This article contributes to the knowledge about artist-teacher collaboration by focusing on aesthetic processes in a partnership between pedagogues and artists in two Danish kindergartens over a period of 18 months. The research is within the framework of action research and links to the development project, European Children of Culture, which involved several European/Baltic/Nordic countries in 2015-2017. The article rests on empirical material (interviews, photos, video recordings and field notes from actions and reflections) and investigates how the involved adults understand, facilitate and frame aesthetic processes and how this leads the researcher to expand perspectives on aesthetics in early childhood services. The aim of the article is to rethink aesthetic processes – to explore the many layers of aesthetics, not to reduce them. Hence, aesthetic processes in kindergartens become profound aesthetic-sensitive experiences involving hands-on processes with intensified meaning, subtle meetings and intermediate worlds, and ultimately termed “beauty bubbles”.
The increase in internationalization of education has set off a proliferation of educational models. Study abroad has emerged as one of the educational approaches through which universities can support students to internationalize their experiences, hone their skills and knowledge bases, sharpen professional proficiencies, and broaden their cultural perspectives. What meanings do foreign students who participate in study abroad programs in African dances in local African communities construct? This article engages the theory of experiential learning and concept of Orientalism to provide a critical examination of the meanings that the students from the U.S who took part in dance education study abroad to Uganda constructed from participation in neo-traditional dance activities. A hermeneutic phenomenological research paradigm was applied to collect data from six students from the U.S who took part in the Dance Education study abroad program to Uganda. The findings reveal how the study abroad programs enabled the students to negotiate, question, and conceptualize the idea of “study abroad to Uganda” as a “place” of nativism, exoticism, identity variances, and cultural differences. Critical analyses are made on how the students’ agency in neo-traditional activities cultivated embodied connections to the “other,” allowed for exploration of communalized pedagogies, facilitated holistic learning of dance through music and storytelling, and fostered immersion into “local” artistic and educational realities through collaborative and interactive lesson-planning and co-teaching. Issues of how study abroad in dance can aggravate cultural appropriation are also examined. This article offers insights into the intricate trajectories that students take to construct complex meanings through embodied and reflective participation in dance activities in local African communities, which can be beneficial to dance educators, cross-cultural and intercultural learners, and individuals who run cultural exchange programs.
The aim of this article is to explore how the multiple perspectives offered by an artographer’s lens contribute to three literacy events generated by writing play activities for children three to five years old. These events are part of a more comprehensive study of emergent literacy in writing play workshops, focusing on writing in different displays and with different writing tools. The artographer in the comprehensive study is Solveig Åsgard Bendiksen, also the first author in this article. The two other co-authors contribute with artographic methodology and with concepts from agential realism in the analysis of three literacy events. The intra-actions between the artographer, the children, the affects, the affordance of rich materials, and the context as performative agents in diffractive reading produced a number of findings concerning emergent writing literacy, especially concerning emergent cultural literacy.
This ethnodrama uses verbatim transcriptions of classroom stories shared by a first-year teacher in the Chicago Public Schools to help audience members ask better questions about teaching and the systems that shape teachers’ labor. The production uses a small number of theatrical conventions to create an aesthetic experience built from moments of connection and moments of detachment and analysis. The script is structured as a polysemy: The teacher’s words contribute to the ethnography of urban schools in the U. S. and speak to the spiritual heart of teaching. The show is designed to be staged by anyone, anywhere, to create rich dialogue about life in schools. The script is published in full, along with a short introduction.
Recent developments in the sociology of education highlight the importance of the school as a site for the transformation of students’ everyday knowledge into a more ordered and systemised form that provides the means for the development of creative conceptual higher order thinking. However, in recent times there has been a shift towards a dedifferentiation between knowledge and experience in education as well as a shift in the conceptualisation of the role of the teacher from expert pedagogue to facilitator.. In this paper we report on the work of one of the authors whose approach to music teaching in the primary school may be seen to exemplify Vygotsky’s ideas about the purpose of education and the role of the teacher. In the former, the purpose of education is to provide the context for the exposure to a form of mediated learning. In the later, the teacher takes on the expert role of mediator in assisting students in making developmental connections between spontaneous concepts and scientific concepts. Interestingly while achieving this within a literacy context, Round (the teacher in this study) also found students’ musical knowledge was developed and enhanced.
