This document summarizes a research project investigating creative partnerships between dance artists and teachers. The project uses critical pedagogical and socio-constructivist approaches, with data collected through ethnographic, participatory and reflective methods. Researchers aim to understand how creative partnerships can nurture student creativity in dance education in secondary schools in England. The project involves university researchers collaborating with teachers and artists as co-researchers at four school sites.
This document discusses a cultural policy program in Brazil called Living Culture that aims to promote youth participation in cultural activities. It examines how involvement in Culture Points, community cultural spaces supported by the program, contributes to youth cultural development and formation of citizenship. The program strives to strengthen democratic aspects of the relationship between the state and society and foster cultural creation among diverse groups. The research analyzed in the document found that participation in cultural actions through Culture Points helped youth express their identities, build social networks, and engage in political participation through artistic and cultural expression.
Framing Rights - Building Democracy by Simone Hagensen 2014Simone Hagensen
This document provides an abstract and introduction for a master's thesis that examines Bunge la Mwananchi (BLM), a Nairobi-based group that practices public deliberation and political mobilization. The thesis uses BLM as a case study to understand its approach as a praxis of conscientization, or developing critical awareness through reflection and action, and as a strategy for social transformation. It draws on theories of participatory democracy, strategies for radical change, and critical pedagogy. The research aims to explore BLM's political project and approach from the perspective of activists seeking to build a more radical and relevant form of democracy in Kenya driven by and for ordinary citizens.
This document proposes expanding a pilot study on the role of music in constructing identity among students at North-West University's Potchefstroom campus. The study aims to compare how music helps shape identity for students living in campus hostels, private housing, and town residences. It also seeks to examine how changing student demographics at the university may impact musical identity formation. The proposal notes that while campus hostels are seen as central to campus culture, most students actually live off-campus. A variety of musical groups and events on campus involve diverse students in identity expression. The expanded study aims to provide a more nuanced understanding of identity as dynamic and strategic rather than fixed, among the university's changing student population.
This document summarizes a presentation given by Dr. Barbara McNeil at the Saskatchewan Library Association Conference on the role of public and school libraries in supporting marginalized adolescent youth. The presentation discusses how literacy is key to participation in democratic processes and outlines a research project that used literature circles to promote literacy growth in struggling adolescent boys. The goals of the research were to engage school leadership and librarians to collaboratively support literacy development and examine how critical reading practices can influence literacy skills and understanding of social issues.
The document discusses the role of culture and its influence on organizations. It defines culture as the shared values, understandings, assumptions, and goals learned from previous generations and passed down over time. Culture is influenced by factors like kinship, education, economy, politics, religion, health, and recreation. It also discusses key cultural value dimensions, differences in cultural perspectives, and the importance of cultural awareness, sensitivity, and avoiding ethnocentrism in organizations.
The document summarizes a capacity building fellowship program hosted by the South Asian Network to Address Masculinities (SANAM) in Nepal from February 1-18, 2011. It discusses the 33 fellows from 7 South Asian countries who participated in sessions on topics related to masculinity, gender, development, media and institutions. The program aimed to provide an orientation to broadening traditional views of gender issues to include an understanding of masculinities. It also discussed the history of women's movements in South Asia and how studies of masculinity can contribute to gender equality by involving men.
The document summarizes the work of UN Women's Fund for Gender Equality in providing grants from 2009-2011 to empower women economically and politically. Some key results include over 7,000 Dalit women in India gaining employment, the passage of a gender equality law in El Salvador, and the mainstreaming of gender in agricultural policies in Uganda and Zimbabwe. The Fund supports initiatives to increase women's political participation, representation, and leadership through training. It also aims to increase women's access to economic resources and assets. By 2014, over 13.6 million women were expected to strengthen their leadership skills and influence policies through grantee programs.
The document provides an orientation for undergraduate students at the American University in Cairo's School of Humanities and Social Sciences. It discusses that the school focuses on understanding languages, literatures, traditions, and cultures to help students develop a sense of social responsibility and participation. Studying liberal arts enhances critical thinking and practical job skills. The school offers majors in fields like anthropology, sociology, psychology, philosophy, political science, Egyptology and more that provide opportunities for careers and informed citizenship.
This document discusses a cultural policy program in Brazil called Living Culture that aims to promote youth participation in cultural activities. It examines how involvement in Culture Points, community cultural spaces supported by the program, contributes to youth cultural development and formation of citizenship. The program strives to strengthen democratic aspects of the relationship between the state and society and foster cultural creation among diverse groups. The research analyzed in the document found that participation in cultural actions through Culture Points helped youth express their identities, build social networks, and engage in political participation through artistic and cultural expression.
Framing Rights - Building Democracy by Simone Hagensen 2014Simone Hagensen
This document provides an abstract and introduction for a master's thesis that examines Bunge la Mwananchi (BLM), a Nairobi-based group that practices public deliberation and political mobilization. The thesis uses BLM as a case study to understand its approach as a praxis of conscientization, or developing critical awareness through reflection and action, and as a strategy for social transformation. It draws on theories of participatory democracy, strategies for radical change, and critical pedagogy. The research aims to explore BLM's political project and approach from the perspective of activists seeking to build a more radical and relevant form of democracy in Kenya driven by and for ordinary citizens.
This document proposes expanding a pilot study on the role of music in constructing identity among students at North-West University's Potchefstroom campus. The study aims to compare how music helps shape identity for students living in campus hostels, private housing, and town residences. It also seeks to examine how changing student demographics at the university may impact musical identity formation. The proposal notes that while campus hostels are seen as central to campus culture, most students actually live off-campus. A variety of musical groups and events on campus involve diverse students in identity expression. The expanded study aims to provide a more nuanced understanding of identity as dynamic and strategic rather than fixed, among the university's changing student population.
This document summarizes a presentation given by Dr. Barbara McNeil at the Saskatchewan Library Association Conference on the role of public and school libraries in supporting marginalized adolescent youth. The presentation discusses how literacy is key to participation in democratic processes and outlines a research project that used literature circles to promote literacy growth in struggling adolescent boys. The goals of the research were to engage school leadership and librarians to collaboratively support literacy development and examine how critical reading practices can influence literacy skills and understanding of social issues.
The document discusses the role of culture and its influence on organizations. It defines culture as the shared values, understandings, assumptions, and goals learned from previous generations and passed down over time. Culture is influenced by factors like kinship, education, economy, politics, religion, health, and recreation. It also discusses key cultural value dimensions, differences in cultural perspectives, and the importance of cultural awareness, sensitivity, and avoiding ethnocentrism in organizations.
The document summarizes a capacity building fellowship program hosted by the South Asian Network to Address Masculinities (SANAM) in Nepal from February 1-18, 2011. It discusses the 33 fellows from 7 South Asian countries who participated in sessions on topics related to masculinity, gender, development, media and institutions. The program aimed to provide an orientation to broadening traditional views of gender issues to include an understanding of masculinities. It also discussed the history of women's movements in South Asia and how studies of masculinity can contribute to gender equality by involving men.
The document summarizes the work of UN Women's Fund for Gender Equality in providing grants from 2009-2011 to empower women economically and politically. Some key results include over 7,000 Dalit women in India gaining employment, the passage of a gender equality law in El Salvador, and the mainstreaming of gender in agricultural policies in Uganda and Zimbabwe. The Fund supports initiatives to increase women's political participation, representation, and leadership through training. It also aims to increase women's access to economic resources and assets. By 2014, over 13.6 million women were expected to strengthen their leadership skills and influence policies through grantee programs.
The document provides an orientation for undergraduate students at the American University in Cairo's School of Humanities and Social Sciences. It discusses that the school focuses on understanding languages, literatures, traditions, and cultures to help students develop a sense of social responsibility and participation. Studying liberal arts enhances critical thinking and practical job skills. The school offers majors in fields like anthropology, sociology, psychology, philosophy, political science, Egyptology and more that provide opportunities for careers and informed citizenship.
The document provides summaries of the 7 units that make up the AP Human Geography course according to the College Board: 1) Geography introduces concepts like location, space, place and scale. 2) Population examines distribution and growth patterns. 3) Cultural Patterns analyzes language, religion and cultural diffusion. 4) Political Organization studies boundaries and governance. 5) Agriculture explores domestication and production regions. 6) Industrialization examines economic development theories. 7) Cities analyzes urbanization patterns and internal city structures. The summaries outline the key topics and concepts covered in each unit to help students effectively study for the course.
We exploit a change in compulsory schooling laws in Turkey to estimate the causal effects of education on religiosity and women's empowerment. A new law implemented in 1998 resulted in individuals born after a specific date to be more likely to complete at least 8 years of schooling while those born earlier could drop out after 5 years. This allows the implementation of a Regression Discontinuity (RD) Design and the estimation of meaningful causal estimates of schooling. Using the 2008 Turkish Demographic Health Survey, we show that the reform resulted in a one-year increase in years of schooling among women on average. Over a period of ten years, this education increase resulted in women reporting lower levels of religiosity, greater decision rights over marriage and higher household consumption (of durables). We find that these effects work through different channels, depending on women's family background. For women whose mothers had no formal education, the reform resulted in them only finishing the compulsory schooling and having higher labor force participation. For women whose mothers had some formal education, the reform had persistent effects beyond compulsory schooling, and these women were subsequently married to more educated (and possibly wealthier) husbands but remained outside the labor force. We interpret these findings as evidence that education may empower women across a wide spectrum of a Muslim society, yet, depending on pre-reform constraints to participation, its effects may not be strong enough to fully overcome participation constraints (in education or the labor force).
