From One Extreme to Another: Theatre in Education
Submitting Institution
Sheffield Hallam UniversityUnit of Assessment
English Language and LiteratureSummary Impact Type
SocietalResearch Subject Area(s)
Studies In Human Society: Sociology
Language, Communication and Culture: Cultural Studies
Summary of the impact
This case study focuses on impact achieved through the widely-seen
performances by GW Theatre of Mike Harris' commissioned play about
extremism, From One Extreme to Another, in schools in the UK. The
project:
- Used drama to open up for discussion by young people and teachers a
sensitive topic which can be difficult to approach in classes or other
public spaces
- Contributed to a government policy intervening in a serious social and
political issue
Underpinning research
Mike Harris is a Writing Partner for GW Theatre. The research consisted
of the process of writing the play itself, which had to find an accessible
contemporary form of theatre for school students from white and ethnic
minority backgrounds (including white working-class, Afro-Caribbean and
British Asian communities) which could dramatise potentially uncomfortable
and divisive material for these audiences in ways which could help them
understand extremism's origins and dangers for all communities. The
artistic challenge was to produce a script that would deal with the kind
of controversial issues that might appear in a play for, say, the Royal
Court, but for young audiences requiring the pace of Hollywood, whilst
being unaccustomed to (and usually entirely ignorant of) any of the
conventions of theatre Furthermore this had to be achieved without
lecturing or hectoring or assuming any previous knowledge. Additional
challenges were presented by having to write for a company that does not
use stage lights because blackouts cannot be guaranteed in school and
community performances. The script had to meet the further aesthetic
challenge of performances in 'difficult' schools, where the attention and
silence of the audience, unlike those in attendance at The Royal Court,
cannot be guaranteed unless the work immediately captures and sustains
interest. The play needed to create understanding for each set of
characters and to present convincing and recognisable behaviours, while
also critiquing where these might lead. This is done by intercutting
swiftly between parallel communities whose fears, loyalties and
assumptions can be seen to have much in common.
The project drew on earlier writing by Harris over a period of 20 years
which sought to represent in community theatre perceptions about
immigration, Islam and the far right in the UK, with a particular focus on
the North West of England. This research produced three sets of scripts.
These were Up the Hill (1984-5), a large-scale community-play
about 100 years of immigration into Manchester, Strangers in Paradise,
a four part drama series broadcast on BBC Radio Four (1991) and Spin
(2000-01), another community play performed by local people to audiences
in Oldham. In all three cases, background information and attitudes were
gathered by reading relevant historical, cultural and political sources
(including all the official reports on the Oldham riots) and through
interviews with a cross-section of people living on local estates, some
involved in Islamist politics or in the BNP but most occupying the more
moderate points in between. In the case of Up the Hill and Spin,
directing their large multi-ethnic casts was in itself invaluable and the
perfect preparation for writing From One Extreme to the Other. The
writing of One Extreme began shortly after `7/7' and built on all
of the above. The play itself and the performances were commissioned and
then supported to tour schools by funding from central government agencies
and local councils, which together allocated £260,000 to support
development of the play and the tours. A pilot draft was performed in
November 2007 and the script was then revised for tours beginning in 2008.
The key researcher (Mike Harris) was a Senior Lecturer in Creative Writing
(0.3 fte) at SHU during the entire REF period 2008-2013, having been first
appointed in 1994.
References to the research
The main research output of the project was the play itself. Quality
Indicators: Funding of production by PREVENT and Communities Leadership
Funding, 2008-13. Script can be provided.
Details of the impact
One Extreme to Another was toured nationally in UK schools/other
community spaces (2008-13) by GW Theatre (circa 500 performances, total
audience of circa 100,000 people). The play was advertised via the GW
Theatre website and a linked 'Extreme News' site and was especially staged
in cities where there had been recent inter-community tensions (e.g. Bury,
Oldham, Rochdale, and Luton). The direct beneficiaries have been secondary
school pupils, college students, their teachers and members of community
groups who have been enabled to discuss issues of far-right and Islamic
extremism raised by the play (in schools and colleges using pre- and
post-performance resources: http://www.gwextreme.com/resources.html).
Feedback was collected via the play's website (http://www.gwextreme.com/feedback.html)
and there were positive evaluation reports. A number of government
documents also referred to the play's effectiveness. Evidence of the two
types of impact is provided below.
1. Used drama to open up for discussion by young people and teachers a
sensitive topic which can be difficult to approach in classes or other
public spaces.