How do we develop understanding of our teacher identities and what can aesthetic modes offer to assist reflection and learning about shifting images of identity? These questions provoked our auto-ethnographic project. As two experienced early childhood teachers, we found ourselves transitioning into new professional terrain as teacher-researcher and teacher-director. This progression represented a significant shift in how we conceptualised, enacted, and located our respective identities. Using a new aesthetic framework, we explored what was known about our professional lives at key moments of “self and the other in practice” (Pinnegar & Hamilton, 2009, p. 12). We discovered that our histories matter, place matters, as do relationships made within these social spaces. This work opens opportunity for collaborative dialogue and critical reflection on self-as-teacher. Situating self-understandings within social systems of learning recognises forces influencing identity development (Hickey & Austin, 2007) and expands pedagogical frameworks for navigating sociopolitical complexities of educational realities.
The problem of attrition among early-career teachers has generated a substantial body of research. However, less research has been devoted to later-career teachers who survive and thrive. This article explores the career experiences of four later-career performing arts teachers who remain keen and committed to teaching. Informed by seminal studies by Huberman (1989, 1993) and Day and Gu (2007, 2009) into teacher career trajectories, and using a phenomenological ‘lens’ of portraiture methodology, members of the research team undertook a series of in-depth interviews to gain insight into how these teachers maintain their positivity and commitment to teaching. Four key themes emerged: the fundamental influence of social networks, the ability to recognise and embrace one’s strengths, the importance of being adaptable in maintaining relevance and social responsibility, and understanding the difference one makes to the lives of students. Findings highlight the key mechanisms by which these later-career teachers rationalise and maintain their enthusiasm. Given they are not fixed, articulating these mechanisms as attributes to be encouraged, practiced, nurtured, and developed among all teachers may be the overall key finding of this study.
In this paper, I share an analysis process that emerged from and evolved during my efforts to study children’s musical learning from videorecordings of choral rehearsals. Because written transcription would not adequately represent nonverbal data within social interactions, I developed a technique that (a) enabled me to disseminate understandings from these data and (b) simultaneously served as a multi-layered method of analysis. I describe this analysis technique here in hopes that other researchers may find it useful as well, particularly as they seek to story experiences of children as research participants.
Book Reviewed: Boyce-Tillman, J. (2016). Experiencing music—Restoring the spiritual: Music as well-being. Bern, Switzerland: Peter Lang. Experiencing music – restoring the spiritual: Music as well-being, addresses the area of spirituality and music education. The book is organized in 10 chapters, framed by a prelude and a postlude, with two interludes in-between. Topics include the development of religionless spirituality; phenomenography of musical experiences; the environment; music and expression; values in musicking; extra-personal dimensions; musical liminality as a space for peace and justice making; and the ecclesiology of music. The disciplines of musicology, ethnomusicology, music education, performance studies, music theory, and music therapy are used to convey their inherent and integral connections towards the understanding of music and well-being.
Book Reviewed: Christophersen, C. & Kenny, A. (Eds.).(2018). Musician-Teacher Collaborations: Altering the Chord. New York: Routledge. ISBN: 9781138631601. 257 pages. This international volume, judiciously edited by Catharina Christophersen and Ailbhe Kenny, examines the conditions and dynamics of collaborations between musicians and teachers in various educational settings. The topic is timely and relevant, given the expanding range of musical cultures available to students worldwide and the pressure on many schools to deliver high quality music education with decreasing resources. The book provides both theoretical frameworks and empirical perspectives on musician-teacher collaboration, addressing key issues and challenges head-on but also illuminating the potential for new pathways and deep professional learning within such initiatives. 27 authors from 11 countries have contributed research, experience and analysis, offering a rich and generous overview that will be helpful and inspiring for practitioners and researchers alike.