Check the latest research publications and presentations on our website http://www.hhs.se/site
This document provides a literature review and background on a study examining factors influencing the political participation of students at the University of Johannesburg. It discusses the following key points in 3 sentences:
The study aims to understand why political participation has declined among South African youth by examining how students' demographic characteristics and perceptions of the ruling ANC party influence their participation. The literature review covers political participation in general, and how race, class, and perceptions of the ANC have been found to shape political involvement. The document provides context on the study which used a survey to quantitatively measure how factors like race, class, and views of government affect the political participation of students at the University of Johannesburg.
Training in democracy and social structuresYousser Hegazi
It's necessary to understand how educational systems contribute to make students aware about humanistic values and philanthropic matters.Our feelings need to be involved as well as our hearts need to battle for other people around as. However education and social policy must be integrated in the educational systems in order to inculcate high morals to our children and to spread later a culture of solidarity and tolerance
This document summarizes a study that examines four theories for explaining women's empowerment across four aspects of gender equality: 1) socioeconomic development, 2) rising gender-egalitarian cultural attitudes, 3) historical legacies, and 4) institutional design factors. The study finds that measures of cultural modernity best explain gains in all four aspects of gender equality. Socioeconomic factors and institutional design also influence one or two aspects. Historical legacy factors did not significantly predict any aspect of gender equality.
This document discusses different forms of citizenship and participation among young adult immigrants in Europe. It begins by introducing the concept of global citizenship and how citizenship rights have expanded beyond traditional civic, political, and social rights to include economic, cultural, digital, and transnational aspects. It then examines formal participation through political parties and civic associations, noting barriers some immigrants face. The document also explores informal participation through social networks, friends, and communities. Several case studies are presented to illustrate different experiences with citizenship and participation.
This document summarizes a study on heritage language schools and their role in supporting refugee communities. It discusses how language loss occurs in refugee children as they spend more time immersed in English at school. This impacts their ability to communicate with parents and help them navigate life in Canada. The document then describes how heritage language schools can help slow language loss by providing an environment for children to learn and practice their heritage language. It also discusses additional benefits of the schools for strengthening parent-child relationships, building community pride, and increasing cultural knowledge.
This document contains two parts. The first part provides definitions for 10 terms related to gender and sexuality. The second part contains 10 statements related to gender, sexuality, and the law, and identifies whether each statement is true or false. Key points covered include the definition of gender analysis, gender mainstreaming, and gender audit. It also addresses topics like what constitutes rape under Philippine law, whether premature marriage is a crime, and evidentiary standards regarding a rape victim's past conduct and reputation.
Aag indigenous peoples speciality groups declaration of key questions about r...Dr Lendy Spires
The Indigenous Peoples Specialty Group of the Association of American Geographers works to facilitate ethical research with Indigenous communities. They recognize geography's colonial history and aim to decolonize approaches by centering Indigenous perspectives and self-determination. The IPSG believes collaborative relationships that acknowledge Indigenous communities as knowledge holders, not just informants, can improve research integrity and outcomes. They have compiled questions to guide researchers in thoughtfully approaching communities and negotiating terms, as ethical guidelines will vary locally. The primary goal is respect for Indigenous rights, knowledge, and consent.
This document discusses the relationship between culture and education. It defines culture as socially transmitted patterns of behavior, knowledge, beliefs, and customs characteristic of a group. The document outlines different types of culture including individual, communal, national, and world culture. It also describes key characteristics of culture such as being acquired, distinct, transmitted between generations, useful to society, and dynamic/changing over time. The document notes that culture and education are interdependent and that education can help bridge gaps when cultural changes occur at different rates.
The No Child Left Behind Act of 2001 emphasized standardized testing in core subjects like math and reading, leading many school districts to cut funding to arts, music and theater programs. As a result, millions of students no longer had access to humanities education. Research shows that arts education enhances skills in other subjects and develops important life skills. Recent legislative efforts aim to give states more control over standards and restore funding and access to well-rounded educational programs that include the humanities.
The document discusses the role of art in promoting social transformation and equity in Latin America. It argues that art can be used as a tool for social participation and influencing public space. The Latin American Network for Art and Social Transformation (The Net) works with underprivileged communities, using art both as a means and an end to empower individuals, encourage new forms of cultural production and circulation, and foster more inclusive and participatory democracies. The Net takes a holistic and interdisciplinary approach, forming alliances across different sectors to address issues like poverty, education, human rights, and the environment through art and cultural activities.
1) The Performing Arts Education Centre (PAE Centre) was established in 2007 by the Hong Kong Academy for Performing Arts (HKAPA) to promote arts education, curriculum development, and professional development through community engagement projects.
2) One such project was the smARTS Journey initiative launched in 2008 in response to concerns about developing future audiences for the arts. It involved a series of interactive arts programs attracting over 4,000 students through demonstrations, workshops, and school performances.
3) Surveys found over 90% of participants said the program increased their interest in the arts and ability to appreciate performance. The project was renewed for 3 additional years based on its success in engaging students and the community with the
1. The document discusses research priorities in arts education as outlined in a 2006 UNESCO report and reflects on progress made towards these recommendations.
2. It notes that while some successes have been achieved in areas like evaluating arts education impacts and establishing networks, more comprehensive progress across UNESCO members has been lacking.
3. It suggests the need to develop a concrete research proposal and working group at the upcoming WAAE09 meeting in order to move from general recommendations to specific action towards arts education research.
This document summarizes action research conducted in four UK schools between April and July 2009 to improve citizenship education through integrating art and digital media. The research involved university staff, teachers, and artists collaborating to design lesson plans exploring identity and Europe. Key findings were that discussing images effectively taught about identity but Europe needed more depth. Time limitations restricted coverage. The summary concludes with recommendations for an online teacher training product, including case studies, lessons, and materials addressing identity, discussing images, and exploring European identity through art.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
Music Empathy And Intercultural Understanding Felicity Laurence October 2009 2WAAE
This document discusses how music may cultivate empathy and intercultural understanding. It describes an event where 300 children from different ethnic backgrounds sang together in South Africa, expressing unity. However, a later performance of the same music failed to achieve the same unity. This posed questions about music's power to influence emotions and whether the same music can produce different responses. It explores theories about how music may foster empathy through shared musical activities, but also acknowledges music's varied uses throughout history.
Creativity is an important concept in Scottish education. The document discusses how teacher training programs can help produce teachers who foster creativity in their classrooms and teaching. It reports on an initiative at the University of Strathclyde where students in a secondary teacher training program study an "Area of Professional Development" that uses real-world contexts as starting points for learning activities. These activities are meant to develop skills like collaboration, problem-solving, and setting subject learning within meaningful contexts.
This document summarizes an article from the International Journal of Education & the Arts about a project called Arts as a Tool for Learning Across the Curriculum (ATLAC) at the University of Aberdeen. The project used expressive arts like drama, music and visual art to promote interdisciplinary teaching and creativity. It discusses how ATLAC aimed to develop student teachers' creative pedagogies and repertoire of teaching skills. The background and goals of ATLAC are provided, along with the conceptual framework of interdisciplinarity and its relationship to creativity. Select findings from the first year of ATLAC are also summarized.
This document provides an overview of a case study examining dance as a place for learning. The study is being conducted in a school in Finland where dance is integrated into the general curriculum. The study uses collaborative action research methods to investigate how embodied, arts-based knowledge generates meaningful learning. Specifically, it seeks to understand how students describe their dance learning experiences, how the school community views dance's educational value, and what types of learning and knowledge dance can elicit. Data collection involves journals, interviews, videos and observations of students, teachers and parents. The goal is to develop a conception of learning that embraces embodied processes and situates learning in the entire human being.
Unveiling the Optimal Approach for Music Theory Instruction: Transitioning fr...AJHSSR Journal
ABSTRACT: This literature review explores the various approaches and methods employed in teaching music
theory and examines the benefits and challenges associated with each approach. The traditional lecture-based
method effectively conveys theoretical knowledge, but supplementary activities may be necessary to encourage
active engagement and practical application. Active learning methods prioritize student participation and
problem-solving, enhancing critical thinking and fostering creativity. Collaborative learning promotes peer
interaction and shared learning experiences, facilitating the development of communication skills and deepening
understanding. The integration of technology provides interactive and personalized learning opportunities, but
attention should be given to technical issues and potential distractions. Contextualization and applied learning
helps students grasp the practical application of theoretical concepts within real-world musical contexts.
Multisensory approaches accommodate diverse learning styles, reinforcing understanding through auditory,
visual, and kinesthetic elements. However, existing literature reveals gaps in research, including the long-term
impact of teaching methods, student perspectives, inclusive practices, assessment strategies, interdisciplinary
approaches, and technology accessibility. Addressing these gaps can inform instructional practices and enhance
student learning experiences in music theory education. Overall, comprehending the benefits and challenges
associated with different teaching methods in music theory enables educators to design effective instructional
strategies that promote student engagement, critical thinking, and the practical application of theoretical
concepts
This document provides a summary of research on the benefits of arts education in afterschool programs. It finds that arts education in afterschool programs can help students in several ways: it reaches students in new ways and engages students who may not be engaged otherwise; it connects students to themselves, each other, and real-world experiences; and it provides learning benefits to both students and staff. Research also shows benefits such as improved academic achievement and engagement for students who participate in extracurricular activities like afterschool programs. Challenges to research in this area include the difficulty of controlling for other variables and the need for qualitative research methods.
