Nr. 8: Att iscensätta lärande
Författare: Els-Mari Törnquist
Tryck: Lund 2006
200 kr (inkl moms)
188 kr (exkl moms) Statliga myndigheter betalar inte moms på 6%.
reception [at] mhm.lu.se (BESTÄLL BOK)
The present thesis examines the meeting between the artistic and the pedagogical dimensions in the work of teachers. The main aim is to describe the learning in practice, emerging from a collective creative process. The point of departure is teachers’ experience of a musical-production as part of the pedagogical work in school. Research questions are:
1) What are the implications of being a teacher in an artistic context?
2) Which role and function does the teacher take on as a pedagogue in this work?
3) How does the teachers’ own learning come out while participating in the activities associated with a musical production?
The empirical study is based on interviews with six teachers in compulsory school. In the analysis two central dimensions are appearing: a) the participation and b) the musical production including the artistic artefacts.
The character of the participation is mutual engagement, interest and the shared responsibility between the participants (students and teachers). Teachers adopt a variety of roles during the production and a variable process appears. In the result presented in four categories: the participant, the supervisor, the manager and the artist, the social and artistic characters of the process are always present, though the focus of the teachers is constantly shifting. Teachers’ capability to act and enter into different functional roles is a competence of great importance to both teachers and students in their interaction. It expounds a pedagogical dramaturgy, where the participants are quite aware of each other’s roles and what they can expect from each other.
Two complementary processes appear in teachers’ objectives regarding education: One personal with an individual alignment approach and another one dealing with self-realization and collective work with a scenic direction. The production of the musical also provides an opportunity to apply personal and acquired knowledge. Music education and the musical production are integrated activities. According to the teachers’ idea of musical learning there are two creative processes touching on the predictable and the unpredictable. These concepts also appear in the teachers’ learning and pedagogical work as a creative and improvised way of educating.
The results are discussed in a theory of community of practice and the concepts of community, identity, practice and meaning. To understand musical production in school as a community of practice implies an individual and a collective dimension, and a boundless practice in music education. The musical production develops ways of maintaining connections with other practises and even the world as a whole, since students are creative receivers of different cultural products and can be active in their own musical production of meaning. The collective creating process promotes a balance between participation and reification in the process of negotiating meaning. The musical production is the architecture for learning and a mediator of learning in an artistic context.