254 Shadow Theatre as a Performative Art for the Development of Uninhibited Corporal Expression and Group Cohesion in Sixth- Grade Students of Primary Education Paloma Bravo-Fuentes University of Málaga, Spain Submitted: 2023-04-05. Revised: 2023-11-05. Accepted: 2023-12-05 Abstract Shadow theatre is an educational resource based on the use of silhouettes and the body as a means of communication. It allows the incorporation of music and sound effects that help stu- dents discover movement possibilities in the stage space. It also encourages collaborative work through the creation of groups. Therefore, the aim of this research is the incorporation of shadow theatre as a performance art for the promotion of uninhibited corporal expression and group cohesion. An action-research methodology is used to define a didactic proposal that incorporates shadow theatre in the field of music education at primary school. The learning situation is carried out in two public schools in the province of Malaga, with a sample of 213 students. The results indicate that shadow theatre effectively improved pupils’ body expression and group cohesion. Some students had initial difficulties, but thanks to the anonymity provided by this resource, fear of ridicule was reduced. It is proposed to compare this resource with theatre in order to define whether the method of incorporating the shadow is really effective. Keywords: musical education; theatre; body expression How to Cite: Bravo-Fuentes, P. (2023). Shadow Theatre as a Performative Art for the Development of Uninhibited Corporal Expression and Group Cohesion in Sixth-Grade Students of Primary Education. Harmonia: Journal of Arts Research and Education, 23(2), 254-263 Harmonia: Journal of Arts Research and Education 23 (2) (2023), 254-263 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v23i2.43958 mous community of Andalusia, specifi- cally located in the province of Malaga, a direct observation of the music class was carried out. The main objective was to de- fine the level of use of the body as a means of communication and expression through the disinhibition of movements. In this ob- servation, difficulties in socializing with some classmates were also identified. In this sense, they accuse the media through the internet as the culprits as they have become the mode of interaction among young people, thus showing fear of pub- lic speaking and face-to-face relationships Suárez (2019). INTRODUCTION Inhibition is a response to bodily ex- pression activities in many cases, eviden- cing situations of nervousness, insecurity, and rejection towards their performan- ce. Undoubtedly, it is directly related to the behavior carried out by an individual based on fear or withdrawal in the face of certain stimuli or unfamiliar situations and people. In contrast, disinhibition is concei- ved as the absence of the cognitive process that suspends the manifestation of a speci- fic behaviour (Guimón, 2004). In two public schools in the autono- Corresponding author: E-mail: paloma.bravo.fuentes@gmail.com p-ISSN 2541-1683|e-ISSN 2541-2426 Paloma Bravo-Fuentes, Shadow Theatre as a Performative Art for the Development of 255 The analysis of this situation deter- mines the beginning of this research pro- cess in which, after knowing the reality of the classroom, the necessary actions to mo- dify it are defined. In the field of education, it is neces- sary to promote the comprehensive de- velopment of students’ competencies. For this reason, it is necessary to create the appropriate scenarios to favour learning situations that offer resources and strate- gies to obtain tools that allow them to inte- ract in social life in the best possible way. Achieving corporal expression based on the disinhibition of movements will offer students the possibility of using their body to communicate and express feelings, emotions, and ideas; as well as an impor- tant resource for relating to the environ- ment around them and other individuals. Students should be able to face unfamiliar situations, overcoming the possible fear of ridicule through activities that encourage their free, creative and collaborative beha- vior with others. For all of the above, this research is based on premises affirming that teaching proposals must be meaningful and fun- ctional to become unforgettable for stu- dents by making them the protagonists of learning and favoring their integral deve- lopment (Heras, 2010). After a bibliographical review of pre- vious work, the activity proposed to achie- ve the premise set out is the use of shadow theatre in the music education class. In activities that develop corporal expressi- on, pupils may feel fear of ridicule (Pérez- Pueyo and Casado, 2011). Thus, shadow theatre can offer greater safety as it does not consist of direct exposure of each stu- dent but through their