The document provides summaries of the 7 units that make up the AP Human Geography course according to the College Board: 1) Geography introduces concepts like location, space, place and scale. 2) Population examines distribution and growth patterns. 3) Cultural Patterns analyzes language, religion and cultural diffusion. 4) Political Organization studies boundaries and governance. 5) Agriculture explores domestication and production regions. 6) Industrialization examines economic development theories. 7) Cities analyzes urbanization patterns and internal city structures. The summaries outline the key topics and concepts covered in each unit to help students effectively study for the course.
We exploit a change in compulsory schooling laws in Turkey to estimate the causal effects of education on religiosity and women's empowerment. A new law implemented in 1998 resulted in individuals born after a specific date to be more likely to complete at least 8 years of schooling while those born earlier could drop out after 5 years. This allows the implementation of a Regression Discontinuity (RD) Design and the estimation of meaningful causal estimates of schooling. Using the 2008 Turkish Demographic Health Survey, we show that the reform resulted in a one-year increase in years of schooling among women on average. Over a period of ten years, this education increase resulted in women reporting lower levels of religiosity, greater decision rights over marriage and higher household consumption (of durables). We find that these effects work through different channels, depending on women's family background. For women whose mothers had no formal education, the reform resulted in them only finishing the compulsory schooling and having higher labor force participation. For women whose mothers had some formal education, the reform had persistent effects beyond compulsory schooling, and these women were subsequently married to more educated (and possibly wealthier) husbands but remained outside the labor force. We interpret these findings as evidence that education may empower women across a wide spectrum of a Muslim society, yet, depending on pre-reform constraints to participation, its effects may not be strong enough to fully overcome participation constraints (in education or the labor force).
Check the latest research publications and presentations on our website http://www.hhs.se/site
This document provides a literature review and background on a study examining factors influencing the political participation of students at the University of Johannesburg. It discusses the following key points in 3 sentences:
The study aims to understand why political participation has declined among South African youth by examining how students' demographic characteristics and perceptions of the ruling ANC party influence their participation. The literature review covers political participation in general, and how race, class, and perceptions of the ANC have been found to shape political involvement. The document provides context on the study which used a survey to quantitatively measure how factors like race, class, and views of government affect the political participation of students at the University of Johannesburg.
Training in democracy and social structuresYousser Hegazi
It's necessary to understand how educational systems contribute to make students aware about humanistic values and philanthropic matters.Our feelings need to be involved as well as our hearts need to battle for other people around as. However education and social policy must be integrated in the educational systems in order to inculcate high morals to our children and to spread later a culture of solidarity and tolerance
This document summarizes a study that examines four theories for explaining women's empowerment across four aspects of gender equality: 1) socioeconomic development, 2) rising gender-egalitarian cultural attitudes, 3) historical legacies, and 4) institutional design factors. The study finds that measures of cultural modernity best explain gains in all four aspects of gender equality. Socioeconomic factors and institutional design also influence one or two aspects. Historical legacy factors did not significantly predict any aspect of gender equality.
This document discusses different forms of citizenship and participation among young adult immigrants in Europe. It begins by introducing the concept of global citizenship and how citizenship rights have expanded beyond traditional civic, political, and social rights to include economic, cultural, digital, and transnational aspects. It then examines formal participation through political parties and civic associations, noting barriers some immigrants face. The document also explores informal participation through social networks, friends, and communities. Several case studies are presented to illustrate different experiences with citizenship and participation.
This document summarizes a study on heritage language schools and their role in supporting refugee communities. It discusses how language loss occurs in refugee children as they spend more time immersed in English at school. This impacts their ability to communicate with parents and help them navigate life in Canada. The document then describes how heritage language schools can help slow language loss by providing an environment for children to learn and practice their heritage language. It also discusses additional benefits of the schools for strengthening parent-child relationships, building community pride, and increasing cultural knowledge.
This document contains two parts. The first part provides definitions for 10 terms related to gender and sexuality. The second part contains 10 statements related to gender, sexuality, and the law, and identifies whether each statement is true or false. Key points covered include the definition of gender analysis, gender mainstreaming, and gender audit. It also addresses topics like what constitutes rape under Philippine law, whether premature marriage is a crime, and evidentiary standards regarding a rape victim's past conduct and reputation.
Aag indigenous peoples speciality groups declaration of key questions about r...Dr Lendy Spires
The Indigenous Peoples Specialty Group of the Association of American Geographers works to facilitate ethical research with Indigenous communities. They recognize geography's colonial history and aim to decolonize approaches by centering Indigenous perspectives and self-determination. The IPSG believes collaborative relationships that acknowledge Indigenous communities as knowledge holders, not just informants, can improve research integrity and outcomes. They have compiled questions to guide researchers in thoughtfully approaching communities and negotiating terms, as ethical guidelines will vary locally. The primary goal is respect for Indigenous rights, knowledge, and consent.
This document discusses the relationship between culture and education. It defines culture as socially transmitted patterns of behavior, knowledge, beliefs, and customs characteristic of a group. The document outlines different types of culture including individual, communal, national, and world culture. It also describes key characteristics of culture such as being acquired, distinct, transmitted between generations, useful to society, and dynamic/changing over time. The document notes that culture and education are interdependent and that education can help bridge gaps when cultural changes occur at different rates.
The No Child Left Behind Act of 2001 emphasized standardized testing in core subjects like math and reading, leading many school districts to cut funding to arts, music and theater programs. As a result, millions of students no longer had access to humanities education. Research shows that arts education enhances skills in other subjects and develops important life skills. Recent legislative efforts aim to give states more control over standards and restore funding and access to well-rounded educational programs that include the humanities.
The document discusses the role of art in promoting social transformation and equity in Latin America. It argues that art can be used as a tool for social participation and influencing public space. The Latin American Network for Art and Social Transformation (The Net) works with underprivileged communities, using art both as a means and an end to empower individuals, encourage new forms of cultural production and circulation, and foster more inclusive and participatory democracies. The Net takes a holistic and interdisciplinary approach, forming alliances across different sectors to address issues like poverty, education, human rights, and the environment through art and cultural activities.
1) The Performing Arts Education Centre (PAE Centre) was established in 2007 by the Hong Kong Academy for Performing Arts (HKAPA) to promote arts education, curriculum development, and professional development through community engagement projects.
2) One such project was the smARTS Journey initiative launched in 2008 in response to concerns about developing future audiences for the arts. It involved a series of interactive arts programs attracting over 4,000 students through demonstrations, workshops, and school performances.
3) Surveys found over 90% of participants said the program increased their interest in the arts and ability to appreciate performance. The project was renewed for 3 additional years based on its success in engaging students and the community with the
1. The document discusses research priorities in arts education as outlined in a 2006 UNESCO report and reflects on progress made towards these recommendations.
2. It notes that while some successes have been achieved in areas like evaluating arts education impacts and establishing networks, more comprehensive progress across UNESCO members has been lacking.
3. It suggests the need to develop a concrete research proposal and working group at the upcoming WAAE09 meeting in order to move from general recommendations to specific action towards arts education research.
This document summarizes action research conducted in four UK schools between April and July 2009 to improve citizenship education through integrating art and digital media. The research involved university staff, teachers, and artists collaborating to design lesson plans exploring identity and Europe. Key findings were that discussing images effectively taught about identity but Europe needed more depth. Time limitations restricted coverage. The summary concludes with recommendations for an online teacher training product, including case studies, lessons, and materials addressing identity, discussing images, and exploring European identity through art.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
Music Empathy And Intercultural Understanding Felicity Laurence October 2009 2WAAE
This document discusses how music may cultivate empathy and intercultural understanding. It describes an event where 300 children from different ethnic backgrounds sang together in South Africa, expressing unity. However, a later performance of the same music failed to achieve the same unity. This posed questions about music's power to influence emotions and whether the same music can produce different responses. It explores theories about how music may foster empathy through shared musical activities, but also acknowledges music's varied uses throughout history.
Creativity is an important concept in Scottish education. The document discusses how teacher training programs can help produce teachers who foster creativity in their classrooms and teaching. It reports on an initiative at the University of Strathclyde where students in a secondary teacher training program study an "Area of Professional Development" that uses real-world contexts as starting points for learning activities. These activities are meant to develop skills like collaboration, problem-solving, and setting subject learning within meaningful contexts.
This document summarizes an article from the International Journal of Education & the Arts about a project called Arts as a Tool for Learning Across the Curriculum (ATLAC) at the University of Aberdeen. The project used expressive arts like drama, music and visual art to promote interdisciplinary teaching and creativity. It discusses how ATLAC aimed to develop student teachers' creative pedagogies and repertoire of teaching skills. The background and goals of ATLAC are provided, along with the conceptual framework of interdisciplinarity and its relationship to creativity. Select findings from the first year of ATLAC are also summarized.
This document provides an overview of a case study examining dance as a place for learning. The study is being conducted in a school in Finland where dance is integrated into the general curriculum. The study uses collaborative action research methods to investigate how embodied, arts-based knowledge generates meaningful learning. Specifically, it seeks to understand how students describe their dance learning experiences, how the school community views dance's educational value, and what types of learning and knowledge dance can elicit. Data collection involves journals, interviews, videos and observations of students, teachers and parents. The goal is to develop a conception of learning that embraces embodied processes and situates learning in the entire human being.
