Session Information
27 SES 01 A, Ethnomethodological Approach and Didactics: Theoritical and Methodological Perspectives
Paper Session
Contribution
At French elementary school, the Physical Education Curriculum includes dance, wich is considered as an artistic and expressive physical practice. The official instructions invites to lead students to create, interpret and appreciate choreographies, relying on three postures: « being a dancer », « being a choreographer » and « being a spectator ». Dance works could also be studied in the History of Arts curriculum. In this context, we consider dance at school as a « choreographic practices » (Motais & Loquet, 2010), in relation to the professional practices and artistic works, in a cultural approach.
We focus on a specific didactic situation in which a professional choreographer intervenes in a 3rd and 4th grade class at elementary school. The artist’s interventions are part of a larger project for cultural access and choreographic culture. In that way, the professional choreographer may be seen as a “partner artist” in the teaching process. In an anthropological perspective (Chevallard, 2007; Chevallard & Sensevy, 2014), we consider educational practices implemented by partner artists as based on their professional expertise. Built in experience and included in practices, such expertise is seldom formalized.
Our theoretical framework is based on the Joint Action Theory in Didactics (JATD) and the game model theory (Sensevy, 2011; 2012; Sensevy, Gruson, & Forest, 2015; Loquet, 2014 a; Loquet, 2014 b). The point “ … is not only to consider in a separate way the teacher’s or the student’s action, or the structure and function of the knowledge at stake. Beyond that, the JATD institutes a specific unit of analysis, that we call an epistemic joint act » (Sensevy, 2012, p. 504, 505). In this way, teaching and learning through dance are processes that stem from the interplay between a teacher (choreographer) and the pupils, which is only efficient under certain circumstances. We focus on such circumstances and attempt to describe the specific didactical transactions between this “special” teacher-choreographer (the regular class teacher is present but does not participate in the teaching process) and the students.
In this case, the choreographer has to make the students embody (Sheets-Johnstone, 2009) an arm gesture as part of a choreography learned before. The teacher-choreographer does not seem satisfied with the quality of this gesture. First, he invites the students to experience collectively the action of “touching” (a dance partner, the wall, something far away from them…) based on an improvisation process. In a second time, he connects the specific choreographic embodied gesture, with the touching action. Using a “showing-by-doing” process (Harbonnier-Topin, Barbier, 2012) and a speaking-doing hybrid system of expression, the teacher-choreographer tries to bring the students to a kind of poetic embodiment (Louppe, 2010).
Method
Expected Outcomes
References
Billeter, J.F. (2012). Un paradigme. Paris : Allia. Chevallard, Y. (2007). Readjusting Didactics to a Changing Epistemology. European Educational Research Journal, 6(2), 131-134. Chevallard, Y., & Sensevy, G. (2014). Anthropological approaches in mathematics education, French perspectives. In S. Lerman (Ed.), Encyclopedia of Mathematics Education (p. 38–43). Berlin: Springer. Dewey, J. (2009). 1934: Art As Experience in John Dewey. The Later Works, 1925-1953. Carbondale: Southern Illinois University Press. Harbonnier-Topin, N. & Barbier, J.M. (2012). How seeing helps doing, and doing allows to see more: The process of imitation in the dance class. Research in Dance Education, 14 (2), 1-25 Loquet, M. (2014 a). Epistemic Game as a Way of Modeling the Distance between Savant Practice and School Practice. World Education Research Association (WERA). University of Edinburgh, Scotland. Loquet, M. (2014 b). Epistemic game: the Articulation between Savant Practice and School Practice, a Didactical Analysis in Dance. European Conference on Educational Research (EERA/ECER). Porto, Portugal. Louppe, L. (2010). Poetics of Contemporary Dance. Sally Gardner (trad). Alton, Hampshire England: Dance Books Ltd. Motais, G. & Loquet, M. (2010). Choreographic Practices in Primary School: Analysis of epistemic Game inside Learning Game. European Conference on Educational Research (EERA/ECER), Helsinki, Finlande. Noë, A. (2015). Stranges Tools. Art and Human Nature. New York : Hill and Wang. Sensevy, G. (2011). Le sens du savoir. Eléments pour une théorie de l’action conjointe en didactique. Bruxelles : De Boeck. Sensevy, G. (2012). About the Joint Action Theory in Didactics. Zeitschrift für Erziehungswissenschaft, Springer Verlag, 15 (3), 503-516. Sensevy, G., Gruson, B., & Forest, D. (2015). On the Nature of the Semiotic Structure of the Didactic Action: The Joint Action Theory in Didactics Within a Comparative Approach. Interchange. 46 (4), 387-412 Sheets-Johnstone, M. (2009). The Corporeal Turn: An Interdisciplinary Reader. Exeter : Imprint Academic. Straus, E. W. (1980). Phenomenological Psychology (New edition). New York: Garland Tiberghien, A. & Sensevy, G. (2012). Video studies : Time and duration in the teaching-learning processes. In J. Dillon & D. Jorde (Eds.), Handbook "The World of Science Education” volume 4. (p. 141-179). Rotterdam/Boston/Taipei : Sense Publishers.
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