Session Information
99 ERC SES 03 B, Didactics - Learning and Teaching
Paper Session
Contribution
In a present marked by uncertainty, instability, and unpredictability, school system struggles to keep pace, despite calls for schools and teachers to be dynamic, open to change and to prepare pupils to face the challenges and problems of an ever-fast-changing world (European Union, 2008). The environments where we spend most of our time in the period of (trans)formation appear entrenched in an overly predetermined structure that fail to align with the dynamism of the present. This research aims to delve into jazz, conceived as a metaphor encompassing values and attitudes essential for daily life and long-term development (Santi, Zorzi, 2016). Jazz embodies a formative potential for the next generations and a trans-formative one for the teaching/learning approach and, more in general, for the idea of an inclusive, inventive, polyphonic, and explorative education. Schools frequently hinder aspects inherent to human existence that are also prevalent in jazz: improvisation in ambiguous situations, adaptation to new contexts, curiosity about the unknown, and learning from mistakes. Instead of presenting themselves as protected havens resistant to the unpredictability of the world, educational environments should be viewed as safe spaces that foster experimentation, mirroring what happens between jazz musicians during a jam session with no audience. In both contexts, focus is placed on the process unfolding in the present, requiring continuous attention (Masschelein, 2010), rather than prioritizing the product as a predetermined outcome subject to rigid evaluation criteria.
The research’s main theoretical framework is pedagojazz (Santi, 2010, 2015; Santi, Zorzi, 2016). Santi's theoretical proposal introduces values that could serve as inspiration for a novel pedagogical approach, exploring possibilities often overlooked in traditional education. Specifically, it emphasizes the significance of authentic presence, the establishment of a safe creativity environment (Weinstein, 2016) that encourages experimentation without fear of making mistakes, and the importance of maintaining an open stance toward others in the pursuit of a shared educational journey. Above all, pedagojazz places a priority on the potential of improvisation, a fundamental element of jazz music, that has undergone extensive study in various fields, including education (Cappa, Negro, 2006; Tomlinson, Germundson, 2007; Sawyer, 2011; Zorzi, 2020). It teaches that mistakes are inherent in the journey, and the real challenge lies in effectively dealing with them. Embracing mistakes is the pathway to stepping out of our comfort zones and genuinely putting ourselves on the line.
The research subject is of great topicality, which is confirmed by the support from NRRP funds for this research grant. Moreover, the project stems from a collaboration between the University of Padua and Federazione Nazionale Il Jazz Italiano. The objective is to expose jazz hallmarks by drawing insights directly from the experiences of jazz professionals to outline a teaching and learning jazzing posture that responds to the need to embrace the uncertainty of the present. Due to the collaborative nature of the project, it pursues two interconnected goals, addressing both theoretical and practical needs. Firstly, it endeavors to explore the potentially revolutionary impact of a jazzing approach in the pedagogical field: what does it mean to bring jazz to school? What does a teaching and learning jazzing posture entail? Which positive implications might it have? Secondly, the project aims to highlight the cultural heritage of jazz, recognized by UNESCO for promoting peace, dialogue, respect, eradicating discrimination, fostering gender equality, and promoting freedom of expression. The collaborative effort involves co-constructing a yet-to-be-identified tool with representatives from jazz organizations to answer the following questions: how is it possible to enhance networking among musicians engaged in the educational field? How could this step benefit the school system as a whole?
Method
From a methodological point of view, the exploratory nature of the research suggested the choice of a qualitative approach (Denzin, Lincoln, 2005; Bogdan, Biklen, 2007), framing the work in social constructivism (Lincoln, Guba, 1985) within a phenomenological perspective (Mortari, 2007). The most appropriate method appeared to be Grounded Theory (Strauss, Corbin, 1998): the tool of semi-structured interview (Zammuner, 1998) has been used for data collection, as for data analysis the choice was the software ATLAS.ti. Three different groups of participants to the research have been selected based on three interdependent dimensions emerging from the Index of Inclusion (Booth, Ainscow, 2000, 2002, 2011), a resource that promote a development of inclusion in schools. The three dimensions – cultures, policies, and practices – are thought as a never-ending process towards inclusion. Every little change of a dimension influences the others, sustaining the dynamism of both challenges and potential solutions. Hence, it is vital to recognize each dimension and develop them all together to shape a common flexible direction. The choice of this tool as a guiding principle arises from its alignment with a concept of inclusion that mirrors an approach akin to jazz music. This embraces an upstream view of diversity, considering alternatives as generative opportunities for the system itself. The practices dimension is represented by musicians (17) with a jazz background, who had experiences in educational environments. Referents of jazz organizations (3) played an active part in the research representing the policies dimension, too, being more aware of the political framework and the constraints they face every day. The third and last dimension is the one of cultures, embodied in the group of theoreticians (15), namely experts from different fields who, within their own area of expertise, had already brought reflections on the research topic. The analysis of data from semi-structured interviews will involve three primary steps. At first, data obtained from each group will be processed independently, as closed systems, to extract distinct categories. Afterwards, the analysis will transition to an open systems perspective, where the categories derived from the closed analysis will be compared. The objective is to identify any common categories that may emerge across various dimensions. Finally, the identified categories will be juxtaposed with existing literature on the topic, with the aim of determining whether they align with those outlined in prior studies (Santi, 2015, 2016) or if they introduce unexplored nuances.
