Self-concept and Self-Esteem Through Drama: A Meta-Analysis

Abstract

Considerable interest has developed in creative drama over the past 50 years. The basic foundations of creative drama in the United States can be traced back to such early advocates as Ward, Siks, and McCaslin (Bellman, 1974). The increased attention this technique has gained in recent years appears to be based on the Dewey premise that we should educate the whole child (Nelson, 1988). Since both the affective and cognitive domains are essential for human development, using creative drama as an instructional strategy promotes a blending of the intellect and the emotions along with the psychomotor domain (Conard, 1998). Wagner (1988), in a qualitative review of several studies, emphasized the positive effect classroom drama has shown on such affective variables as self-concept, self-confidence, and self-actualization. drama has also been viewed as a vehicle that can enhance cross-cultural understandings and reduce ethnic and racial tensions (McLaughlin, 1990). Research by Clore and Jeffery (1972) showed the effect role-playing had on attitudes such as empathy, cooperation, and helping behaviors. However, creative drama advocates have made claims that have not been empirically demonstrated. In a previous meta-analysis of 16 studies (which included six sources on selfesteem) Kardash and Wright (1987) concluded that creative drama appeared to have a positive effect on the self-esteem, oral language, and moral reasoning skills of elementary school students. They further reported that creative drama generally produced higher levels of student achievement in these grades, but appeared to have no consistent effects on reading achievement. A further metaanalysis summarizing the effects of creative drama and related variables in the affective domain seemed warranted. For the purpose of this study, the definition of creative drama is the one developed by the Children's Theatre Association of America: Creative drama is an improvisational, nonexhibitional, process-centered form of drama in which participants are guided by a leader to imagine, enact, and reflect upon human experiences (qtd in McCaslin, 1996, p. 7).

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