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Moving in Time Observing Student Dancers and Composers Collaborate Elizabeth Dobson - Portsmouth University Open University PhD Supervision Team: Professor.

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Presentation on theme: "Moving in Time Observing Student Dancers and Composers Collaborate Elizabeth Dobson - Portsmouth University Open University PhD Supervision Team: Professor."— Presentation transcript:

1 Moving in Time Observing Student Dancers and Composers Collaborate Elizabeth Dobson - Portsmouth University Open University PhD Supervision Team: Professor Dorothy Miell & Dr Karen Littleton

2 Literature Barrett (2006) Creative Collaboration an eminence study of teaching and learning in music composition Psychology of Music 34(2) 195-218 Burnard (2004) Problem Solving and Creativity: insights from students individual composing paththways International Journal of Music Education 22(1) 59-76 International Society for Music Education www.sagepub.com * Dixon, S., Smart, J., (2002) The Discourse of Assessment. Language and Value in the Assessment of Group Practice in the Performing Arts. Arts and Humanities in Higher Education 1:2, 185 – 204. Sage Publications. London * Fredrickson, B.L., Branigan, C (2001) Positive Emotions. In Mayne, T., & Bonanno, G (Eds.), Emotions: Current Issues and Future Directions (pp123 – 149). New York: The Guildford Press. Gruber, H. E. (1989). The Evolving Systems Approach to Creative Work. New York: Oxford University Press.

3 Literature * John-Steiner, V., Weber, R., Minnis, M. (1998). The Challenge of Studying Collaboration. American Educational Research Journal, 35,4,773-783. * John-Steiner, V. (2000) Creative Collaboration OUP * John-Steiner, V., Mahn H (2002) The Gift of Confidence: A Vygotskian View of Emotions. In G.Wells & G Claxton (Eds) Learning for life in the 21stcentury: Sociocultural perspectives on the further of education. Oxford : Blackwell, 2002 Miell, D, & MacDonald, R (2000) Childrens Creative Collaborations: The Importance of Friendship when Working Together on a Musical Composition Blackwell Publishers * Sawyer, K. R., (2003) Group Creativity: Music, Theatre, Collaboration. London: Lawrence Erlbaum Associates, Publishers. Teck, K., (1989) Music for the Dance: Reflections on a Collaborative Art. London: Greenwood press. * Wallace, D, B., (1989) Creative People at Work. New York: OUP

4 Fostering Creativity …if we can formally understand the nature of the creative process we can begin to establish what kind of teaching best fosters it and what blunts and diminishes it. P. Abbs (1989) A is for Aesthetic: Essays on Creative and Aesthetic Education Examine the impact of these areas to to help facilitate Boundaries Context/Climate Tension and conflict Individual skills Familiarity Identity Impacts of assessment Motivations

5 Summary of Categories Context/Climate - physical, psychological and pedagogical environment Evolving Contexts Familiarity/friendship Emotional environment Identity Individual motivations Static Contexts Boundaries Barriers Constraints Tension – spark for creativity or collapse Skills Problem solving

6 A basic model Categories from literature Problem Solving Evolving More Static etc.

7 Affordances and Constraints Context/Climate - physical, psychological and pedagogical environment Evolving Contexts Familiarity/friendship – common language and understanding of each other and the discipline Emotional environment – impact of negative and positive emotional experience Identity - group or individual Individual motivations - intrinsic or extrinsic Static Context Boundaries - what they are and how they impact on creative freedom Barriers – pedagogical, physical and psychological Constraints – such as assessment requirements or facilities. Tension – spark for creativity or collapse Skills Problem solving – result of creative tension leading to new creative ideas

8 Existing Models of Creativity Enabling Factors Kinney (1990)- Meeting respected teachers & individual personality Lysaught (1993)- Generating ideas, having fascination with medium, having competency & being in the right environment Bennett (1976)- Tranquility, security & relaxation Stages of Creativity Swanwick & Tillman (1986) - Initial impulse, strategic decision, exploration of materials & rounding off Wallas (1926) - Preparation, incubation, illumination & verification Sloboda(1985) - Inspiration - unconscious and conscious & Execution - unconscious and conscious Bennett(1967) - Germinal idea, first sketch, first draft, elaboration, refinement, completion & score copying

9 Websters Model of Creative Thinking Process in Music (2003) p.60 from Hickey (2003).Ed. Why and how to teach music composition. Reston, VA: The National Association for Music Education (MENC) Copyright ©2003 by MENCL The national Association for Music Education Climate Boundaries Tension Familiarity Identity Assessment Motivation Skills

10 Observing Process Education Action Research Vygotsky - Socio-cultural Theory Methodological approach

11 Research Data needed Conversations Creative work devised Individual profiles Collaboration context Participants perceptions of their intended and resulting work Categories situated and perceived barriers to creativity situated and perceived motivators for creativity devising characteristics of a situated creative collaboration changes in approach and process as a partnership matures: The evolution of specific affordances and frustrations over time observed and reported causes, and perceived impact of conflict and tension. the impact of boundaries placed around creative work a relative impact of the affordances and constraints identified Observations Questionnaires Interviews Video documents Method Discourse analysis Multi-modal analysis of dance and music For triangulation with situated data to inform validity and increase transparency for greater relevance. Analysis Documents

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