Unveiling the Optimal Approach for Music Theory Instruction: Transitioning fr...AJHSSR Journal
ABSTRACT: This literature review explores the various approaches and methods employed in teaching music
theory and examines the benefits and challenges associated with each approach. The traditional lecture-based
method effectively conveys theoretical knowledge, but supplementary activities may be necessary to encourage
active engagement and practical application. Active learning methods prioritize student participation and
problem-solving, enhancing critical thinking and fostering creativity. Collaborative learning promotes peer
interaction and shared learning experiences, facilitating the development of communication skills and deepening
understanding. The integration of technology provides interactive and personalized learning opportunities, but
attention should be given to technical issues and potential distractions. Contextualization and applied learning
helps students grasp the practical application of theoretical concepts within real-world musical contexts.
Multisensory approaches accommodate diverse learning styles, reinforcing understanding through auditory,
visual, and kinesthetic elements. However, existing literature reveals gaps in research, including the long-term
impact of teaching methods, student perspectives, inclusive practices, assessment strategies, interdisciplinary
approaches, and technology accessibility. Addressing these gaps can inform instructional practices and enhance
student learning experiences in music theory education. Overall, comprehending the benefits and challenges
associated with different teaching methods in music theory enables educators to design effective instructional
strategies that promote student engagement, critical thinking, and the practical application of theoretical
concepts
This document provides a summary of research on the benefits of arts education in afterschool programs. It finds that arts education in afterschool programs can help students in several ways: it reaches students in new ways and engages students who may not be engaged otherwise; it connects students to themselves, each other, and real-world experiences; and it provides learning benefits to both students and staff. Research also shows benefits such as improved academic achievement and engagement for students who participate in extracurricular activities like afterschool programs. Challenges to research in this area include the difficulty of controlling for other variables and the need for qualitative research methods.
Arts-Based Educational Research Dissertations Reviewing The Practices Of New...Emma Burke
This article reviews over 30 arts-based educational research dissertations completed over 10 years at the University of British Columbia. It identifies three common pillars of arts-based practice used - literary, visual, and performative. The dissertations helped develop the methodology of a/r/tography, which emphasizes inquiry through artistic processes and embodied understandings. The dissertations show a commitment to aesthetic and educational practices, inquiry-driven processes, searching for meaning, and interpreting for understanding.
This document discusses student engagement in higher education, specifically in music education. It focuses on using constructivist pedagogy to improve student engagement and participation in a pipa ensemble class. The purpose is to address issues like lack of student involvement and creativity. It reviews literature on student engagement and constructivism, and Chinese students' engagement in music classes. Constructivism theory holds that learning is an active process where students construct new ideas based on their experiences. The document suggests implementing constructivist practices in the pipa ensemble class to promote understanding, engagement, and a student-centered approach.
This document provides a literature review on arts-based teaching and learning. It finds that there are various models for implementing arts-based practices at the community, school, classroom, teacher, and student levels. These include programs run through community arts centers, whole-school arts curricula, classroom artist residencies, and comprehensive school reform initiatives. The literature also examines the cognitive, affective, and academic effects attributed to arts integration based on multiple studies, though notes research findings are sometimes inconclusive. Recommendations are provided for successful implementation as well as ongoing questions that remain.
This document introduces a special issue of the journal Policy Futures in Education focused on arts and cultural education. The introduction discusses how globalization and social issues are challenging existing arts education policies and practices. It notes that the issue features articles exploring topics like politics, community, inclusion, and interdisciplinarity within arts education policy and practice. The articles address underrepresented groups and examine tensions between inclusion and other discourses in arts education policies and practices. The issue seeks to further dialogue around critical examination of the role of arts education in relation to policy, practice, social transformation, and addressing inequalities in access.
ARTS Education E.CARROLL FINAL Capstone ReportErika Carroll
This document provides an introduction, methodology, and literature review for a research project on integrating arts into education. The introduction discusses benefits of arts in education like improved self-confidence and engagement. The methodology section outlines plans to review literature on impacts of arts on behaviors, comprehension, and self-esteem. It also describes plans to interview arts education professionals. The literature review highlights research finding positive connections between arts and emotional regulation, engagement, and comprehension for young children.
This document summarizes a student's research proposal on improving student engagement in a pipa ensemble class through constructivist practices. The student will implement constructivist activities over 18 weeks with 20 student participants. Data will be collected through 5 observations and student interviews to evaluate changes in engagement before and after the intervention. The student hopes to address common problems of low participation and creativity in pipa classes and contribute new knowledge on applying constructivism in music education.
2017 - Liberating Diverse Creativities: The Future of Arts Based Environment...Marna Hauk, PhD
This presentation was designed to support a professional development workshop nurturing liberating creativities, introducing environmental education researchers to arts-based educational research. Together we explore justice and empathy, surface and value diversity through multiple ways of knowing, and engage with arts-informed ways of researching. The slides have an accompanying briefing paper. The experiential dimension of the planned workshop is captured with recommendations for practicing hands-on, interactive infusions and collaborative inquiry. Affirmations, motivations for the work, lenses for the research, approaches, and research examples are included. Emergent movements such as just sustainability arts in research, arts and humanities in environmental educational research, and arts-STEM all highlight the importance of arts-based educational research methods.
This document outlines an instructional process called Prepare, Create, Perform, Respond (PCPR) for developing student choreographers. The Prepare step introduces students to universal dance vocabulary including concepts of body, energy, space and time, as well as choreographic devices. Students then explore these concepts through improvisation to prepare for choreography. Assessment tools include a Choreographic Rubric, Eyes See/Mind Sees reflection, and a Choreographic Process Worksheet. The PCPR process embeds creation, performance and reflection throughout lessons and aims to develop students' ability to choreograph dances and think like artists.
Across The Disciplines Exploring Relationships Between Aesthetic Education An...Sean Flores
This document summarizes an article that explores the relationships between aesthetic education and writing across the curriculum (WAC) using poetry. It discusses how three professors from different departments at Lehman College found that combining approaches from the college's WAC and Lincoln Center Institute's aesthetic education programs not only enhanced each approach but provided an integrated inquiry process. The document provides background on the WAC program and Lincoln Center Institute's aesthetic education collaborative, and discusses how aspects of each like noticing deeply and sustained engagement with works of art can complement each other.
Pam Burnard Modulating Pedagogical Spaces For CreativityWAAE
The document discusses modulating pedagogical spaces to promote creativity in music education. It explores how to document and understand creativity in students' music, and how to create learning environments that encourage thinking differently about music. The challenges of assessing progression in musical creativity are also examined. Effective creative spaces allow questioning, making connections, imagining possibilities, and representing ideas flexibly. Teachers can foster creativity by giving students choice, time for reflection, and modeling creative actions in a collaborative partnership.
a dialog with teachers investigating contemporary art practiceThirah Dehearty
This document summarizes discussions that Tate Modern and Goldsmiths College had with 11 teachers about incorporating contemporary art practices in the classroom.
1) The teachers defined contemporary art as art that explores current social/cultural issues using new media and techniques. They saw value in exposing students to art that questions norms and develops critical thinking.
2) Incorporating contemporary art allows students to engage with identity issues represented in works and see art-making as an ongoing practice beyond school. It also provides opportunities to discuss topics like race and gender more prominently.
3) Working with contemporary art requires new learning strategies that give students more control and autonomy. The process of creating art, rather than just the product,
Bera 2009 methodological challenges to research in conditions of complexity Scottish TNE
This document discusses the methodological challenges of researching a pilot Bachelor of Education program in Scotland. It notes that the program was designed based on principles of evidence-driven socio-constructivism but faced internal contradictions between those principles and standards-based approaches. It also discusses tensions between the researcher's role as an outside observer versus a participating insider, and between technical rationalist models of research preferred by policymakers versus more dialogical research approaches. Lessons learned include the need for open discussion of practices and understandings, collaborative use of data to align values rather than evaluate truth claims, and creating collective research narratives.
Teacher Artist Partnership Programme: international seminar introduction, 28t...Graham Jeffery
Introduction to the UK context for creative and cultural partnership, for an international seminar in London as part of the Teacher-Artist Partnership programme (www.tapprogramme.org)
Similar to Rolfe Etal Cord 2009 Edited Sept Ac Lr Kc Responses 2 (20)
The document discusses the development of dance networks in Brazil and their role in influencing cultural policies and education. Some key points:
1. Dance networks in Brazil started forming in 1999 due to dissatisfaction with federal cultural policies and debates around classifying dance as a physical activity versus an art form.
2. These networks mobilized nationally and helped structure the National Dance Forum in 2001 to advocate for dance.
3. The networks contributed to the creation of the National System of Culture and the Sectorial Chamber of Dance to give the dance community representation and influence cultural policies.
4. The National Plan for Dance is being finalized to improve dance education, support the dance economy, and ensure access to dance
The document discusses the development of dance networks in Brazil and their role in influencing cultural policies and education. Some key points:
1. Dance networks in Brazil started forming in 1999 due to dissatisfaction with federal cultural policies and debates around classifying dance as a physical activity versus an art form.
2. These networks mobilized nationally and helped structure the National Dance Forum in 2001 to advocate for dance.
3. The networks contributed to the creation of the National System of Culture and a Sectoral Chamber of Dance to advise the Ministry of Culture and develop a National Plan for Dance.
This document discusses the importance of integrating creative activities like drama into teaching and learning to make it more engaging for students. The researcher conducted several studies on this topic. Her research found that while educational policies support integrating the arts, traditional teaching methods focusing on rote learning are still dominant in schools. She argues that for the creative potential of drama and arts to be fully realized, teachers must examine their own concepts of knowledge and learning and be able to structure constructivist, creative learning processes. The researcher identifies criteria for schools to successfully integrate arts and culture into education, such as ensuring teachers are qualified in arts subjects and collaborating with cultural institutions.
