-Helge Allern, prof. Vigdis Aune m. fl. Efter ett par längre vistelser i Brisbane, 2014 och 2018, har jag goda kontakter med dramaforskare i Australien och Nya Zeeland, t.ex. prof. Brad Haseman, prof. Julie Dunn, prof. Madonna Stinson, och prof. John O´Toole. Ett kontinuerligt samarbete med prof. Allan Owens vid Chester University, England har resulterat i att fyra svenska dramadoktorander disputerat i Chester, där jag deltog i handledarteamet. Jag är även handledare för tre doktorander/lic. vid HSD, två med inriktning mot drama/teater och en mot estetiska lärprocesser. Helen Nicholson, prof. vid Royal Holloway University of London, var gästprofessor på HSD i 2 år. För närvarande är prof. Tony Wall, Chester University, knuten till dramaforskningsgruppen på HSD.
Dramapedagog RAD 1978, fil. dr i pedagogik Uppsala universitet 1998, lektor i pedagogik Högskolan Dalarna 1999, forskarassistent Högskolan i Gävle 2004, lektor i dramapedagogik 2008 och docent i utbildningsvetenskap Stockholms universitet 2010, professor i drama med didaktisk inriktning vid Stockholms universitet 2015.
Österlind, E. . ”Dramaworkshops as Single Events in Higher Education – What can we learn?” in M. McAvoy & P. O’Connor (Eds.), The Routledge Companion to Drama in Education. Routledge.
v. Schantz. U. & Österlind, E. (2021). Insights and outlooks: Experiences from a PhD course in arts-based research methods. In J. Adams & A. Owens (Eds.) Beyond Text. Bristol, UK: Intellect.
Lehtonen, A., Österlind, E., & Viirret, T.L. (2020). Drama in education for sustainability: Becoming connected through embodiment. International Journal of Education & the Arts, 21(19).
Österlind, E. (2020). ”I Can Be the Beginning of What I Want to See in the World”. Outcomes of a Drama Workshop on Sustainability in Teacher Education. In V. Brinia & J. Paolo Davim (Eds.), Designing an Innovative Pedagogy for Sustainable Development in Higher Education (p. 49-68). Taylor & Francis: CRC Press.
Fries, J. & Österlind, E. (2019). Att lära ”utanför bokens kanter” – drama i undervisningen på högstadiet. I Y. Ståhle, M. Waermö & V. Lindberg (red.), Att utveckla forskningsbaserad undervisning. Analyser, utmaningar och exempel (s. 331–356). Stockholm: Natur och Kultur.
Hallgren, E. & Österlind, E. (2019). Process Drama in Civic Education: Balancing Student Input and Learning Outcomes in a Playful Format. Education Sciences 9, 231; doi:10.3390/educsci9030231.
Österlind, E. (2018). Drama in higher education for sustainability: work-based learning through fiction? Higher Education, Skills and Work-Based Learning 8(3), pp. 337–352.
Österlind, E. (2018). Estetiska uttrycksformer – syskon eller kusiner? I A. Lidén, U. v. Schantz, K. Thorgersen & A. Lidén (Red.) De Estetiska ämnenas didaktik – Utmaningar, processer och protester (s. 45–66). Stockholm: Stockholm University Press.
I urval från Stockholms universitets publikationsdatabas
Insights and outlooks
2021. Ulrika von Schantz, Eva Österlind. Beyond TextKapitel
"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, 49-68Kapitel
Arts based approaches for sustainability
2020. Tony Wall, Eva Österlind, Julia Fries. Encyclopedia of Sustainability in Higher EducationKapitel
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).
Drama and theatre for health and wellbeing
2020. Tony Wall (et al.). Good Health and Well-BeingKapitel
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.
Drama in Education for Sustainability
2020. Anna Lehtonen, Eva Österlind, Tuija Leena Viirret. International Journal of Education and the Arts 21 (19), 1-27Artikel
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.
Art-Based teaching on sustainable development
2019. Tony Wall, Eva Österlind, Julia Fries. Encyclopedia of Sustainability in Higher EducationKapitel
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)...
Att lära "utanför bokens kanter"
2019. Julia Fries, Eva Österlind. Att utveckla forskningsbaserad undervisning, 331-356Kapitel
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.
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.
Conjuring a ‘Spirit’ for Sustainability
2018. Tony Wall (et al.). Sustainability and the Humanities, 313-327Kapitel
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.
Estetiska uttrycksformer – syskon eller kusiner?
2018. Eva Österlind. De estetiska ämnenas didaktik, 45-66Kapitel
Drama and theatre in a Nordic curriculum perspective
2016. Eva Österlind, Anna-Lena Østern, Rannveig Björk Thorkelsdóttir. Research in Drama Education 21 (1), 42-56Artikel
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.
A lost opportunity
2014. Eva Österlind, Brad Haseman. Research in Drama Education: The Journal of Applied Theatre and Performance 19 (4), 409-413Artikel
Heathcote in Sweden – just passing by?
2014. Eva Österlind, Eva Hallgren. Drama Research 5 (1), 1-20Artikel
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.
Evaluation of Theatre for Social Change
2013. Eva Österlind. Applied Theatre Research 1 (1), 91-106Artikel
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.
Acting out of habits - can Theatre of the Oppressed promote change?
2008. Eva Österlind. Research in Drama Education 13 (1), 71-82Artikel
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.
Drama Research in Sweden.
2008. Eva Österlind. NJ (Drama Australia journal) 31 (2), 95-109Artikel
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?
Drama stärker elevers språkutveckling
2014. Eva Österlind. DramaForum (1-2)Artikel
Drama in higher education for sustainability
2018. Eva Österlind. Higher Education, Skills and Work-based Learning 8 (3), 337-352Artikel
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.