moving in time observing student dancers and composers collaborate elizabeth dobson - portsmouth...
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Moving in TimeMoving in TimeObserving Student Dancers and Composers Collaborate
Elizabeth Dobson - Portsmouth University
Open University PhD Supervision Team:
Professor Dorothy Miell & Dr Karen Littleton
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.
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) Children’s 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
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
Summary of CategoriesContext/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
A basic modelCategories from literature
Problem Solving
Evolving
More Static
etc.
etc.
Affordances and ConstraintsContext/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
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 consciousBennett (1967) - Germinal idea, first sketch, first draft, elaboration, refinement, completion & score copying
Webster’s 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
Observing Process
Education Action Research
Vygotsky - Socio-cultural Theory
Methodological approach
ResearchData neededConversationsCreative work devisedIndividual profilesCollaboration contextParticipant’s 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 analysisMulti-modal analysis of dance and music
For triangulation with situated data to inform validity and increase transparency for greater relevance.
Analysis
Documents