Creative and Embodied Methods to Teach Reflections and Support Students’ Learning

Petsilas, Phaedra; Leigh, Jennifer; Brown, Nicole; Blackburn, Catriona

doi:10.4324/9780367822071-4

Cited by 3 publications

(7 citation statements)

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“…Regarding this teaching approach, Sims and Erwin (2012) questioned whether dance teaching that is focused on purely learning to mirror the teacher rather than understanding and interpreting the theme is quality dance education. Petsilas, Leigh, Brown, and Blackburn (2019) also indicated that the key points of dance higher education in the 21st century mean that it should be transformed into student‐centered education. Teachers are responsible for shifting from passive imitation and repetition in dance teaching to more active and positive engagement.…”

Section: Background and Motivationmentioning

confidence: 99%

“…Students have obtained excellent learning achievement when this approach has been applied in mathematics, academic English and nursing education (Heo & Chun, 2016; Lin, Hwang, & Hsu, 2019; Soliman, 2016). However, in the WQS‐based flipped learning mode, students mainly focus on comprehending the teaching content, while lacking the practical experience of dance skills in the pre‐class stage (Petsilas et al , 2019). This implies that they do not have opportunities to make reflections in this stage.…”

Section: Background and Motivationmentioning

confidence: 99%

“…Nevertheless, these guiding strategies were all in the form of text (Heo & Chun, 2016; Hsia et al , 2019; Lin et al , 2019). In terms of dance skills, if they lack practice, students may not be able to reflect on their experiences (Petsilas et al , 2019). In addition, some studies have also pointed out that reflection can guide participants to observe and evaluate themselves, which is an important point to enhance their performance (Leijen & Sööt, 2016; Potdevin et al , 2018; Sööt & Anttila, 2018).…”

Section: Conclusion and Suggestionsmentioning

confidence: 99%

“…It was obvious that the ARQI‐based flipped learning approach could exactly facilitate students’ reflection during the learning process. Students could, therefore, benefit from the reflection, and then improve their skills (Leijen et al , 2009; Petsilas et al , 2019; Potdevin et al , 2018).…”

Section: Conclusion and Suggestionsmentioning

confidence: 99%

“…quality dance education. Petsilas, Leigh, Brown, and Blackburn (2019) also indicated that the key points of dance higher education in the 21st century mean that it should be transformed into student-centered education. Teachers are responsible for shifting from passive imitation and repetition in dance teaching to more active and positive engagement.…”

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confidence: 99%

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From reflective thinking to learning engagement awareness: A reflective thinking promoting approach to improve students’ dance performance, self‐efficacy and task load in flipped learning

Hsia¹,

Hwang²

2020

Brit J Educational Tech

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Section: Background and Motivationmentioning

confidence: 99%

Section: Background and Motivationmentioning

confidence: 99%

Section: Conclusion and Suggestionsmentioning

confidence: 99%

Section: Conclusion and Suggestionsmentioning

confidence: 99%

mentioning

confidence: 99%

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From reflective thinking to learning engagement awareness: A reflective thinking promoting approach to improve students’ dance performance, self‐efficacy and task load in flipped learning

Hsia¹,

Hwang²

2020

Brit J Educational Tech

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A creative problem solving‐based flipped learning strategy for promoting students’ performing creativity, skills and tendencies of creative thinking and collaboration

Hsia

Lin

Hwang

2021

Brit J Educational Tech

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In most performing classes, such as dance or performing arts, students passively follow the scripts or demonstration provided by the teacher, and focus on imitating the acts and practicing repeatedly. Although researchers have begun trying out flipped learning to provide students with opportunities for self‐learning and to increase the time for in‐class collaborative learning and interactions, students’ performing creativity is generally ignored. As a result, the present study proposes a creative problem solving‐based flipped learning (CPS‐based flipped learning) approach to guide students to comprehend the pre‐class materials and to develop their creativity through creative thinking. Moreover an experiment was conducted in a choreography activity of a dance course. A total of 125 university students were recruited and divided into the CPS‐based flipped learning (CPS‐FL) group, the conventional flipped learning (FL) group, and the conventional technology‐based learning (TBL) group for an 18‐week teaching experiment. The results showed that the CPS‐based flipped learning approach could significantly increase students' choreography creativity, dance skills and creative thinking tendency. In addition, the FL group also outperformed the TBL group on choreography creativity and dance skills. No significant differences between the three groups’ collaboration tendency could be found. Lastly, from the students' feedback, it was learned that the CPS‐based flipped learning approach was conducive to stimulating students' inspiration for creation, enhancing their ability to appreciate dance programs and improving their implementation and practice abilities. What is already known about this topic In traditional performing classes, students generally passively follow the examples of demonstration provided by the teacher and focus on repetitive practice. Flipped learning enables students to have more opportunities to practice and interact with peers and the teacher in the class. In flipped learning, proper learning design could be beneficial to increasing students' creativity. What this paper adds A creative problem solving‐based flipped learning approach is proposed. An experiment was conducted in a university dance course to evaluate the impacts of the proposed approach. In addition to performing skills, the proposed approach enhanced the students' creativity performances and learning perceptions. Implications for practice and/or policy Creative problem solving‐based flipped learning has great potential in promoting students’ Creative thinking. Such a learning approach could bring novel ideas into the fields related to creative thinking in addition to arts or performing art courses.

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Widening the Screen: Embodied Cognition and Audiovisual Online Social Interaction in the Digital Age

Torbjørnsen¹,

Hipólito²

2023

Preprint

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In the current digital era, Audiovisual online social interaction (AVOI) has become a pervasive form of human interaction. However, it fails to capture the complexity and depth of in-person social interactions. To address this limitation, this essay puts forward a conceptual framework for comprehending and enriching empathy in the virtual realm. Empathy is fundamentally tied to our physical and sensory experiences, and therefore, the paper critically examines and dismisses the Theory of Mind (ToM) model, which reduces empathy to mere mental constructs with inherent limitations. Drawing upon Embodied Cognitive Science (ECS), this paper offers a more comprehensive and realistic understanding of empathy. Furthermore, it demonstrates how ECS provides insights for creating welcoming and inclusive online spaces that foster empathy and understanding.

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Creative and Embodied Methods to Teach Reflections and Support Students’ Learning

Abstract: The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record.

Cited by 3 publications

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From reflective thinking to learning engagement awareness: A reflective thinking promoting approach to improve students’ dance performance, self‐efficacy and task load in flipped learning

From reflective thinking to learning engagement awareness: A reflective thinking promoting approach to improve students’ dance performance, self‐efficacy and task load in flipped learning

A creative problem solving‐based flipped learning strategy for promoting students’ performing creativity, skills and tendencies of creative thinking and collaboration

Widening the Screen: Embodied Cognition and Audiovisual Online Social Interaction in the Digital Age

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