Rolfe Etal Cord 2009 Edited Sept Ac Lr Kc Responses 2WAAE
This document summarizes a research project investigating creative partnerships between dance artists and teachers in developing creativity in secondary school dance education in England. The project uses critical pedagogical and socio-constructivist approaches, with data collected through ethnographic, participatory, and reflective methods. Partner researchers include teachers and artists who co-develop dance works and co-research the partnerships. The goal is to understand different partnership models and contribute to reinvigorating creativity in secondary dance education.
Rolfe Etal Cord 2009 Edited Sept Ac Lr Kc Responses 2WAAE
This document summarizes a research project investigating creative partnerships between dance artists and teachers. The project uses critical pedagogical and socio-constructivist approaches, with data collected through ethnographic, participatory and reflective methods. Researchers aim to understand how creative partnerships can nurture student creativity in dance education in secondary schools in England. The project involves university researchers collaborating with teachers and artists as co-researchers at four school sites.
The document discusses a research project aimed at identifying sustainable creative capabilities. It explores how creative researchers work through imagination and engaging with their field. The research project looks at doctoral journeys in the creative arts, research across arts and industry, and identifying artists' ways of working as creative knowledge. The goal is to understand sustainable creative capabilities needed for a globalized world economy. It calls for sharing case studies and narratives to contribute to building understanding of sustaining creativity.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms for those who already suffer from conditions like depression and anxiety.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms for those who already suffer from conditions like anxiety and depression.
The document discusses key issues facing advocates for arts education in developing a national curriculum for Australia. It acknowledges that while governments now recognize the value of arts education, implementation requires concrete support. The author is a member of the advisory group developing the arts curriculum, which is working to resolve difficult questions like which artforms to teach, how often, and how to build on current practice that favors music and visual arts. The group is also considering issues like whether all artforms should be taught at all grade levels, how to balance visual and performing arts, and how many hours should be devoted to arts learning.
This document discusses approaches to fostering creativity and professional development in initial teacher education. It presents an arts-infused model for designing classroom contexts and learning experiences that deliver subject content while developing students' core skills. The model incorporates using the natural and built environments, communications, school grounds, and social/cultural/historical contexts. Students reported enjoying participating in a graphic novel project turning a text into a storyboard, acting it out, and compiling it into a booklet. They recognized the value of incorporating creative learning approaches into their own future teaching.
This presentation discusses the speaker's efforts to broaden students' understanding of dance through experiential learning opportunities. Students participate in dance experiences in diverse settings like forests, beaches, schools, hospitals, and with varied groups. These experiences challenge students' assumptions and increase their awareness of how dance can meet community needs. The speaker aims to create a sense of "significance" for each student and "solidarity" within the group to foster a community of learners. Experiential learning through diverse teaching experiences is key to developing students' understanding of dance's role and potential impact.
The document outlines Arts Council England's role in supporting arts education and cultural opportunities for children and young people. It discusses Arts Council England's investments in various programs over the past decade like Arts Award, Artsmark, and Creative Partnerships. It also highlights additional investments from other government departments. Looking ahead, it emphasizes the need to better match cultural supply and demand, engage more children and young people, and clarify local delivery models through partnerships.
This document discusses the challenges facing traditional Chinese opera as it seeks to maintain cultural identity in modern China. It notes that while reading Chinese classics has seen a revival, performing arts have received less attention. The Chinese government now aims to promote opera in schools, but questions remain as to what pieces truly represent traditional culture given issues like outdated ideology. Selecting arias that appeal to students while avoiding problematic messages is difficult. Overall, the document examines the complexities of using performing arts to both connect with cultural roots and remain relevant in the modern era.
Music Empathy And Intercultural Understanding Felicity LaurenceWAAE
This document discusses how music may help foster empathy and intercultural understanding. It describes an experience where the author composed a musical piece intended to promote unity between different ethnic groups in South Africa. The piece was successfully performed once but failed to unite the groups in a later performance. This paradox led the author to question assumptions about music's power and investigate how music may cultivate empathy. The document also examines theories of how musical activities could potentially strengthen empathic responses through imagination and social engagement, but notes many contextual factors are also involved.
The document is a chapter from a book that discusses a community arts project in Clanwilliam, South Africa called the Clanwilliam Arts Project. It provides background information on the project, which engages school students in creative arts activities based on stories and icons from the Bleek & Lloyd archive of /Xam (San) oral traditions. The project aims to provide arts access, train facilitators, and reconnect the community to its /Xam heritage through performance. It discusses how heritage is an active process of engaging with the past in the present, and can be transformative.
This document discusses an ongoing project in Ghana that addresses key issues in art education through collaborative efforts between various educational levels. [1] The project involves masters students from Kwame Nkrumah University of Science and Technology creating teaching and learning materials and lessons for primary school students with the goal of improving art education practices. [2] It also aims to provide professional development for primary school teachers and pre-service teachers at a nearby teacher training college. [3] The project has been successful in addressing issues like lack of resources and training through creative solutions and bringing together different parts of the educational system.
The document discusses the history and structure of the Theatre of Youth Creativity (TYUT) in St. Petersburg, Russia. It was founded in 1956 by Matvei Dubrovin and has operated for over 50 years, training thousands of students. TYUT follows Dubrovin's pedagogical system of combining acting classes with workshops in technical theatre skills. Students explore various roles and productions while developing their creativity, skills, and personal growth.
The document discusses the history of arts education in the UK and theatre for young audiences over the past 60 years. It notes that theatre for young audiences has grown significantly, with most UK children now experiencing professional theatre productions in schools. This is largely due to the work of many small, independent theatre companies touring schools, as opposed to initiatives from the government or large theatre organizations. The document concludes by recommending policies to support independent theatre companies through funding and research, and ensuring time for arts experiences within school curriculums.
The document outlines a framework for a Canadian Network for Arts and Learning (CNAL). The network aims to promote arts and learning across Canada by serving as a forum to disseminate research and best practices. It hopes to develop resources to strengthen arts education, promote recognition of its importance in public policy, and foster Canadian research in this area. The network will connect stakeholders through annual gatherings and digital platforms to advance these goals.
The document discusses the 50 year development of theatre for young audiences in the UK. It covers the founding of Theatre Centre in London in 1953 which toured shows performed in the round. It also discusses the rise of over 225 independent theatre companies for young audiences, many of which are vulnerable due to market pressures and lack of government regulation. The document notes that different regions in the UK have varying models of arts support and that cultural agendas and priorities have changed over the past 50 years to focus more on inclusion, access, excellence and internationalism in theatre for young audiences.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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A Visual Guide to 1 Samuel | A Tale of Two HeartsSteve Thomason
These slides walk through the story of 1 Samuel. Samuel is the last judge of Israel. The people reject God and want a king. Saul is anointed as the first king, but he is not a good king. David, the shepherd boy is anointed and Saul is envious of him. David shows honor while Saul continues to self destruct.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
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Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
This presentation was provided by Racquel Jemison, Ph.D., Christina MacLaughlin, Ph.D., and Paulomi Majumder. Ph.D., all of the American Chemical Society, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
Rolfe Etal Cord 2009 Edited Sept Ac Lr Kc Responses 2
1. Co-participative Research in Dance-education Partnership:
Nurturing Critical Pedagogy and Social Constructivism
Linda Rolfe, Michael Platt and Veronica Jobbins with
Professor Anna Craft, Dr. Kerry Chappell, and Helen Wrighti
Abstract: Drawing on the Dance Partners for Creativity Research Project, this paper will
consider the research methodologies and methods employed by a team of dance education
professionals who seek to contribute to reinvigorating practice in relation to young people’s
creativity in secondary level dance education in England. They have developed a focus on
investigating the kinds of creative partnerships that are manifested between dance-artists and
dance-teachers in a range of school settings. Using critical pedagogical and socio-constructivist
approaches, the research draws on ethnographic, participatory and reflective methods. The focus
is on how partnerships can function as research sites, with participants as co-researchers.
Introduction: Setting the Scene
Dance Partners for Creativity (DPC) is a co-participative study involving university-based
researchers and school-focused partner researchers investigating the over-arching question,
“What kinds of creative partnerships are manifested between dance- artists and teachers in co-
developing the creativity of 11-14 year olds, in dance education, and how they develop?”. It is
a two and a half year study, funded by the Arts and Humanities Research Council (AHRC)
which commenced in April 2008, funding Core and Partner Researcher time. From this over-
arching research question flow three subsidiary stimulus questions focused on investigating and
developing the dynamic roles and relationships of partnership; further understanding shared
conceptions of creativity; and problematising the notions of creativity and creative partnerships.
Four partnerships in Key Stage 3 (11 to 14 year old) dance education are involved in this
qualitative collaborative study. Dance practitioners and teachers partner to develop dance work
in a school site, and also to co-research it alongside the core research team (thus acting as Partner
Researchersii) having determined their own site-specific research question. As the practical work
developed from late 2008 with these partnership researchers, the over-arching and site-specific
2. project questions were used as through-lines to guide co-participative investigation. Research
activities are resourced and shared between core research team, partner researchers (i.e. teachers
and dance artists), and, where appropriate, young people, developing productive relationships
between research and pedagogy. Thus co-researchers work to co-participatively study dance
teaching and learning in context, in order to understand and develop practice and partnership
models. Using critical pedagogical and socio-constructivist approaches to develop change and to
recognise the social construction of meaning, the core research team draws on a range of
ethnographic, participatory and reflective methods, as well as being responsive to methods
proposed by partner researchers.
