Background: Most of the current work in physical education champions a culture of 'offbeat' educational practices over more traditional and accepted methods. However, in this paper we claim that in order for a student to gain a quality physical education, practices and methods used for novices need to be closely linked to those used by high performing athletes. Purpose: Our study, which draws on scientific research in didactics, will study high performance situations in rhythmic gymnastics as a possible 'model' for physical education in schools. The study uses 'undeveloped' students so that conclusions can be drawn by analysing both the application of the 'traditional rules' of rhythmic gymnastics to their work as well as the students' own 'concrete experience'. Method: From the detailed analysis of these two contrasting training methods in France and in Bulgaria, we will describe the type of knowledge gained by the trainer and gymnast; looking at their execution of a series of pivots on the same foot, performed within an individual exercise with handling of apparatus, with reference to the strict rules of the sport. In order to do this, we have compiled a dossier of the different interactions of the trainer/gymnast pair in both situations. Conclusions:The results show that, in each situation, the trainer interacts with the gymnast by emphasising both the technical aspect of their work, as well as encouraging the gymnast to take responsibility for her work. Both aspects serve to make up a 'milieu' (medius) between gymnast and trainer. The milieu is 'didactic' in the sense that the gymnast is compelled to act instinctively when faced with a 'physical' obstacle. In this case, creating a particular rule within a sport is akin to creating a sense of autonomy: in other words, the gymnast incorporates the particular rule rather than consciously following it. This paper demonstrates, for all situations and levels of ability, that a collective genesis of knowledge can be gained through changes to behaviour, rather than simply accumulating factual knowledge.
(1): 145-58 • 145 Promoting artistic quality in rhythmic gymnastics at school IntroductionPromoting artistic quality in rhythmic gymnastics: a didactic analysis from high performance to school practice CDD. 20.ed. 796 In France, the curricula for physical education (PE) place gymnastic activities in a set of competences named "Achieving a corporal performance for artistic and acrobatic aims", alongside dance and circus arts 1-2 . What place does Artistic a occupy in gymnastic activities? RG indeed has some artistic features, however we question their place in gymnastics activity. Is an aesthetic gesture su cient to be considered as part of an artistic activity? AbstractIn France, the curricula for physical education (PE) place gymnastic activities in a set of competences named "Achieving a corporal performance for artistic and acrobatic aims", alongside dance and circus arts. What place does Artistic occupy in gymnastic activities? Is an aesthetic gesture suffi cient to be considered as part of an artistic activity? Defi ning the term «Artistic» is diffi cult in the fi eld of sports, as descriptions usually come from the technique/Artistic dichotomy. Our analysis focuses on rhythmic gymnastics (RG), which is precisely seen as emblematic of this technique/Artistic division: on the one hand, technical rigor, prescriptions and rules; on the other hand, grace, creation and self-expression. We believe such compartmentalized categories are too schematic to defi ne gymnasts' and students' activities, so we will examine their articulation points. We fi rst present an overview of RG as a school practice in ordinary forms of teaching, then an historical analysis of RG as a sports practice, to highlight the unbridgeable gap between both school and sports practices, regarding technique/Artistic connections. We then propose three signifi cant points of articulation (called games) closely combining technical requirements and artistic commitment. We consider that the variation of the three games played in GR (creating, making beautiful, representing) is the product of historical dynamics of this sport we call artistic. Finally, on this basis, we propose a learning game for novice students promoting the artistic quality of RG practice.
IntroductionT his article approaches the idea of interdisciplinarity as an aspect of the globalization of pedagogical practices through the teaching of kathak dance in France. Our study positions itself in a didactic research program that tackles the question of interdisciplinarity under the theoretical angle of joint action between teacher and students (Ranganathan 2004;Ranganathan and Petrefalvi 2007;Sensevy and Mercier 2007;Loquet, Roncin, and Roessle 2007;Loquet 2007). In this program, "didactics" is defined as the science whose object of study covers educational, teaching, and training practices. Our contribution to this program concerns the field of knowledge related to the body, in particular in sports and artistic activities (Loquet 2006).The ambition of research in didactics currently taking place in France is to show that the teacher's action cannot be treated in a unilateral way, independent of the student's action, just as the interactions between teacher and student cannot be set apart from the objects of knowledge that unite them. In this model, we grant a central place to the concept of "milieu," seen in a general way as the space where the teacher and the students interact.The Indian teacher and the French students operate in what we shall call a "milieu," defined as an interdisciplinary space where two disciplinary regimes collide and interact. The kathak teacher incarnates one discipline composed of academic codes from the Indian Malini Ranganathan holds a PhD in sciences and technology of physical and sport activities from the Universite de Rennes, France. Her 2004 dissertation focused on the didactic transposition of Indian dance in France. She has presented papers at several conferences on cross-cultural pedagogy. She teaches M.A. students at Nantes University and pursues her research work at the Research Center on Education, CREN. Malini is also an accomplished kathak dancer, with an academic qualification in this discipline and traditional training under well-known kathak dance gurus G. Damayanthi Joshi and G. Roshan Kumari.Monique Loquet is a member of the Research Center on Education, Teaching and Didactics (CREAD) and a professor of sciences and techniques of sports and physical activities at the European University of Brittany-Universite de Rennes, France. Her research deals with interactions between teachers, students, and knowledge acquisition, particular in dance and artistic activities.
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