1

Tim HopperAssociate Professor,

Past President Canadian Association for Teacher Education (CATE) School of Exercise Science, Physical and Health Education (EPHE)

Faculty of Education. University of VictoriaWebsite: http:/web.uvic.ca

2

Context of data in this Context of data in this presentationpresentation

Elementary generalist teachers learning to teach PE

Two-term school integrated teacher education course

Creative dance taught in the second term of the course in local school by instructor and then student teachers

3

School integrated School integrated teacher education teacher education

programprogram

4

Creative dance as part Creative dance as part of Movement of Movement

EducationEducation

Popularized in the 1960’s and 1970’s in the United Kingdom from the approach called “dance for all” advocated by Rudolf Laban (Wall & Murray, 1994).

Four principles—body concepts, effort concepts, spatial concepts, and relationship concepts—deal with what the body does, where it moves, how it moves, and with whom or what it moves

5

Creative DanceCreative DanceWhat does it look like in What does it look like in

school?school?

6Age 5 and 6 year olds – Example lesson taught by beginning student teachers

OverviewOverview

1. Research genres for new insights

2. Emergence: Complexity thinking

3. Grade 6 Creative Dance Story

4. Complexity learning in the dance

5. Reflection from student teacher

Extension: Planning creative dance lessons

7

1. What is a research genre?1. What is a research genre?How does it relate to How does it relate to paradigm?paradigm?

8

A genre is understood as a style or form of representing research data.

Genre refers to how we collect data through multiple methods and then analyze that data to then represent it in numerous ways in order to advance the value of the research agenda.

A paradigm is a world view, a general perspective, a way of breaking down the complexity of the world. As such paradigms are deeply embedded in the socialization of adherents and practitioners: paradigms tell us what is important, legitimate, and reasonable.

ParadigmsParadigms

9

…their strength in that it makes action possible, their weakness in that the very reason for action is hidden in the unquestioned assumptions of the paradigm.

(Patton, 1978, p. 203, referenced in Sparkes, 1992, p. 12)

Ontology, Ontology, epistemology and epistemology and

methodologymethodology Ontological understanding refers to “how we know”

Is reality external to the individual (external-realist) or the product of individual consciousness (internal-idealist, relativistic)?

Epistemology refers to assumptions made about the nature of knowledge, the claims we make about truth(s) and how we come to know.

Methodology (1) deterministic - theory to predict, (2) voluntaristic – constructed descriptive of reality, (3) plausible – verisimilitude

10

Scientific and objectivity

“Surely there is something out there?”

11

12

Acts upon

World as Object

Reality out there

Truth – CorrespondenceCause/effect – predictResearch instrument

Ideolo

gy

Practice of scientificPractice of scientific

13

Naturalistic – Subjective and Inter-

subjective knowing“I been there, done that, talked to the people and

got a t-shirt”

14

15

Social World

Realist - Reality is intersubjectively

constituted

Describes and is described by

Truth – Coherence“Social reality”

Researcher-as-instrument

Ideolo

gy

Practice of realist talePractice of realist tale

16

CriticalInter-subjective to emancipate

“Why do I feel so unimportant? Surely we can do it a different

way?”

17

18

Transforms

Critical - Reality is in praxis (thought and

action)

ReflectsUpon

Truth – Catalytic forconscientization

Instruments and researcherfor change.

Ideolo

gy

World

Example Practice of Example Practice of CriticalCritical

19

Post-modernInter-subjective

and Inter-objective

“Who said that? What does it mean? If we can do it and then we can see what

happens.”

20

21

World

Evokes to Transform

Communicates to reflect upon

Truth – Verisimilitude

Multiple realitiesResearched/researcher

Ideolo

gy

Reality Reality re/constructed in re/constructed in

praxis praxis

Post-modern practicePost-modern practice

22

23

Another exampleAnother example

24

What about this one?What about this one?

25

Emergence:Complexity

Thinking

26

(2)

Learning and Learning and Complexity ThinkingComplexity Thinking

Behaviourism - stimulus leading to certain response. Mind learns through body

Learning-as-mechanical process

Constructivism – experience that triggers transformation in learner’s structure. Body learns, mind as part of an embodied process

Learning-as-organic process27

Emergence: Emergence: How nature learnsHow nature learns

28

Grade 6 creative dance class

“The class from hell”

29

(3)

Creative dance storyCreative dance story

The following story based on “I’m late…” dance, told by a student teacher, has been written with her permission, based on actual events, but has been shaped to provoke a visceral response for the listener, a sense of being there in the creative dance lesson.

Creative non-fiction ethnographic genre (Hopper et al., 2008; Rinehart, 1998; Sparkes, 2002)

30

““I’m late…”I’m late…”

31

““I’m Late…”I’m Late…”

32

Complexity learning in the

dance

33

(4)

What is complexity thinking What is complexity thinking and how does t relate to and how does t relate to

creative dance?creative dance?