own shadow pro- jected on a white cloth (López-Villar and Canales, 2007). Body expression can be defined as the discipline favoring the use of move- ments with a communicative intention, more importantly the knowledge and use of expression and communication skills of students rather than aiming for perfect technical execution (Cifo, 2016). This com- municative relationship attends to the de- finition of the body as a language (Schinca, 1998; Pelegrín, 1996) involving both the body and psychological and social aspects (Pérez et al., 2012). The incorporation of drama and theatre at the Primary Education stage al- lows, through representation, to solve and address everyday life situations (Holdhus et al., 2016). It favours the development of communication, empathy, socialization, the expression of emotions, and group co- hesion. It also develops creativity critical thinking, and values education (Trozzo, 2016; Beetlestone, 200) by providing a safe space for the exploration of ideas. On the other hand, it is an interdiscip- linary activity as it can incorporate plastic, dramatic, and musical elements to work on artistic expression. Similarly, it fosters the development of communicative and linguistic skills and psychomotor skills. In addition, it facilitates the development and acquisition of social skills and conflict resolution as it is an activity that requires group work, favoring cooperative learning and consciously explores moods, feelings, and the consequences of the responses of- fered to different problems. For this rea- son, it is ideal for working on interperso- nal intelligence and emotional education (Goleman, 1996). There are numerous studies that in- corporate dramatization in the classroom through the use of shadow theatre in the Infant Education stage (Cifo and Ureña, 2022). The benefits are so numerous that extrapolating it to the last level of Primary School is an interesting resource to work on the disinhibition of movements, the use of the body as an instrument of communi- cation, the improvement of interpersonal relationships, and the promotion of colla- borative work. Shadow theatre is defined as “the representation of stories, scenes, actions, etc., with shadows (bodily and/or objects) that are projected on a cloth or similar thanks to a spotlight” (Cifo, 2016, p. 41), being an easy and economical resource in the music education classroom (Martín Harmonia: Journal of Arts Research and Education 23 (2) (2023): 254-263256 and López-Pastor, 2007). With the use of this type of theatre, the total expression of the students is achieved, favouring their integral development (Pallarés et al., 2014). The necessary elements to carry out a shadow theatre are a light projection (spot- light or torch) and material to project (whi- te cloth), allowing the addition of auxiliary elements (costumes, objects) (Cifo, 2016). The use of music and sound effects can also be incorporated. In this sense, the in- corporation of current musical fragments is allowed under the teaching filter due to the possibilities of increasing the moti- vation and participation of students (Flo- res, 2007; Mok, 2017, 2018) and the deve- lopment of their creative (Hall, 2014) and musical skills (Pulman, 2014). For this rea- son, many authors propose incorporating musical genres that are not limited only to academic music (Woody, 2007). There are different basic techniques for the use of shadow theatre based on; 1) observing the shadow cast and knowing what the others see; 2) taking into account the distance to the focus, as the closer to it, the bigger the shadow cast; 3) the distan- ce to the canvas, as the closer the shadow is, the more it defines the shadow and; 4) casting the shadows preferably in profile, as it allows better definition of the gesture (Barba-Martín, 2002). In this aspect, Barba- Martín and López Pastor (2007) recom- mend starting the use of shadow theatre with simple positions to work, in a playful way, on the aforementioned techniques. The point is to use shadows as a means of corporal expression and the development of creativity. Incorporating shadow theatre as a di- dactic resource in the music classroom has numerous benefits. On the one hand, as has been mentioned, it favours the integ- ral development of the pupils as it triggers the students’ creative process, needing few means and technique to be carried out (Ló- pez-Pastor and Lacruz, 2007). At the same time, it allows work on aspects related to multiculturalism, helping to improve kno- wledge of different cultures (Iglesias and López-Pastor, 2003). Finally, it favours motor development, incorporating content related to the adjustment of the body sche- ma, spatial-temporal structuring and per- ception (Martín and López-Pastor, 2007). It is an activity that works directly with the body, awakening curiosity to explore its