 Do we as teachers ever consider the impact of who has the power in our classrooms and what influence this has on deep learning? Sometimes a shift in the role of the teacher can promote a deeper engagement with content, such as redefining the teacher's role from the director to one that aids students to be leaders in their own learning. A facilitator of learning guides and assists students to make meaning through an emphasis on the social processes of exploration and dialogue. Working from a learned-centred platform can change the dynamics of the traditional classroom and redefine the roles students and teachers play in the classroom. Over the last 30 years, process drama, also known as educational drama, has gained popularity as an experiential approach in which all the participants, including the facilitator, engage in the co-construction of new knowledge. Process drama encourages the negotiation and renegotiation of meaning through experience and reflection. The focus of the learning is the process, and as such there is no external audience for which the drama is prepared. Process drama is an educational tool, unlike a skit, scripted drama or acting out a story. A process drama is initiated by a stimulus or pretext which ignites learners' imaginations and suggests multiple possibilities and directions. A pretext may be a book, poem, newspaper article, song, video clip, or perhaps only a small section from these options. It sparks students' imagination and opens avenues for exploring a topic. This journey often starts with a simple, I wonder, central to the drama is a problem to be solved or a challenge to be undertaken. And what is most exciting about this way of co-learning is that the end is not predetermined. A tolerance for ambiguity is certainly needed here. The learning unfolds within the process and is dependent on the participant's personalities and group dynamics, and thus no two versions are the same. The teacher is involved in the learning from inside the process drama and is an active participant alongside the students. Knowledge is not given to the students but co-created through making connections between prior knowledge and experiences and new knowledge and unfamiliar situations. Many different drama techniques are commonly implemented. One such technique is teacher enrol, where the teacher takes on a role they devise and actively engages in improvisation with student co-participants. Through process drama, teachers can facilitate engagement with any area of the curriculum or an age-appropriate social issue that concerns the class. Projects to guide dramas have been produced by experts such as Professor Julie Dunn from Griffith University and Professor John O'Toole from the University of Melbourne here in Australia. Julie and John's publication, Pretending to Learn, includes frameworks for connecting with the Australian curriculum. For example, through engaging with pretexts such as Jackie French's novel Tom Appleby Convict Boy, students can then take on the role of convicts to learn about the voyage of the first fleet from England to Australia in the late 18th century as part of their history curriculum. The students wonder, what must it have been like to be a child aboard the first fleet? Instead of reaching for their textbooks, the students take on role and engage in scenes which depict the voyage. In this way, the learning comes alive for students and is etched in their memories. Through active engagement, students are collectively motivated to work with and embody new knowledge.