Based on constructivist epistemology

Focuses on adaptive, self-organizing systems where learning emerges from experiences that trigger transformations in learners.

…pragmatic implications of assuming a complex universe”

(Davis, Sumara, 2006, p. 18) 34

Body as complex Body as complex structure learnsstructure learns

Body as a complex biological-and-experiential structure

Mindy’s lesson sense of embodied learning in the comment “children burst into action, in different directions, their bodies taut and stiff.”

35

Teaching as creating Teaching as creating the the

condition for learningcondition for learningConstructivism…Impossibility of teaching class

same thing at the same time.

Teaching cannot determine learning but can only create the conditions for certain things to be learned

“The children's movements showed a sense of control, rhythm and purpose, their movements indicated focused, playful vitality…they existed in their own special community place created by the imagery and the music.” They created the dance and the dance created them.

36

Students become self-Students become self-organizing system that organizing system that

learnslearnsEach student (as an agent of system) is “complex

structure” that will adapt to an environment; one the student in part co-creates through engagements with other students.

The idea of the dance is that you are late," Mindy explained; "you have over slept, that is why you are in a rush. Now take up your sleep positions. Oh nice flop Shaun. Good Kirsty it really looks like you are leaning against something.

Identifying body and relationship ideas Mindy allowed the system to learn from actions of agents (students) within it

37

Openness results from Openness results from tension between stable and tension between stable and

unstable stateunstable state

Initially the system almost went out-of-control when students “initially treated the whole episode as a lark”, but then with Mindy’s focusing feedback became an open system where the “children whizzed off into tense walks which were ready for another spin.”

Constrained by Mindy's tasks, students were open to the energy from the dance they co-created, they started to realize a variety of movements showing being late.

38

Adaptation to Adaptation to environment set by environment set by

teacher and other teacher and other studentsstudents

Children closed to start "With a resistance stare; ‘Oh yeah, going to get us to be clouds are you?’" and “'forget it lady'”.

"By stressing the dynamic effort quality of walking and pivoting with tension and urgency" Mindy invited diversity, whilst maintaining coherence to the structure of the dance.

39

Bottom-up as Bottom-up as decentralized control decentralized control

emergesemergesCollective intelligence from simple actions

like “fast walk” that built into a complex dance containing multiple phrases of music corresponding to certain actions, each action having multiple generative possibilities.

The children burst into action, in different directions, their bodies taut and stiff. "CLAP six, CLAP seven and pivot. Well done. That's it keep control...but fast!!” The children whizzed off into tense walks…ready for another spin.

40

Decentralized controlDecentralized control

The teacher, though initially at the centre of the lesson, increasingly shifts from this role to initiating new tasks and prompts to more of a engaged observer, guiding, encouraging and showing ideas from one student to others, encouraging diversity and self-organizing awareness

41

Features of Features of complexity learningcomplexity learning

Bottom-up as decentralized control emerges

42

Openness results from tension between stable and unstable state

Adaptation to environment set by teacher and other students

Body as complex structure learns

Teaching as creating the condition for learning

Students become self-organizing system that learns

Student teacher reflection

School Integrated Teacher Education

43

(5)

Four lessons of creative Four lessons of creative dance in local schooldance in local school

44

Teach peers then teach Teach peers then teach childrenchildren

45

Ashley comments…Ashley comments…

(Realist tale)

In the peer teaching and the dance unit teaching I had the most fun I have ever had teaching which really passed onto my students…teaching to my peers I discovered things I shouldn’t be doing, as well as things that were positive… really liked getting the feedback from my peers as a teacher and a learner.

46

She continues…She continues…

Working with students in the lesson I learned to adapt. When I was struggling to teach the young Korean boy who did not have any English how to dance…initially felt bitter… now more of a positive experience for me not knowing how to handle situation, it really helped me develop as a teacher…how to adapt which is essential for every teacher to know how to do.

47

Questions?

Observations?

48

Planning a creative dance

lesson

49

ChallengingChallengingScholars note that it is challenging to

develop tasks that

(1) capture children’s interest,

(2) allow for the children’s developmental range of ability and

(3) can be used to develop their movement qualities

(Weiyun Chen & Cone, 2003; Rolfe, 2001; Rovegno, 1992).

50

Basic Task ModelBasic Task Model

51

Mindy’s lessonMindy’s lesson

52 A video created by student teachers showing a version of Mindy’s lesson

Laban movement Laban movement concepts to refine concepts to refine

movementmovement Body concepts - what the body does such as activities

(locomotion or stationary) whole action (twisting) roles of body parts (supporting) and shapes during activity (wide).

Effort concepts – how the body moves with weight (firm or fine), time (fast or slow), flow (bounded or free) and space (linear or flexible).

Spatial concepts – where the body moves in personal space (direction, extension, air patterns and levels) and general space (levels, extensions, floor pathways and air patterns).