possibilities and encouraging spontaneity and improvisation (Pérez et al., 2012). METHOD Design The research design presents a qua- litative approach as it is “an active, syste- matic and rigorous process of directed in- quiry, in which decisions are made about what can be investigated in the field of the object of study” (Pérez-Serrano, 1998, p. 46). Within this field, the DBR (Design- Based Research) model is introduced, which includes the generation of initial research as the production of applications taken to direct practice (Stokes, 1997) and consists of the design, development, and subsequent evaluation of specific educa- tional interventions with the intention of contributing to the advancement of know- ledge about them at the pedagogical level (Plomp and Nieveen, 2010). At all times, this type of proposal is included in real te- aching contexts (Barab and Squire, 2004) to provide validity and ensure tangible conclusions that improve the initial situa- tion (Valverde-Berracoso, 2016). Therefo- re, these theories are not decontextualised and do not necessarily work in the same way in different educational settings (An- derson and Shattuck, 2012). This research seeks the influence of teaching practice (Romero-Ariza, 2014) to generate theo- ries and conclusions of value to educatio- nal professions (Clarke and Dede, 2009). Thus, the roles of researchers and teachers are differentiated, but cooperative work is fundamental (Anderson and Shattuck, 2012). Therefore, this work can be framed within collaborative action research, which involves an intervention in a specific con- text without claiming to offer a generalisa- tion (Casals et al., 2008). This approach is functional for uniting educational theory Paloma Bravo-Fuentes, Shadow Theatre as a Performative Art for the Development of 257 and practice (Moreno et al., 1999), seeking a joint construction of knowledge through the sum of the knowledge and experiences (Desgagné, 1997). The procedure adopted follows a qualitative research sequence structured in several stages: it begins with a needs assessment and contextual analysis, follo- wed by a literature review and the creation of a specific theoretical framework. It con- tinues with a prototyping phase, where the intervention is designed and formatively evaluated and ends with a semi-summa- tive evaluation to determine the satisfacti- on of the initial objectives, as described in Plomp and Nieveen (2010). This approach is distinguished by its focus on concrete processes and objects within the context of an application, avoiding the isolation of variables, and is defined as an interventio- nist model that seeks to improve educatio- nal interventions through a design based on practice and theory, as argued by Val- verde-Berracoso (2016). Context and participants The research was carried out with 213 pupils from two public schools in the province of Malaga, both with four classes of sixth-grade Primary Education, chosen for their accessibility and layout, accor- ding to valid criteria established by Úriz et al. (2006). The total number of participants making up the selected sample is 213 stu- dents. The study involved 159 students from two schools, with the Malaga city school contributing 79 students aged 11- 12: 26 in the first class (16 girls, ten boys), 27 in the second (17 girls, ten boys), 26 in the third (12 girls, 14 boys), and 27 in the fourth (18 girls, nine boys). The Marbella school had 80 students: 27 in the first class (19 girls, eight boys), 27 in the second (17 girls, 10 boys), 26 in the third (13 girls, 13 boys), and 27 in the fourth (16 girls, 11 boys). Instruments The beginning of the research is cha- racterised by the use of participant obser- vation, where the researcher is involved in the actions, including experiences from ot- her artistic fields such as theatre, according to López and San Cristóbal (2014). This technique allows direct information to be collected, preventing certain aspects from going unnoticed (Sarriá-Sánchez, 2010). The findings are documented in a field di- ary with descriptions, subjective analyses and audiovisual records of the activities observed. The study used individual in-depth interviews with 10 educators (8 sixth form tutors and 2 music teachers) from the se- lected schools, following the criteria of being teachers at these schools and with at least five years of professional experience. The interviews were conducted according to López and San Cristóbal (2014), favou- ring an environment of trust and using open and flexible questions to encourage an open dialogue (Gómez et al., 2020). A “funnel” approach was used in the initial questions, detailed by Kerlinger (1975), fo- cusing on teachers’ perceptions, emotions and experiences of pupils’ comfort during the shadow theatre activity and their beha- viour in group work, followed by a