Feedback to the GW website (Source a) suggests that the play had
impact on awareness of extremism and of its complex origins, as selected
quotations show:
'I have been involved in anti-racist work all my life and thought this
was one of the best plays I have ever seen. Dealing with complex issues
the play moved along quickly and held the attention of all our Key Stage 4
pupils. It was very "real" to our pupils'. (Peter, teacher, Burnley
10/03/2008)
'I watched the play in a predominantly white school ... I dislike the
fact that they have been sent to a predominantly white school where they
have not met many people of other backgrounds and therefore have extremely
narrow minds. I hope the plays opened the minds of a few people'
(anonymous pupil 25/2/2008)
'A well-researched play bringing a lot of political/cultural issues to
the forefront and encouraging community cohesion. A very true image of
what is going on and how we are being brainwashed (Najma, 30/04/2008)
'The play tackled a very difficult subject and made you think about your
own opinions and communities. The hot seating at the end gave everybody an
opportunity to participate in the content of the performance (J,
30/04/2009)
These individual responses can be put in context by two evaluations with
detailed quantitative and qualitative analysis of the impact of the play
on student attitudes. The Bury Report (Source b) concisely
summarises teachers' views: 'theatre productions provoke discussion and
reaction more than any other input', 'It took the lid off a controversial
area and allowed open discussion', 'the play allowed pupils to discuss
sensitive issues through the characters, taking it way from the personal',
'they found that the parallel stories in the play made them feel "more
comfortable" about dealing with the issue of violent extremism, which was
shown to be an issue for all groups rather than just for one (paragraphs
5.3, 5.5). It also reports on 1200 questionnaires completed by students to
evaluate the effects of the play, as in these three (of seven) questions:
Questions |
%Pre |
%Post |
% Shift |
I understand what is meant by
Political Extremism |
|
|
|
Yes |
35 |
73 |
+37 |
No |
33 |
10 |
-23 |
Not Sure |
31 |
17 |
-14 |
Being British is about being
white and speaking English |
|
|
|
Yes |
16 |
12 |
-4 |
No |
75 |
82 |
+7 |
Not Sure |
9 |
6 |
-3 |
Any young people may be drawn
into the extremes of political activity |
|
|
|
Yes |
40 |
68 |
+28 |
No |
16 |
9 |
-7 |
Not Sure |
44 |
23 |
-9 |
The Greater Manchester schools' report, July 2011, (Source c)
draws on data collected after performances at Abraham Moss High School,
Burnage Media and Arts College, Chorlton High School, Little Lever
Languages College and Manchester Health Academy. Quotations from the key
findings of the Manchester report occupy the remainder of this section
(emphases as in original):
'What the play has to say to young people
One of the main things young people commented on was how the play had
increased their awareness of their own vulnerability to exploitation
by extremist political and religious organisations. The play made them
realise that religion can be used as a manipulative tool... The play had
made them more wary as a result; many commented that it had made them
realise the importance of making up their own minds and not
being blinded by prejudices which are often reinforced by the media
and sometimes by parental views. They felt empowered to question
things more. A positive feeling was that pupils recognised through
the play that there was more that united people in communities than
divided them. They felt that the play encouraged them to find out
more about other people's cultures, which would lead to greater
understanding and tolerance. Many pupils followed up the idea of cultural
identity, particularly what it means today to be `British' and
whether we truly have a `multicultural' society: this would seem to be
a fruitful avenue for schools to explore with their students. There
was a definite sense in the interviews that pupils felt that the play
`filled a gap' or met a need in the curriculum. They are aware of how
difficult it might be for teachers, who often steer clear of these
difficult topics; pupils see this as `unhelpful' as school is probably the
only place where the issues could be discussed safely and in a balanced
and informed way.
The play's effectiveness
Pupils said that the play's effectiveness was partly owing to the fact
that it was even-handed; the issues were presented as common to both
the Asian and the white families: it was clear in discussion that this was
a key factor in the play's being taken seriously by young people. They
were able to identify especially with the two young boys in the play, and
commented that they found all the characters realistic and credible.
They also commented on how well the play demonstrated the fact that
children are often more open-minded, and that we become more closed as we
get older and are exposed to prejudice. Many pupils felt that the play
offered a hopeful ending and that this was important as it gave
them the idea that things might change for the better... Some pupils
commented, however, that they would have liked more exploration of the
class and religious issues raised in the play. It was appreciated that
presenting the issues in an entertaining and humorous way made
them more accessible to young people. Humour was seen as a release
valve in a play which dealt in essence with very serious subjects.
