The purpose of this article is first to highlight two key terms calling creative dance a subject tradition, and then to investigate what is needed to call something a research field and how creative dance as a field is delimited and established. The empirical material consists of 87 peer-reviewed articles and six doctoral studies, and the article seeks to discuss the following research question: Does creative dance in a school context constitute a research field, and if so, what significance does this research field have in a school context today? Through a content analysis of the selected articles and doctoral studies, common features of the studies are presented, and the question of whether these common features can qualify as constituting a research field is further elaborated. The results show that creative dance in a school context can be understood and delimited as a research field. Based on that, the authors argue that the teaching of creative dance should be researchbased. Creative dance in a school context is a field of research that has the potential to have significance on a societal level because it can contribute with knowledge about the significance of the body, movement and creative processes in dance in people's learning and meaning-making processes.
Educational research in higher education needs a methodology for how to think and act in relation to how pedagogical interactions support learning. A methodology that can identify how pedagogical rhetorical qualities, such as confidence and a desire to learn, are embedded in a pedagogical interaction. This article presents an outline of a pedagogical rhetorical interactional methodology that enables us to elucidate the responsibility teachers in higher education have for supporting their students' desire to learn as well as for their actual learning. To illustrate how we can apply this methodological approach to empirical data, we present two examples I. A supportive learning context, and II. A non-supportive learning context. These examples illustrate that this methodological approach will contribute to a deeper understanding of what matters when teachers' expressions establish a pedagogical interaction.
In this qualitative case study, the authors examine teacher students' experiences from teaching creative dance in their practicum in physical education (PE) in Norwegian schools. From a phenomenological perspective, and taking concepts such as participatory sense-making, embodied affectivity and embodied interaffectivity as a point of departure, the authors ask: How do the students experience their interaction with their pupils? How do the students' interact with their pupils in their creative dance teaching? How can these experiences contribute to-and illuminate-teaching creative dance in PE more general? The data material consists of interviews and reflection notes, carried out and written between August 2011 and December 2012. The results show how students starting from instructing set movements and facilitating expressive exploration, evolved toward a teaching practice that encompassed the connections between movements, emotions and language for teaching and learning. The authors conclude that there is a need for further research both on what creative dance as a subject in a school context can become, and on how teaching creative dance can be practiced. The authors suggest further research is needed on how awareness of intercorporeal and interaffective experiences can be relevant concepts for understanding teaching and learning creative dance.
I denne artikkelen stilles spørsmål om erfaringer av sårbarhet kan gis relevans i relasjon til profesjonsetisk kompetanse i lærerutdanning: Kan vi få fram troverdig kunnskap om betydningen av lærerutdannerens opplevde sårbarhet i undervisningssituasjonen? Hvilken betydning kan opplevd sårbarhet ha for lærerutdannerens profesjonsetiske kompetanse? Kan sårbarhet bli en kvalitet ved undervisning i lærerutdanning? I så fall hva er betingelsen for det? Undervisning om skapende dans i kroppsøvingslærerutdanning brukes som case, der en lærerutdanners metarefleksjon over egen undervisning brukes som materiale. Metarefleksjonene analyseres videre gjennom etiske og fenomenologiske begreper, som mellomkroppslig samspill og kroppslig resonans. Analysen får fram at det å tenke om sårbarhet som profesjonsetisk kompetanse kan være verdt å diskutere; herunder om sårbarhet og bearbeidelsen av dette kan være en ressurs for å skape gode relasjoner til studentene, inngå som en beredskap for å møte etiske valgsituasjoner, bidra til å handle moralsk i undervisingsøyeblikket, samt være en kilde til empati. Konklusjoner fra analysene er at det å vedkjenne seg og å bearbeide sårbarhet bør kunne gjøres relevant som bidrag inn i lærerutdannerens profesjonsetiske kompetanse og bli en kvalitet ved undervisning i lærerutdanning.
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