content analysis, which consists of “translating” the sample’s input into tangible evaluative information (Kerlinger, 1975). Process The research was conducted in the Marbella school in the third term of the academic year 2020-2021, and in the Ma- laga school in the same period but in the academic year 2021-2022. The performance art methodology focuses on a live musical performance, including elements such as creation, style and cooperation (Kartomi, 2014). Rodríguez-Quiles (2018) suggests that this methodological strategy in the music class favours students’ develop- ment of skills and knowledge. The process of participation in the schools lasted three months in each institution, following a se- ries of phases that make up the research procedure and culminating in the analysis of the results in order to improve aspects of the process based on the spiral cycle of observation, evaluation and reflection of Harmonia: Journal of Arts Research and Education 23 (2) (2023): 254-263258 the results obtained, proposed by Elliot (1991, 2005). The management and families of the students were informed, and their consent was obtained for the publication of the research results. As the children were mi- nors, no personal data were disclosed for ethical reasons. The phases carried out are as follows: 1)Initial observation and setting of objec- tives: It begins with a direct observation by the researcher in the music classes and recorded data on inhibition and group co- hesion, which he then used to define the objectives and design a research proposal. 2) Literature review: of previous work re- lated to the topic in question that forms a theoretical and practical starting point on which to build in the context of schools. 3) Designing and implementing a learning situation: A didactic proposal centred on shadow theatre was designed, carried out in five sessions with tutors and music te- achers to create a graduation script with sequences based on the experiences of sixth grade students. The final proposal, which integrates music and corporal ex- pression, results from the contributions of the students and the guidance of the teach- ers, emphasising the importance of team- work to achieve great results (Egger, 2019; Espinosa, 2019; Harrison et al., 2013; Whi- tener, 2016). A motivating and respectful environment is essential, according to Reid and Duke (2015). The rehearsals, su- pervised by the researcher and the music teacher, prepared the students for the per- formance. 4)Performing the shadow theat- re live for the educational community: At this point the final aesthetic aspect will be a fundamental element, being an objective to be able to perform in the best possible way (Hargreaves, 2012). 5) Conducting an in-depth interview with the participating teachers and assessing the satisfaction of the participating: A word cloud was gene- rated with descriptions of the participants to analyse satisfaction and compare it with previous observations, facilitating the dra- wing of concrete conclusions. RESULT AND DISCUSSION This section is based on the degree of acquisition of the objectives formulated in this process. Thus, after the review of the literature, the use of shadow theatre is de- fined as an excellent didactic resource to get the sixth-form pupils to perform body expression movements in an uninhibited way, also favoring group cohesion. In the initial observation, data were collected in a field diary concerning two variables. On the one hand, with regard to the inhibition present or not in corpo- ral expression activities carried out by the students in their practical music classes. On the other hand, it was also taken into account whether there were any difficul- ties when performing this type of task in a group. After this, they were analyzed and translated into a graph to be able to obser- ve the percentage of pupils with impedi- ments in carrying out these activities as a result of inhibition and/or lack of cohesion with the group. The graphs resulting from this initial analysis in each of the schools are shown below, showing how the per- centage of students who carry out these activities have inhibition problems. In this sense, a slightly higher percentage are the students in Malaga city. The image shows that the total number of students who act in a disinhibited manner is very low. Figure 1. Summary of results of participant observation in relation to inhibition Figure 1 shows a higher percentage of pupils with difficulties in group cohesi- on and in carrying out cooperative activi- ties. The Malaga city centre shows less im- balance compared to the one in Marbella. However, in both cases, it is a tangible ele- ment to be incorporated into the didactic Paloma Bravo-Fuentes, Shadow Theatre as a Performative Art for the Development of 259 proposal. Figure 2, refers to the feelings and impressions