This qualitative study arose from growing concern among practitioners, professional
development leaders, academic researchers and those working within examination systems that
creativity in dance was being stifled by increasing constraints from the English testing and
attainment agenda. It was felt that pressure to assess attainment was leading to students
producing formulaic choreography rather than authentic, original dance ideas. In order to address
this and contribute to reconnecting secondary practice with the creativity inherent in the artform,
the core research team developed an over-arching research focus as indicated above,
investigating the kinds of creative partnerships that are manifested between dance-artists
and dance-teachers and how these develop, both in terms of pedagogy and systemic
organisation. Influenced by a broad critical theory stance oriented toward critiquing and
challenging, in which we sought to manifest through our enquiry, change in dance pedagogy, we
also adopted a version of critical pedagogy in our research team approach in that we encouraged
dispositions toward critique, questioning and looking below the surface. As a multi-faceted
research team comprising four University researchers, four teachers and six dance practitioners,
3. we co-researched relationships between teaching and learning in digging deep into meaning,
context, experience of the process of partnership in each research site. We sought to enfranchise
all members of the research process, recognising the social construction of meaning and thus
situating all data collection and analysis in a social constructivist frame.
Within the key over-arching question driving our study, about kinds of creative
partnership and how they developed, were three subsidiary stimulus questions which perhaps
exemplify our critical pedagogy and social constructivist framing. The first focused on
investigating partnership roles and relationships. The second focused on gaining understanding
of, and developing, how creativity is conceived and facilitated; and the third focused on
questioning and challenging partnership practice.
We recognise that whilst there is a great deal of creative partnership work ongoing across
and beyond the arts in education, spawned in part by the landmark report by the National
Advisory Committee on Creative and Cultural Education (NACCCE, 1999) which advocated
creative partnership activity and led to large scale national funding in England, this project has
been about searching for and coming to understand and develop, pockets of really strong creative
partnership practice in dance. Our hope is to make a contribution by critiquing and developing
both practice and policy.
Philosophers such as Greene (e.g. 1995, 2003) have argued the arts have the power to
challenge and transform by creating spaces for new and different hopes and expectations. The
approach that the English dance education community has brought to developing its partnerships
is undoubtedly artistic. De-construction and articulation of theories of creative partnerships in
dance may thus provide an innovative reflective stimulus or provocation both for the dance
community and for others engaged in creative partnership.
4. This paper focuses on the theoretical framework and methodology to the study and how,
through a combination of critical theory and interpretive perspectives, we are currently
developing our methodological approach. Focussing on one of the four research sites in the
project, the evolving research design, data collection and analysis methods which underpin the
empirical phase are explicated and explored.
An educational context for creativity and partnership
We initially present an overview of the broader educational context in England that
informed our original interest in researching this area. This is followed by a short review of the
literature that initially framed our perspectives on creativity and partnership, and we conclude
with a summary of how this informed our methodological stance.
At the forefront has been the educational climate that has been promoting creativity
within schools for some years. This can be traced back to the All Our Futures: Creativity,
Culture and Education, a report produced by the National Advisory Committee on Creative and
Cultural Education (1999) which ultimately led to Creative Partnerships (2002), currently
described as the “government’s flagship creative learning programme”(CCE, 2009, 1). In many
ways Creative Partnerships has led the way in investigating and formalising the relationship
between teachers and artists in schools. Working by 2009 in a third of all schools in England, it
has represented a significant investment by the government which has led to support for
considerable artist engagement in schools, including dance.
The Roberts report, Nurturing Creativity in Young People (2006) reviewed government
strategies and initiatives proposing a framework for how creativity could be further developed
for children and young people and prompted a formal government response (DCMS, 2006). This
5. concern to develop creativity was reflected in the new secondary curriculum (2008) which
included a creativity strand within the programme of study for each of the ten subjects in the
curriculum.
More recently there has been a shift towards a “culture” agenda. Just over a year ago and
drawing on the work of a Parliamentary Select Committee (2007) investigating creative
partnership work, the government announced the launch of the Find Your Talent (2008)
programme which through ten pathfinders, has been seeking to define and develop a ‘five hours
a week’ cultural entitlement offer for all children and young people. This was followed by the
formation of a new agency, Creativity Culture Education (2008) to oversee this work and that of
Creative Partnerships. Although the cultural agenda is not synonymous with the arts the Find
Your Talent programme places high value placed on young people working with cultural venues
and providers including of course dance companies and practitioners.
Further recent changes in education have seen the Rose Review of the Primary
Curriculum (2009) identifying Understanding the Arts as a distinct area of learning which
includes dance. This is in contrast to the current national curriculum where dance has been
located within physical education since 1988. Space precludes a longer discussion of the issues
here, but a significant shaping factor on dance in schools, as opposed to the broader landscape of
creative or cultural education, is the long standing debate as to whether or not dance is seen as
part of physical education or as an arts subject, within the school curriculum (Jobbins 1999). We
cannot ignore the place of dance within the physical education curriculum as being potentially
influential in dance education practice, especially as the physical education curriculum in turn
has been influenced by government policies concerned with increasing levels of physical activity
among children and young people, in part, to combat obesity (with one dimension of the latest
6. 21st century schools pledge to children being provision of five hours of sport / physical activity
per week in school – DCSF, 2009).
Finally, in providing a contextual overview of dance in schools, it is relevant to mention
the publication of Tony Hall’s Dance Review (DCSF and DCMS, 2008), and the government
response which included a series of measures to increase dance opportunities for young people
both in and out of schools.
What has been interesting for us, and underpinned the premise for our research project,
has been the dichotomy between an educational climate which is seemingly actively encouraging
and supporting creativity within schools and educational settings, and the professional climate
within dance education (and elsewhere, eg Craft & Jeffrey, 2008) where there is growing
concern from practitioners and professional development leaders (Ackroyd, 2001), academic
researchers (Chappell, 2007, 2008), and those working within examination systems (Jobbins,
2006) that creativity is being stifled by increasing constraints from performativity. Pressures to
assess attainment in all phases of education, but particularly within dance examinations, are
producing formulaic choreography rather than authentic, original dance ideas. Recent national
inspection reports from the Office For Standards in Education (OFSTED) concern that creativity
is assumed as a dance education product when this is not always so (OFSTED, 2006).
Related Literature
The first aspect of the research context is the DPC perspective on creativity. Creativity in
dance education has been studied and framed in a number of different ways. Of particular
relevance to this study is Smith-Autard’s (2002) Midway model which advocates an equal
emphasis on creativity, imagination, individuality and acquisition of knowledge of theatre dance.
7. Whilst acknowledging and drawing on aspects of Smith-Autard’s work, Chappell develops
Craft’s (2000) notion of creativity-in-relationship using John-Steiner’s (2000) “creative
collaboration” to articulate a framework of creativity in dance education as inter-relating layers
of individual, collaborative and communal embodied creative activity. Whilst articulating the
importance of personal attitudes and attributes, as well as understanding of creative process, the
theory articulates the dynamics of individual, collaborative and communal creativity. Core to this
is an emphasis on teacher as well as student creativity; the collaborative dynamics of
controversy, complementarity, integration and leadership; and the communal characteristics of a
group movement identity, cross fertilisation, shared ownership and interaction with wider circles
of community.
Clearly there are other ways that creativity has been studied and framed internationally.
For a fuller discussion of this and further details of the literature, see Chappell, Craft, Rolfe and
Jobbins (in press). For the initial stages of the research Chappell’s framework has been used to
contextualise the study, however, it is vital to allow for emergence of different conceptions of
creativity as the research unfolds.
The second aspect which is part of the context are the studies around creative partnership.
In investigating partnership a number of recent studies (many funded by Creative Partnerships,
established in England 2002) have offered insights into the roles and relationships between
artists and teachers, for example Galton (2008), Griffiths and Woolf (2004), Pringle (2008), and
Hall, Thomson and Russell (2007). These studies offer a particular kind of perspective,
emphasizing difference between teachers and arts practitioners, frequently highlighting a model
of teaching and learning akin to learning through apprenticeship as researched by Lave and
Wenger (1991). However, more pertinent to DPC is Jeffery’s (2005) research, which produced a
8. dynamic four-fold model of the shifting nature of the teacher/artist relationship in context. The
positioning of DPC is in exploring the nature and development of co-participative, dialogic
partnership, rather than on emphasising difference. Our intention is to understand the complexity
of interaction and negotiation and we have drawn on the models of developing co-participative
partnership from Jeffery (2005) which distinguish between:
Teacher as artist – creative practice of teacher (personal and institutional)
Artist as educator – artist’s role on boundary between institutional and informal learning
Artistry of teaching – pedagogy fuelled by cycle of research-planning-action-reflection
Artistic work as model and educator- participation in the creative process as learning
Jeffery argues that a strong model of Creative Partnership involves all four perspectives, plus
− Investigating and using places/spaces beyond the everyday
− Taking working into a shared public realm
− Emphasising dialogue in learning and assessment
− Recognising identities beyond the given situation
More recently, an investigation by Chappell, Craft and Best (2007), also considered the nuances
of these partnership roles, particularly where enquiry is a key part of the partnership work done
together. DPC aims build on this research in a new context.