Relationship concepts – with whom or what the body moves based on people in the environment or objects in the environment.

53

Simplify or ExtendSimplify or ExtendThe movement concepts allow the teacher to

refine students’ movements, generating different possibilities, but also changing the learning environment that frames the movement (i.e., how to use the space, relate to other dancers or imagery idea).

This focus on an onward orientation, simplifying/extending, and also on the each child’s inward movement ability, refining movement quality, allows a coupling between students’ actions and the simple structures of the dance. Each extension would lead to the application of parts of the dance or the entire dance

54

Music AnalysisMusic Analysis

55

56

57

Looking back…Looking back…

Teaching the dance lesson really taught me how to break down the skills like skipping…to refine the skills…to get the type of movements you want. Loved the experience in creative dance, would do again in a heartbeat. Really excited that I was able to show my friends and family what I got to teach these children and how I affect them.

58

ConclusionConclusion

Within elementary physical education creative dance has offered a way of embracing the qualities of complexity thinking, offering a way to include every learner in a collective system greater than the sum of the individual parts.

59

Video sourceVideo source

Retrieved Sept 15, 2008. Emergence complexity from simplicity (1 of 2 parts)http://www.youtube.com/watch?v=gdQgoNitl1g

60

ReferencesReferencesBoorman, J. (1969). Creative dance in the first three grades. Don Mills, Ontario:

Longman Canada Ltd.Boorman, J. (1971). Creative dance in grades four to six. Don Mills, Ontario.Boorman, J. (1973). Dance and language experiences with children. Don Mills,

Ontario: Longman Canada Ltd.Carline, S. (2005). Children Who Dance: A handbook for teachers of elementary

school children. Victoria, BC: University of Victoria bookstore.Chen, W., & Cone, T. (2003). Links between children's use of critical thinking and an

expert teacher's teaching in creative dance. Journal of Teaching in Physical Education, 22(2), 169-185.

Chen, W., & Rovegno, I. (2000). Examination of expert and novice teachers' constructivist-oriented teaching practices using a movement approach to elementary physical education. Research Quarterly for Exercise and Sport, 71(4), 357-372.

Clarke, A., & Collins, S. (2007). Complexity Science and Student Teacher Supervision. Teaching & Teacher Education: An International Journal of Research and Studies, 23(2), 160-172.

Davids, K., Button, C., & Bennett, S. (2008). Dynamics of skill acquisition: A constraints led approach. Windsor, ON: Human Kinetics.

61

ReferencesReferencesDavis, B. (2004). Inventions of teaching: A genealogy. London: Lawrence Erlbaum

Associates.Davis, B., & Sumara, D. (2005). Complexity science and educational action

research: toward a pragmatics of transformation. Educational Action Research, 13(3), 453 - 466.

Davis, B., & Sumara, D. (2006). Complexity and education: Inquires into learning, teaching and research. London: Lawrence Erlbaum.

Davis, B., Sumara, D., & Luce-Kapler, R. (2008). Engaging minds: Changing teaching in a complex world. New York: Routledge.

Hopper, T. (1993). Learning to teach physical education: The hidden curriculum. Unpublished MA, University of Alberta.

Hopper, T., Brown, S., & Rhodes, R. (2005). Augmenting the aptitude of learning how to teach physical education: Situated learning and an application of the theory of planned behaviour. Physical and Health Education Journal, 71(3), 44.

Hopper, T., Madill, L., Bratsch, C., Cameron, K., Coble, J., & Nimmon, L. (2008). Multiple Voices in Health, Sport, Recreation and Physical Education Research: Revealing Unfamiliar Spaces in a Polyvocal Review of Qualitative Research Genre. QUEST, 60, 214-235.

62

ReferencesReferencesHopper, T., & Sanford, K. (2008). Using poetic representation to support the development

of teachers’ knowledge. Studying Teacher Education, 4(1), 29-45.Light, R. (2008). Complex learning theory— its epistemology and its assumptions about

learning: implications for physical education. Journal of Teaching Physical Education, 27, 21-37.

Richardson, K., & Cilliers, P. (2001). What is complexity science? A view from different directions. Emergence, 3(1), 5-22.

Rinehart, R. (1998). Fictional Methods in Ethnography: Believability, Specks of Glass, and Chekhov. Qualitative Inquiry, 4(2), 220-224.

Rovegno, I. (1992). Learning to teach in a field-based methods course: The development of pedagogical content knowledge. Teaching and Teacher Education, 8(1), 69-82.

Sparkes, A. (2002). Fictional Representations. In Telling Tales in Sport and Activity: A Qualitative Journey: Human Kinetics.

Waldrop, M. (1992). Complexity: The emerging science at the edge of chaos and order. New York: Simon and Schuster.

Wall, J., & Murray, N. (1994). Children and movement. Dubuque, IA: Wm. C. Brown Publishers.

63