Expected Outcomes
All interviews have been conducted and transcribed, data analysis is in progress, but initial ones offer a glimpse into potential outcomes. Firstly, we foresee the identification of core categories that transcend all three interviewees’ groups, serving as pivotal elements in shaping the jazzing posture. We also expect these categories to correspond to some of the characteristic traits already tracked by pedagojazz (Santi, 2015, 2016). One of these will almost certainly be improvisation that, in its collaborative declination, is a persistent feature in all the interviews so far. In the same way, new elements also stand out, stemming precisely from the personal teaching experiences of the musicians interviewed, capable of broadening the traits of pedagojazz enriching it with new, different, and generative perspectives. Likewise, some categories may occur exclusively within certain groups, shedding light on aspects that are less explored or lack awareness, such as the naturally inclusive nature of jazz, also related to its history, which conflicts with the exclusivity manifested in jam sessions among skilled musicians that do not admit those who stay one step behind. A deeper exploration of distinct elements contributes to the development of a tool that fosters collaboration among musicians, enhancing their unique teaching approaches, but also promising mutual enrichment within the musical education landscape. Simultaneously, this exploration extends beyond jazz as a teaching discipline. The process that will lead to the co-construction of the as-yet unidentified tool provides for the identification of fallouts in the pedagogical field. Therefore, it presents itself as an opportunity for critical reflections on the broader educational dimensions of cultures, practices, and policies. This multifaceted approach, nurtured by a constant and dynamic interplay between experiences and contrasting points of view, enables a more comprehensive understanding of the potential impact and applications of the jazzing posture in diverse educational settings.
References
Bogdan R. & Biklen S. K. (2007). Qualitative research for education. An introduction to theories and methods. New York: Pearson Education Inc., Allyn & Bacon. Booth, T. & Ainscow, M. (2000, 2002, 2011). Index for Inclusion, developing learning and participation in school. UK: CSIE. Cappa, F. & Negro, C. (2006). Il senso nell’istante: improvvisazione e formazione. Milano: Guerini Scientifica. Denzin N. K. & Lincoln Y. S. (2005). Handbook of qualitative research. Thousand Oaks (California): Sage. European Union, C319 (2008). An Agenda for European Cooperation on Schools. Official Journal of the European Union. Lincoln, Y. & Guba, E. (1985). Naturalistic inquiry. Beverly Hills, CA: Sage. Masschelein, J. (2010). E-ducating the gaze: the idea of a poor pedagogy. Ethics and Education, 5(1), 43-53. Mortari, L. (2007). Cultura della ricerca e pedagogia. Roma: Carocci Editore. Santi, M. (Ed.). (2010). Improvisation between technique and spontaneity. Newcastle upon Tyne: Cambridge Scholars. Santi M. (2015). Improvvisare creatività: nove principi di didattica sull’eco di un discorso. Studium Educationis, 2, 103-114. Santi M. (2016). Educare in jazz: otto tratti di una nuova pedagogia. In W. Kohan, S. Lopes, F. Martins (Eds.), O ato de educar em uma lingua ainda por ser escrita (pp. 379-390). Rio de Janeiro: NEFI. Santi, M. & Zorzi, E. (Eds.). (2016). Education as Jazz: Interdisciplinary Sketches on a New Metaphor. Newcastle upon Tyne: Cambridge Scholars. Sawyer, R. K. (2011). Structure and Improvisation in Creative Teaching. New York: Cambridge University Press. Strauss, A. L. & Corbin, J. M. (1998). Basics of qualitative research: Techniques and procedures for developing grounded theory (2nd ed.). Newbury Park, CA: Sage. Tomlinson, C. A. & Germundson, A. (2007). Teaching as Jazz. Educational Leadership, 8(64), 27-31. Weinstein, J. (2016). A Safe Creativity Environment. In Santi M. & Zorzi E. (Eds.), Education as Jazz: Interdisciplinary Sketches on A New Metaphor (pp. 49-61). Newcastle upon Tyne, Cambridge Scholars. Zammuner V. L. (1998). Tecniche dell’intervista e del questionario. Bologna: Il Mulino. Zorzi, E. (2020). L’insegnante improvvisatore. Napoli: Liguori.
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