The third aspect of the project is the methodology that we have chosen to work with. The
research is using a qualitative methodology underpinned by an epistemological standpoint
acknowledging the social construction of reality, and thus as indicated above values co-
participative investigation of how meaning of that reality is constructed. In building theory thus,
the research is broadly informed by critical theory, oriented toward critiquing and changing (as
opposed to theory oriented only to understanding or explaining), as we build theory and practice,
9. with an emphasis on collaboration and partnership in these processes. We are looking to find
space for change in how we interact with each other in our research, classroom and studio
practice. Within this dynamic, it is vitally important to consider the relationships between the
different members of the research team. Gore (2003) warned against critical theory researchers
themselves working in an ‘unreflexive’ fashion.
Fourthly, we draw on recent work exploring the development of a shared space between
teacher, external partner/artist and research mentor, in the development of partnership, which
extends across role boundaries. Thus, we are looking to evolve a new, third-space canvas, for
DPC. This draws on Zeichner (2008) who, drawing on Soja’s concept of ‘Thirdspace’ (1999:
265) as a reflecting ‘thirding’ or ‘Lived Space’ (1999: 269) melding the ‘Firstspace’ or
‘Perceived Space’ (1999: 265) and ‘Secondspace’ or ‘Conceived Space’ (1999: 266), refers to an
educationally focused concepf of the Third Space. Zeichner proposes researchers’ “border
crossings” between universities and schools as generating a “third space” which is particularly
useful in facilitating researchers to break out of the patterns of relationships between
“academics” and “practitioners”.
Within this methodology it is vitally important to consider the relationships between the
different members of the extended research team in the choreographing of a shared ‘Third
Space’. Yet, Gore (2003) warned against critical theory researchers themselves working in an
“unreflexive” fashion and we are mindful of this possibility. The shifting roles and power
relationships within the team of researchers necessitates the development of trust and openness,
whilst recognising that each individual brings their own particular professional knowledge to the
study.
10. Wenger’s (1998) perspective on communities of learning is also helping us to illuminate
and conceptualise the varied ways that individuals endeavour to understand and support learning
in this research community. Through being active participants in the research our aspiration is
that a community of practice will form, which entails the three dimensions which comprise a
community of practice identified by Wenger of mutual engagement, a joint enterprise, a shared
repertoire of practices. At this point, around six months in to the full project team’s work
together, we are beginning to understand that this will require, among other things, the
development of a vocabulary to talk about experiences of participants in the research that shape
their learning. This development of a shared vocabulary is a tension that is already being
explored by the community, in particular the ways that language can direct our perceptions and
actions.
The theoretical background to the areas discussed briefly above is given in more detail on
the project website, http://education.exeter.ac.uk/dpc where various Powerpoint presentations
and papers can also be found.
Research Methods
In seeking to develop a Third Space and a Community of Practice, then, the DPC team
uses a range of arts-based methods to try and capture specific voices of the artists, teachers and
students. These include adult and student reflective and semi-structured interviews, conceptual
drawing, photographic/video evidence, cultural mapping, written observation notes, reflective
writing and blogs. In each of the four sites a lead researcher and partner researchers (artists and
teachers) are all involved in the data collection, so for the purposes of the research there is a
three-way partnership in place (university researcher-dance artist-teacher). The team has been
11. responsive to on-site activities, applying cycles of data collection and analysis at the levels of
both the site-specific and the over-arching question, in the following process.
Layer 1: the lead researcher and partner researchers in each site each carry out “open
coded/free thinking” analysis of data, this is then coded and stored online (accessible to all
project participants). For partner researchers the data analysed is a ‘slice’iii of all data collected
and is related to the site-specific question. For lead researchers there are two data sets; the first
is a slice of data and is related to the site-specific question. The second encompasses all data
produced in that site, and is related to the over-arching project question.
Layer 2: Lead researchers in collaboration with partner researchers carry out a
triangulation analysis of the slice of data that relates to the site research question, using site-
specific tailored approaches. The triangulation discussion focuses on firstly articulating analytic
commonalities (i.e. common categories) and secondly identifying key differences. The lead
researchers carry out a triangulation analysis of a slice of the data that relates to the over-arching
research question. Again triangulation focuses on commonalities and differences. In each case
the outcome of the layer 2 discussion is an agreed set of codes which describes the current set of
responses to the research questions.
Layer 3: This layer is in process at the time of writing. It involves a second Lead
researcher blind-analysing a slice of data in relation to the site-specific question and then
carrying out a triangulation analysis with all three site-focused researchers, resulting in a
triangulated code list. For the over-arching research question, the process of triangulation is
being devised to involve partner researchers, possibly at a whole-group meeting. An example of
Layers 1 and 2 for a site-specific question is given below, to illustrate some aspects of this
analytic process and also to consider the strengths and possible limitations of these methods.
12. Example of methodology in action: The Eastern England Partnership
The project involved partnership between a drama specialist and a dance specialist, and it
was also a partnership between an established teacher in a school and a visiting artist. In the
initial planning meetings the drama teacher, Helen, was eager for Michael as the artist to bring to
the project his experience as a dance specialist and for him therefore to offer pupils a new and
challenging creative experience. This would enable the drama department to extend beyond what
they would normally have the resources and expertise to offer. The teacher and artist undertook
both defined and shifting roles.
Defined roles: The artist planned and led the practical five week project. Decisions on
content, teaching styles, lesson organisation were his. He “drove” the project towards its final
dance presentation and maintained the overall perspective of the work. The teacher was
responsible for the administration of the project and liaising with all partners. She maintained the
“normal” school expectations and rules throughout the project – dress, behaviour, timetable etc
and ensured all pupils were aware of why they were doing the project and expectations of them
within it. She had a more informal relationship with the pupils than Michael during this project
perhaps reflecting her knowledge and experience of working with them, which she also drew on
to provide specific support as and when needed.
Shifting roles: Whilst Michael as artist planned and led the project, both teacher and
artist were actively involved in the practical sessions, in different and constantly shifting roles.
As they worked and researched their activity, they began to notice that this was unspoken and
intuitive rather than structured and planned. A positive relationship based on mutual respect
13. developed, based upon a prior working relationship, together with increasing awareness of the
defined roles and where these shifted or overlapped.
They reflected over time on how they both valued equality not hierarchy; each with a
very visible presence in the dance studio. Each practitioner, passionate about pupils’ learning
journeys, sought to take on the roles of teacher, leader, supporter, encourager.
The Site-specific Research Question: The partner researchers spent a long time discussing the
areas which they were interested in “unpacking” about their practice in a partnership project.
Areas agreed upon fell into four categories:
1) Developing dance skills and awareness of how dance can be used to express and communicate
ideas and emotions, which build on the physical theatre experience of pupils in drama lessons;
2) How the creative dance experience facilitates the social and emotional development of
learners
3) The value of having an end goal (performance opportunity); a tangible outcome to motivate
learners, possibly deepen quality of creative response and guide overarching teaching structure
4) The benefits and/or disadvantages for learners and teachers of working in vertically grouped
classes (in this case 12-13 year-olds working with 16-17 year-olds)
The researchers wanted to investigate these areas separately and also how their interrelationship
might contribute to the pupils’ learning but they were ultimately gathered together under one
umbrella question for the site encompassing the others: How do we actively create learning
situations which influence/promote creativity/collaboration and independence?
Methods: Across the five week project to address the umbrella site-specific research question,
each session was filmed, a (still) photographic record was made and written observations made
by the lead researcher and partner researchers. Interviews were conducted by the lead researcher
14. with partner researchers and students, also other adults connected with the project such as the
head teacher. Students also interviewed each other. Partner researchers kept an audio diary
(proving more realistic than keeping a written journal).
Analysis: For Layer 1 analysis, all the interview transcripts were disseminated to the research
team to analyse for key themes. The lead researcher open coded all the adult transcripts and a
Layer 2 triangulation resulting in key themes, which were agreed amongst the site-specific
research team. The partner researchers then returned to a Layer 1 analysis and open coded the
student interviews to complement and focus a photographic analysis. Individually and
collaboratively, the partner researchers made an overview analysis of the 400 photos to make a
selection of 50 which related to the key themes emerging from the transcript analyses. They then
each led an in depth analysis of 5 selected photos, using the “See/Think/Wonder” protocol,
(Tishman & Palmer, 2006). The partner researchers found the ‘See/Think/Wonder’ method to be
a particularly rich, objective and informative way to analyse photographic data from work in
which they had been closely involved as the teacher/artist. The first stage of this protocol –
“What can you see?” guides a factual and objective viewing of the image and results in a series
of factual statements. For example: “four older students are dancing in the centre of the space
whilst around them a mixed age audience are sitting on the floor. The dancers are moving with
energy and vigour as seen by the movement of their hair and active body shapes.” The second
stage of the protocol asks the question “What do you think about that?” and focuses the observer
to make a statement: “I think that”… stimulated by what can be seen. For example: “I think that
the dancers are moving with confidence in front of their audience because of the way they are
spread out and the apparent energy of their movement.” The final stage of the protocol is driven
by asking the question, “What does it make you wonder?” Key themes arising from the
15. “wonder” stage of analysis provoked Michael as artist to probe much deeper into why he had set
up this performance / observation situation and how it related to the creative journey of the
young people across the project. Both partner researchers felt this was a method of analysis
which, through promoting more and more questions, facilitates and seeing how the emerging
themes of one situation resonate across the project. Each photograph analysed with the
“See/Think/Wonder” protocol was then accompanied by four further photos relating to themes
emerging from the analysis.
For Layer 2 analysis, triangulation of a ‘slice’ of this data was undertaken between the partner
and lead researchers, resulting in a set of agreed codes across the whole data set.
