Todays presentation Creativity in addition to Education Dance Policy dance partners as long as creativity research response Potential DPC contribution
Burns, Bob, News Reporter has reference to this Academic Journal, PHwiki organized this Journal Choreographing research in the third space: exploring co-participative research into creativity in addition to partnership in dance education. CREATE seminar, University of Exeter 17th November 2008, 16.15-17.45 Kerry Chappell, Anna Craft, Linda Rolfe, University of Exeter Veronica Jobbins, Laban Todays presentation Rationale as long as this study Theoretical context – creativity + partnership Choreographing the methodology Summary Creativity stifled by increasing constraints from per as long as mativity Within dance education (Ackroyd, 2001; Chappell, 2007, 2008;Jobbins, 2006) Wider education (e.g. Craft & Jeffrey, 2008) OFSTED reports – creativity is assumed as a dance education product when this is not always the case (OFSTED, 2006).
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Creativity in addition to Education NACCCE, 1999 Creative Partnerships (2002) Roberts Review (2006) New Secondary Curriculum (2008) Cultural Entitlement new CCE (2008) Find Your Talent (2008) European Year of Creativity + Innovation (2009) Dance Policy Two major shaping factors Dance as art / creative in addition to expressive Dance as physical activity, part of PE Import of: Dance located within PE national curriculum Physical Activity Agenda Dance Review (2008) dance partners as long as creativity research response Co-participative study University-based researchers School-based partner researchers What kinds of creative partnerships are manifested between dance-artists in addition to teachers in co-developing the creativity of 11-14 year olds, in dance education, in addition to how do they develop
Potential DPC contribution Power of arts to change in addition to trans as long as m (e.g. Greene, 2003), mirrored in DPC. 2. Creative dance partnerships as embodied + humane; DPC seeks to re-enfranchise (Bresler, 2004; Bowman, 2004; Claxton, 1997; Chappell, 2006; Peters, 2004) Theoretical Framework Area 1: Creativity in Dance Education Smith-Autards Midway Model (2002) Creativity, imagination, individuality balanced with knowledge of dance theatre Balance between expression + as long as m Creating, per as long as ming, viewing – appreciating Creativity in dance education Chappell (2006, 2008)
Other approaches to creativity in dance education Cognitive approach (e.g. Brennan, 1989) Artistic process skills model (Hanstein, 1986, in Popat, 2002) Feminist + critical pedagogy approach (e.g. Stinson, 1994, Shapiro, 1998) Play emphasis (e.g. Lindqvist, 2001) Theoretical Framework, Area 2 Creative Partnership Apprenticeship learning Modelling approaches Authenticity of activity Locus of control Genuine risk taking Scaffolding Polarizing teachers in addition to artists Galton, 2008 Teacher Artist Authoritarian Egalitarian Didactic Dialogic Immediate Time to think cued elicitation Guided discovery Pupil views negative Pupil views positive
Alternative conceptualisations Co-participative partnerships (Jeffery, 2005) Enquiry-based partnership: role of mentor, emergent 3rd space (Chappell, Craft & Best, in review) Methodology Qualitative Epistemology acknowledging social construction of reality Broad critical theory frame Theory cannot be reduced to being perceived as the mistress of experience Its real value lies in its ability to establish possibilities as long as reflexive thought in addition to practice on the part of those who use it .The crucial element in both its production in addition to use is the human agents who use it to give meaning to their lives. (Giroux, 2003) Trans as long as mation as long as university-based + partner researchers Freires (1983): praxis is not blind action it is action in addition to reflection. Men in addition to women are human beings because they are historically constituted as beings of praxis in addition to in the process they have become capable of trans as long as ming the world of giving it meaning.
Research roles & relationships Critical theory researchers as reflexive too Partner researchers must not be expected to be superhuman Power not given + taken away by core team Empowerment through practice/action (Gore, 2003) Research roles & relationships Surfacing tensions re power + language What can we do as long as you – in both directions Relates to empowerment + trans as long as mation Our previous experience (Chappell & Goldsmith et al, 2008; Craft, Burnard, Grainger & Chappell, 2006 Chappell, in press) Experience of SUPER team at University of Cambridge (McLaughlin + Black-Hawkin, (2007); McLaughlin, 2004) Concept of third space Border crossings generate a third space between first + second place perspective (Zeichner, 2008)
Choreographing in the third space Border crossings generate a third space between first + second place perspective (Zeichner, 2008) Third space is a creative recombination in addition to extension, one that builds on a first place perspective that is focused on the real material world– in addition to a second place perspective that interprets this reality through imagined representations of spatiality (hybridity theory, Soja, 1996) Community of practice Wengers work on communities of practice (1998) Primary focus is on learning as social participation Mutual engagement, in a joint enterprise in addition to a shared repertoire of practises Interplay between the participants in addition to the things they create are central to how we view in addition to choreograph our methodology Requires us to develop a vocabulary to talk about the experiences we have in the research that shape our learning Research design
Research Design PARTNER RESEARCHER HANDBOOK 2008-2010 Ethical procedures Ethical relationships between the core research team in addition to partner researchers are being carefully negotiated within the guidelines of the University of Exeter Ethics committee Ethical procedures will also be established as long as all other participants
Data Collection methods These will include participatory in addition to reflective methods , as well as ethnographic methods including:- Reflective semi-structured interviews; reflective journals; participant observation; conceptual drawing; photographic/video evidence The team will also need to be responsive to on-site activities, applying cycles of data collection in addition to analysis accordingly Research outcomes Intention to disseminate using multiple modes (e.g. visual, written, embodied) within dance in addition to wider education These include: seminars, a book, articles, national + international conference presentations, dance teachers publications Trustworthiness Fit between epistemology / ontology + methods Seeking credibility, transferability + confirmability (Lincoln & Guba, 1985) Challenges: Co-participative meaning-making in context of critical theory (motivation toward change)
Does the Third Space seem a convincing concept as long as this enquiry-based partnership What aspects of trustworthiness seem most relevant (or problematic) within this research What experiences do others have How can we try to ensure that through joint learning a genuine community of practice emerges Provocations to discussion Acknowledgements Our funders: AHRC Also, as long as images: CapeUK, Creative Partnerships Norfolk University of Exeter PGCE course, Laban The Open University Our emergent partners
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