about working in a group; 77% of the total were generally comfor- table working with the others. Within this 77%, 42% did not agree with the group at the beginning and even created situations of discord, but finally managed to get the work done. On the other hand, 33% did not feel comfortable working in a group, with 12% of participants adding that they would have preferred not to have carried out the task or to have done it individually. Figure 2. Compendium of participant observa- tion results concerning cohesion/cooperation Once this initial situation has been analyzed and the didactic proposal has been developed and implemented, the te- achers are interviewed in depth. In order to clarify and group the contributions made by the sample of participants in the inter- view, they will be classified into the two topics mentioned in the previous lines. On the one hand, the initial theme is directly related to their sensations and perceptions of the class in terms of the le- vel of comfort and comfort that they con- sider that the students have been able to feel when carrying out the shadow theatre activity. In this aspect, it can be affirmed that 72% of the participants have offered, at a general level, a positive answer, iden- tifying the didactic proposal carried out as functional to achieve the objectives propo- sed in this educational context. “Shadow theatre had never been carried out in the last cycle of the Primary School and it is a success because they feel more protected as they do not show their faces and bodies directly and they participate and enjoy the activity” (Teacher 1). Students of this age tend to be shy when it comes to using their bodies as a means of expression and “the uninhibited attitude that I have been able to observe has left me speechless” (Teacher 3). Moreover, all the students participated, even those who usually find it more diffi- cult to do so (Teachers 4, 8, 9 and 10). The sample has identified the propo- sed activity as motivating and attractive for pupils (Teachers 2, 5 and 7) and “simp- le to carry out in terms of the few materi- als needed” (Teacher 6). Even so, “I don’t know if it can be easily extrapolated to any Primary School context because a space is needed to carry it out, and not all schools have one” (Teacher 10). Despite this, “I have never seen my students so motivated towards an activity in which the basis of everything is corporal expression” (Teach- er 6). Being able to move around the space, taking into account a musical selection, “is also a task that is very difficult in the sixth grade because they feel embarrassed very early on” (Teacher 1). In this sense, “I think that, in the Infant Stage, or even in the first levels of Primary, carrying out activities that involve free and uninhibited corporal expression is easier because they are not so concerned about what others will think” (Teacher 8) but, in this course, “using sha- dow theatre was something that had not occurred to me and I plan to incorporate it into my Music Education sessions” (Te- acher 4). In addition to these contributions, 28% of the total number of interviewees expressed mixed feelings about the didac- tic proposal carried out. On the one hand, they consider shadow theatre as “a resour- ce that undoubtedly attracts their attenti- on, because it is something different that is not usually done every day, far from it” (Teacher, 10); moreover, “it can be fun playing with the silhouettes” (Teacher 1) but, “I have not managed to see all the pu- pils comfortable at all times” (Teacher 5), moreover, “some of them have had a hard time getting them to participate in the acti- vity, they have done it, yes, but they would have preferred, without a doubt, not to do it” (Teacher 7). In this sense, some of the Harmonia: Journal of Arts Research and Education 23 (2) (2023): 254-263260 teachers interviewed said that what their students liked least was having to perform the final performance in front of an audi- ence, which made them feel embarrassed, regardless of how they felt while rehear- sing (Teachers 5 and 7). The second question asked refers to the teachers’ perceptions regarding group work. In this aspect, 82% of the participants give answers that identify the activity of shadow theatre as an interesting proposal for the creation of cooperative groups. “There are groups of students who had never worked together before and I have been pleasantly surprised by what I have seen in them, the way they have been able to get the work done” (Teacher 9). In this aspect, “I have created some groups that I know have difficulties in understanding each other, because I have known them for years and yes, at the beginning they had problems, but I think that, when they un- derstood that this was their group with no possibility of change, everything started to work” (Teacher 