Finally, for Layer 3 analysis, triangulation of a ‘slice’ of the data was undertaken between the
team of three and one other core team member, resulting in a final set of agreed codes in
response to the umbrella site question.
The realities of co-participative research
Reflecting on the example of the Eastern England partnership, together with experience gained in
ongoing analysis occurring in the other three sites, some key issues are surfacing about the co-
participative nature of the study.
Time for the site research teams to meet was difficult and needed planning in advance, in order
to address this both phone and face to face meetings were held to help triangulate the data and
discuss the findings. There was often little opportunity for spontaneous talk during or after the
sessions about the project and therefore both written and taped records were kept by all
researchers as a means of capturing their reflections. The project funding did however ensure
that all partner researchers could allocate time within their normal work schedule to focus on
16. the analysis process, with half day and full day meetings to share findings and communicate with
the lead researcher.
The amount of data collected across the project can be overwhelming. With the lead researcher
and core team’s help it was possible to prioritise which area would be analysed and by whom,
and how this would then contribute to the team analysis. Some themes emerged which were not
necessarily congruent with the site question/s and had to be put on the back burner.
The team is currently exploring the appropriate terminology and language to use to describe
and share the findings. There is also a tension between using dance specific or project specific
language and communicating our findings to a wider audience in an accessible way.
What have we learned about this methodology?
Finding research spaces, methods and, indeed, means of dissemination within which to
incorporate an acceptance of “partial knowledge” and respect what it means in practice provides
an ongoing challenge for all members of the DPC research team.
Zeichner’s work on a “3rd space”, which recognises the border crossings between the 1st
place perspective of practitioner knowledge and 2nd place perspective of academic knowledge
was a useful starting point for delineating time, space and resource for the DPC lead and partner
researchers to work together, however, we already feel that our understanding of what constitutes
this space has moved on.
The development of the ‘Third Space’ which Zeichner identifies feels in practice
constrained and compromised by the tensions of time and space identified particularly by the
teacher partner researchers as they continue to struggle with the demands of their reality in
schools. As lead researchers the emphasis is placed upon them to maintain the momentum of the
17. research and whilst attempting to take account of different kinds of knowledge there is
sometimes a tension between the various roles such as critical friend, researcher, and dance
educator. In addition, there is a dynamic of meaning-making which the Third Space concept
perhaps inadequately represents.
Within the sites, there is already a strong, ongoing rolling partnership established between
the dance artist and teacher, into which the lead researchers are stepping. As the research is
unfolding the lead researchers are shifting between two places within this working space. At
times the lead researchers find themselves more at the edge of the space, whilst at other times
they are at the heart and yet simultaneously the edge of this space injecting the particular kind of
criticality and challenge that depth and perspective in research brings. We are becoming
especially interested in the spatiality of interactions in this challenged and challenging Third
Space (Chappell and Craft, 2009). In further theorising the dynamics of these interactions, or
‘learning conversations’ (Chappell and Craft, 2009, 1) we are influenced by Lefebvre’s concept
of ‘lived space’, of open, dynamic, continuous, disordered engagement, with no closures, rather
what Soja (1999), interpreting Lefebvre (1991), calls ‘radical openness’. At this point it seems to
us that the methodology of our work in which learning conversations inhabit space between and
across dyads, teams and institutions, represents living ‘dialogic spaces’ (Chappell and Craft,
2009, 1) echoing the ‘disordering, reconstructing and tentatively reconstituting’ that Lefebvre’s
lived space involves.
Current thinking within the team suggests the dynamics of the living space of dialogue
(developed further in Chappell and Craft, 2009) are related to issues regarding who is taking the
artist/teacher/researcher role at which point, the co-participative balance within each site between
the over-arching umbrella research question, the site’s sub-research question and the day-to-day
18. creative partnership in the site. These increasingly co-participatively constructed places, role-
taking and balances are still developing during the life of the research and are being carefully
monitored during the team’s methodological and conceptual investigations.
The relationship between theory, practice and reflection is intensified by having an umbrella
question and the inclusion of an additional research layer with each site having its own related
research question. The multiple views and perspectives which are surfacing as we analyse the
data, form part of the living dialogue space that we navigate to negotiate interpretations and
meanings. In some instances the cycles of practice, reflection and analysis are leading to a
deconstruction of the practice in the partnership, in order to rebuild it as the project is happening.
This is both reflective and reflexive as it embraces subjective understandings of the reality in
each site as a basis for thinking more critically about the impact of our assumptions, values, and
actions on others. We are embedded in the socially constructed nature of the reality that is the
partnership and the research.
In undertaking such theoretical approaches, the project team seeks to develop co-constructed
critical pedagogy as we interact with each other in the social construction of our research,
classroom and studio practice.
Notes
i
Linda Rolfe, University of Exeter, England; Michael Platt, Suffolk County Council, England; Veronica
Jobbins, TrinityLaban, England; Professor Anna Craft, University of Exeter, England; Dr Kerry Chappell,
University of Exeter, England; and Helen Wright, formerly Holywells School, currently freelance. This
paper was presented at the CORD Conference by Linda Rolfe, Michael Platt and Veronica Jobbins.
ii
Helen Angove, Rachelle Green, Sian Goss, Bim Malcomson, Melanie Mason-Hoare, Abi Mortimer,
Michael Platt, Caroline Watkins, Carrie Whittaker, Helen Wright
iii
A ‘slice’ denotes a restricted set of multiple data types from within the site
19. Works Cited
Ackroyd, Sue. 2001. But is it creative? Seminar, Arts Council of England, July 2001, London.
Chappell, Kerry. 2006. Creativity within late primary age dance education: Unlocking expert
specialist dance teachers conceptions and approaches. (Ph.D. Thesis; Laban, London:
http://kn.open.ac.uk/public/document.cfm?documentid=8627).
Chappell, Kerry. 2007. Creativity in primary level dance education: Moving beyond assumption.
Research in Dance Education, 8: 27-52.
Chappell, Kerry. 2008a. Mediating creativity and performativity policy tensions in dance
education-based action research partnerships: insights from a mentor's self-study. Thinking
Skills and Creativity, 3: 94-103.
Chappell, Kerry. 2008b. Towards Humanising Creativity. UNESCO Observatory. E-Journal
Special Issue on Creativity, policy and practice discourses: productive tensions in the new
millenium Volume 1, Issue 3, December 2008.
http://www.abp.unimelb.edu.au/unesco/ejournal/vol-one-issue-three.html
Chappell, Kerry, Anna Craft and Penelope Best. 2007. Mapping Ripples of Influence:
Understanding shifts in practice within the Creativity Action Research Awards 2. Available
at: http://education.exeter.ac.uk/projects.php?id=102
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conversation? Paper to be presented at British Educational Research Association
Conference, Manchester, 2009.
Chappell, Kerry, Anna Craft, Linda Rolfe, and Veronica Jobbins. 2009 (in press). Dance Partners
for Creativity: choreographing space for co-participative research into creativity and
partnership in dance education. Research in Dance Education: Special Issue Creativity,
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Craft, Anna. 2000. Creativity across the primary curriculum. Framing and developing practice.
London: Routledge.
Craft, Anna and Bob Jeffrey. 2008. Creativity and performativity in teaching and learning:
tensions, dilemmas, constraints, accommodations and synthesis. British Educational
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Creativity, Culture and Education (CCE) Home Page 2009.
http://www.creativitycultureeducation.org/
Department for Culture, Media and Sport (DCMS). 2006. Government response to Paul Roberts’
review on nurturing creativity in young people. London: DCM.
Department for Children, Schools and Families (DCSF) & Department for Culture, Media and
Sport (DCMS). 2008. Government Response to Tony Hall’s Dance Review. London:
DCSF/DCMS.
Department for Children, Schools and Families (DCSF). 2009. Your child, your schools, our
future: building a 21st century school system. London: DCSF, June 2009.
Galton, Maurice. 2008. Creative Practitioners in Schools and Classrooms. Final Report of the
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21. around dance, the arts and teacher training. She is the founding editor of the journal Research in
Dance Education; a lead assessor for the Council for Dance Education and Training and on the
board of directors for Dance South West.
Michael Platt (Adviser / Teacher / Director / Choreographer) is the Learning and Teaching
Adviser for Social and Emotional Learning for Suffolk’s Inclusive School Improvement Service,
providing creative learning opportunities for young people and teachers, in and through the arts.
He is the director of Suffolk Youth Theatre, one of the regions most innovative youth groups.
Veronica Jobbins is Head of Professional and Community Studies at Laban where she directs
the Education and Community Programme and lectures in Dance Education. She has taken an
active interest in promoting and developing dance in schools and until recently was Chair of the
National Dance Teachers’ Association.
Kerry Chappell (PhD) is the Research Fellow on the DPC and Aspire Research Projects in the
Graduate School of Education at University of Exeter. She is an Associate of the Goldsmiths
University CUCR and the Centre for Advance Training Research Team at Laban. Kerry lectures
and supervises for University of Exeter and Laban and works as a dance-artist when the
opportunity arises.
Anna Craft is Professor of Education at the University of Exeter and The Open University,
where she teaches undergraduate and postgraduate programmes on creativity, supervising many
doctoral research students also. She leads the CREATE and Educational Futures research
groups at Exeter, and directs the Dance Partners for Creativity study.
Helen Wright was until recently the Head of Performing Arts at Holywells Secondary School in
Ipswich where she reintroduced Drama to the curriculum in 2007. An ongoing member of the
DPC team, Helen is currently travelling internationally.