I am one of those students and the above quote is from an obituary of Barbara McIntyre. When I returned to Pittsburgh in 1962 and became a theatre major at the University of Pittsburgh following two years at Juilliard, one of the courses I took was Dr. McIntyre’s class on Creative Dramatics. It was for both education and theatre students and gave us a good grounding in how to teach creative dramatics to children. When I completed my undergraduate work and we stayed in Pittsburgh another year so my husband Murray could finish his Ph.D., I became Barbara’s teaching assistant as I worked towards a master’s degree in theatre.
Barbara had a wonderful way of encouraging creative potential in young children as well as in those who studied with her at the undergraduate or graduate level. While I was her teaching assistant she encouraged me to integrate creative movement into creative dramatic classes and suggested writing an article for teachers about how to use movement in creative dramatics. It was an excellent assignment and experience for me as I researched and thought about movement and how best to express it for teachers. It gave me a fundamental understanding that served me well for the next thirty years. It did result in a publication, and the next year when we had moved to Madison, Wisconsin and I began graduate work for a Ph.D. in theatre, the University did not require me to finish my master’s since my work had been published. I was allowed instead to enter the doctorate program directly. I also became a teaching assistant in the theatre department, but those experiences will be for a later blog.
Barbara was born in Moose Jaw, Saskatchewan, Canada in 1916 and according to an interview by Ruth Beall Heinig, Ph.D., a former student, she wasn’t much of a student growing up. She began to find her talents in theatre and voice especially when she went to Normal School which she attended after high school and where she was in a teacher training program. Upon graduating from the program she taught in a small rural school near Moose Jaw. That teaching experience with 11 students ranging in grades 1 to 9 instilled in her a love for children and teaching. In fact, her obituary (June 2005) mentions that “Barbara fell in love with children and with teaching did everything in her power to bring learning alive in her classroom. Early on Barbara incorporated drama into her classes and learned how powerful a force it could be in children’s learning.” (https://www.legacy.com/ca/obituaries/timescolonist/name/barbara-mcintyre-obituary?n=barbara-mcintyre&pid=14252934)
In researching for this blog there was much I learned about Barbara’s life, including her earning her M.A. at the University of Minnesota in 1950 and then moving to Pittsburgh a few years later, first with a shared job between the University of Pittsburgh and the Children’s Theatre of Pittsburgh. The Arizona State University Library, Child Drama Collection, where Barbara’s papers from 1948-1991 are housed, provided an excellent write up of her time at Pitt.
As a Professor at the University of Pittsburgh, Barbara shared a job with the Children’s Theater of Pittsburgh and the Pitt Speech Department. This enabled her to develop a teacher education program where the college students could be involved with children from the first week of classes. When the Speech Department started sending children with hearing and speech problems to her classes, she realized the therapeutic value of creative drama. Her chairman encouraged her to go back to school and get a doctorate degree in speech and hearing. She studied with Eleanor Irwin, Clinical Professor of Psychiatry in the School of Medicine, who promoted the use of creative drama in drama therapy. McIntyre received her PhD from the University of Pittsburgh in 1957. The title of her dissertation was, The Effect of a Program of Creative Activities Upon the Consonant Articulation Skills of Adolescent and Pre-Adolescent Children with Speech Disorders. (http://azarchivesonline.org/xtf/view?docId=ead/asu/mcintyre.xml;query=;brand=default)
Besides the excellent experience of learning how to analyze and incorporate movement into creative dramatics, there were some other very important things I learned from Barbara. First of all, she introduced me to literature on children’s theatre and creative dramatics and particularly Winifred Ward’s Stories to Dramatize. I am not sure if Caps for Sale was a part of this collection but this became one of my favorite stories that I used often in creative movement classes. It is about a peddler who falls asleep under a tree and monkeys come down from the tree and steal all of his hats from his bag. When he wakes up and sees what has happened he finds a clever way of tricking the monkeys to get his caps back. Under Barbara’s guidance I learned how to use these stories to captivate a group of children and to engage them so that they could act or dance the stories. And I learned how to ask questions following their acting/dancing so that the group could both see what worked and what might be improved upon in a positive and healthy way.
One of my responsibilities as Barbara’s teaching assistant was to observe (via a one-way mirror) children with speech and hearing problems working in creative dramatics, and to take notes about the sessions. Both my observations with Barbara and my mother’s work with the visually handicapped encouraged me to see and sometimes work with children or adults with disabilities.
I am also very grateful for the seeds that were planted in working with Barbara of how dance and theatre can reinforce academics — and not just with young children. Two of the projects of Avodah (the dance company I founded and directed), made good use of this. “Let My People Go” received a number of grants that enabled us to go into the New York area public schools and present concerts and workshops with students which reinforced curriculum related to American history, slavery in the United States and figures like Harriet Tubman. We also developed programs around the Holocaust and again received grants to bring them to students.
And of course, the roots of how I incorporated dance midrash into the Jewish educational classroom, especially for children, goes back to this time. As I reflect back on the different role models and mentors I had it is like looking at a good recipe with lots of different ingredients. I feel so grateful that I had the opportunity to study and work with Barbara McIntyre.
I especially want to thank Dr. Eleanor Irwin and Dr. Ruth Heinig for their help in “remembering Barbara.” Both of them stayed very close to Barbara after she left Pittsburgh.
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