4). Moreover, “I have been surprised by the attitude of some students who I thought would have difficulties in cooperation and they have worked pheno- menally well” (Teacher 8). In this sense, some teachers say that they will incorpora- te this type of proposal at other educatio- nal levels to encourage student cooperati- ve work (Teachers 6 and 9). On the other hand, there are negati- ve contributions regarding the creation of cooperative work. In this sense, “I think it is very difficult to carry out a didactic pro- posal that is difficult for them in itself, as it is about corporal expression, in a collabo- rative way. From my point of view, I think that this makes the embarrassment they feel even worse” (Teacher, 2). A proposal that is added is “to carry out these activi- ties, but individually as an option so that those who do not want to work in a group can develop their uninhibited corporal ex- pression without the conditioning factors of not being comfortable in their team” (Teacher 3). Finally, each student is given a piece of paper on which he/she has to write a word that defines his/her perception, how he/she felt, or how much he/she liked or disliked doing this activity. With the com- pendium of responses, a word cloud is designed as a data analytical tool that of- fers visually weighted words according to their popularity, representing the most fre- quently used words in a larger size (Gómez García and Therón, 2014). In this way, the visual result shows the most repeated and, therefore, most significant concepts (Cano, 2020) so that no opinion in the sample is isolated (Gross, 2008). Figure 3. Word cloud after compendium of responses Figure 3 shows the word cloud cre- ated from the students’ responses. High- ly repeated words such as fun, amazing, awesome, I love it, and cool. The words nervous, fear and embarrassing are also incorporated, although to a lesser extent of repetition. In this aspect, it is interpreted that a percentage have not managed to overcome these feelings. To begin with, it is worth mentioning that the didactic proposal has exceeded the initial expectations with the sixth-grade students. The final performance carried out, and the compilations of answers gi- ven in the interview and the word cloud make the incorporation of shadow theatre a functional didactic resource to encoura- ge uninhibited corporal expression and group cohesion at this educational level. The results offered after analyzing and compiling the field diary notes of the participant observation of the researcher involved show that a high percentage of pupils in each of the selected schools have Paloma Bravo-Fuentes, Shadow Theatre as a Performative Art for the Development of 261 difficulties in using their own bodies as a means of expression and communication. At the same time, it can be clearly seen how they have difficulties when it comes to working as part of a team. In this sense, after reviewing the literature, we advocate the inclusion of shadow theatre as a perfor- mative art to try to change this educational reality through a process of collaborative research-action. The comparative analysis of the data collected in the participant observation with the responses of the interview and the word cloud allows us to conclude that the use of shadow theatre has been an ideal resource to promote disinhibition despite the percentage of students who have not achieved complete inhibition. In the inter- view responses, it is defined in this way, by eliminating the close-up visualization of the students and replacing it with the pro- jection of the silhouette, offering them an anonymous identity, giving rise to a me- ans of expression that allows them to make free movements without fear of being ridi- culed. Particularly at this age, the feeling of shame is very intense and the fear of ridicule is all too present. This is because the desire to be accepted by the rest of the group is a constant reality (Chimal, 2003). On the other hand, in direct reference to the promotion of teamwork and group cohesion, the results obtained are inter- esting, as they show, compared with the initial observation, that incorporating this didactic proposal improved group bon- ding. Even so, a small percentage prefer to work individually and do not appre- ciate this type of activity. The reason may be that they have not done them before or have only incorporated them a few times. Therefore, implementing them more regu- larly through different dynamics would offer full participation and enjoyment of the students. CONCLUSION Shadow theatre has proven to be a valuable teaching resource for promoting uninhibited body language and group co- hesion among sixth-grade students. The elimination of direct visualization provi- des students with an anonymous means of expression. 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