Pupils felt that the use of racist language was a useful
way of highlighting a contentious issue and that this allowed
discussion in follow-up which might otherwise have been difficult. It
reflects the way language is often used socially and lent authenticity
to the play. Pupils were very appreciative of the openness of the
play and of the fact that it did not talk down to them or gloss over
difficult areas. Some pupils recognised that there were wider issues
beneath the main storyline, such as personal and social problems,
prejudices, cultural differences, all of which influenced the characters'
actions. They appreciated the multi-layered aspect of the play and
felt that it gave them much material to think about and discuss.
The play's impact
Pupils made links between the play and other areas of PSHCE such
as bullying and domestic violence, commenting that these too were
forms of violent extremism. They realised how easy it would be for
anyone to be radicalised and that they were especially
vulnerable as young people. The play was presented to them at the
right time in their development, when they were adult enough to be made
aware of these topics, but still flexible enough to work out their own
views. They had been forced to re-examine their own prejudices and
made to realise that they too stereotyped people...: The play illustrated
... how we use generalisations as excuses to dislike and persecute
others, lumping them together rather than seeing them as individuals.
Interviewees had been stimulated to recognise the difficulties
inherent in different communities living together and of making
disparate groups aware and appreciative of one another's cultures... The
issue of `Britishness' was no longer clear-cut, and it may
not be the `be-all and end-all', although most pupils felt that it was
necessary to hold on to their culture as a means of identity. They
felt that people should be proud of and celebrate their cultures but that
no one culture should be valued exclusively above the others.'
In Appendix 2, the Report also discusses a performance for an audience
from two schools ('Little Lever Languages College, a school with mainly
white pupils and very few from ethnic minority groups, and Burnage Media
Arts College, a single-sex (boys only) school whose pupils come from a
wide range of ethnic backgrounds') which had a marked impact on students:
'Prior to the performance the pupils felt apprehensive.
They thought that the experience would be `nerve- wracking'
and were very unsure of what to expect or how they would be received.
However, as a result of the support and guidance they were offered
on the day when they split into groups for follow-up activities after the
performance, pupils gradually relaxed and worked together on their
own presentations. The project was so successful that quite a
number of pupils exchanged mobile phone numbers and have continued their
contact, and there are plans for the two schools to work together again in
the future.'
2. Contributed to a government policy intervening in a serious social
and political issue
The play was performed for MPs at Portcullis House on 26/3/2009 as an
example of initiatives which might help communities resist extremism. The
effectiveness of the play in this role was discussed in relevant national
fora, including Youth Work Now (Source d), Eastern Eye
(Source e) and the British-Asian redhotcurry site (Source
f). Youth Work Now says the 'power of theatre has been
harnessed in a production that encourages young people to explore complex
topics'; Eastern Eye comments that the play 'is an attempt to get
people to openly debate extremist views and challenge them' while redhotcurry
refers to Hazel Blear's announcement of funding for projects including
this play which 'have mainly national reach and scope'. Hazel Blears (as
Secretary of State for Communities and Local Government) judged the play
to be effective, saying 'I am delighted to be supporting G. W. Theatre to
deliver their play...on a national basis. We have seen that extremists
promote a world-view based on division and difference and prey on people
who feel ignored or frustrated about their chances in life and confused
about their identity. [The play] provides a means through which issues are
brought to light, where they can be acknowledged, discussed and addressed'
(cited in Source g). The play is similarly cited as a successful
example of counter-extremism in the government's Prevent Strategy - a
Guide for Local Partners (Source h): 'it is a hard-hitting
but also a very entertaining and funny piece of theatre which stimulates
debate around extremism amongst young people'. Indeed, performances of the
play have also been part of local government initiatives to address
community cohesion, including the Leeds Bringing Communities Together
Conference (Source i).
Dates of impacts: 2008-2013.
Sources to corroborate the impact
For audit / corroboration of impact claims we can supply details of 9
references as follows:
Source a. http://www.gwextreme.com/feedback.html
Source b. Bury Project Report; PREVENTing Violent Extremism, 2009, can be
provided by the University.
Source c. Manchester Schools 2011 Report, 2011, can be provided by the
University.
Source d. http://www.gwextreme.com/images/GW_Youth_Work_Now_April2010.jpg
Source e. 3/4/09:http://www.gwextreme.com/pdf1.html
Source f. 7/10/08:http://www.redhotcurry.com/news/2008/muslim_funding.htm
Source g. http://www.avonandsomerset.police.uk/information/documents/cache/PDF/Document4610_406246.pdf
Source h. p.38, https://www.education.gov.uk/publications/eOrderingDownload/Prevent_Strategy.pdf
Source i. 19/3/2008: p.6, http://www.leedshousingpartnership.co.uk/uploads/March08seppagesfinal2_14032008112728.pdf