ECER 2013, Istanbul Creativity and Innovation in Educational Research NW 29 Research on Arts Education Symposium: Art in Education It is common to introduce works of art into school lessons on one hand in order to mediate theories and ideas about art history as well as about subjective realities, and on the other hand to foster the abilities of the students to express themselves by means of art. Pictures, sculptures, installations, films etc. are then mainly understood to represent insights and imaginations, or to illustrate shared realities. -Beside that it is also possible to interpret art works as translations of subjective intentions, even theories, in particular experiential settings. Especially open to this kind of interpretation is an artwork or artistic action that emphasizes its object character as a central theme. Then art can serve to generate theories revealed through the senses. This view on art allows for a broadened didactics. Thus, art then could be used in schools, whenever interdependencies and contexts are in the focus of learning. This approach to art is founded in a rather wider-spread concept of pedagogy that localizes processes of Bildung and education overall in esthetics (cp. Schiller 1801, Schleiermacher 1826, Mollenhauer & Wulf 1996, Sava 1993, Østern 2008, Kraus 2008, Herbert 2010, Steinnes 2012; Rat für kulturelle Bildung 2012 et al.). Here, the senses and the body of an individual as well as historical heritages and actual societal situations as collectively shared phenomena are considered as the broad base for our learning and for Bildung. Then, not so much the cognitive processes, but other origins of experiences and insights are explored. As factors of learning they become visible in practices. In the latter decades of pedagogy one can perceive a growing interest in the theoretical foundation and empirical exploration of practices (Wulf 2004, Althans et al. 2007, Nentwig-Gesemann 2001, Herbert 2011, Bergstedt 2012, Kraus 2012 et al.). Processes of learning and Bildung are here regarded as mainly ruled by their nonverbal, not thematized, tacit aspects. In the field of pedagogical anthropology and critical pedagogy sensual-bodily relations beyond language are recognized. Here it is also worked out how another person or thing may be approximately understood in terms of differences. By regarding the senses and the body as integral elements of the processes of Bildung and learning central tasks for didactical and pedagogical practices arise. Vice versa, by reflecting such practices one can get insights which are fundamental for educational sciences. In our group we will deal with the special challenges and potentials that are connected to an esthetical foundation of processes of Bildung in pedagogical, didactical, in empirical-methodical and methodological regards, we will discuss these and draw consequences for creative and innovative practices in the pedagogical field. Contributions: 1. Teaching and Learning in School According to the Paradigm of Aesthetics and Art in Education If a revolt is to come, it will have to come from the five senses Prof. Dr. Jenny Steinnes APS Lillehammer University College Pb. 952 N- 2604 Lillehammer Mail: jenny.steinnes@hil.no 2 Esthetics and Tacit Dimensions of Pedagogy Dr. Anna Herbert
Department of Psychology Linneuniversitet S - 35195 Växjö Mail: anna.herbert@lnu.se 3. The Effect of Creative Drama Education on Critical Thinking Skills and Dispositions of Teachers in Preservice Physical Education Prof. Dr. Gıyasettin Demirhan Dr. des. Fatma Sacli Hacettepe University, School of Sport Sciences and Technology, T- 06800, Beytepe, Ankara Mail: fatmasacli@gmail.com 4. Learning as Displacement and Transformation Prof. Dr. Anja Kraus Department for Educational Sciences University of Education Reuteallee 46 G- 71634 Ludwigsburg Mail: anja-kraus@@gmx.de
1.Teaching and Learning in School According to the Paradigm of Aesthetics and Art in Education If a revolt is to come, it will have to come from the five senses Jenny Steinnes Innovation is one of those words that seem to fit well with an ideology of economical growth. The concept has found its place within a vocabulary of individual, national and international competition with respect to knowledge and skills. The presuppositions of this ideology seem to be that the skills of a nation s population should be to the benefit of national incomes and that there is a competition involved in this pursuit. But does competition really promote the skills and abilities of creativity and innovation? Michel Serres thinks differently: Truth should not assume the right of spreading in space. Now, I would not judge as true what cannot or does not hold back from conquest. Thus, reason seeks not to submit to an empire. It reserves some reason to retain its reason. The gentle and reasonable man can thus disobey reason, so that margins are born around him, to provide novelty. Competition might, according to Serres, promote a defensive attitude, and might in fact work against innovation and creativity. Serres gentle and reasonable man will in certain ways have to disobey reason and even to promote a revolt in order truly to be able to be inventive. I make Serres insights relevant to innovation and creativity in educational research and to art education.
Esthetics and Tacit Dimensions of Pedagogy Anna Herbert Art is often used within pedagogy to inspire students in their creative endeavors. I will discuss the consequences of Lacanian theory for the understanding of the relationship between art and creative writing in the classroom. Freud discussed art in relation to sublimation where the original object of the drive (the object causing frustration) is displaced towards another object (the object of art). In Lacans concept of sublimation the object of the drive is not exchanged for another object, the nature of the object changes. It takes on the position of the unknowable Thing. Zizek discussed art as the Thing and the Absolute. Another way to make the same point would be to emphasize how in today s art the gap separating sacred sublime beauty from the excremental space of trash (leftover) is gradually narrowing. Trash is made to fill in the sacred place of the `thing (Zizek 2000 pp 25-26). Schleiermacher claimed that pedagogy is an art form. It takes shape within teacher student interaction, or rather within a space emerging from this interaction. I will call it an other space and use this term interchangeably with the unconscious as the location for this interaction in creative writing.
The Effect of Creative Drama Education on Critical Thinking Skills and Dispositions of Teachers in Preservice Physical Education Gıyasettin Demirhan & Fatma Sacli Participants comprised of Preservice Physical Education teachers attending the Physical Education Teacher Education (PETE) program at Hacettepe University in Ankara. The first purpose of the study is to examine whether creative drama education has an effect on critical thinking skills of teachers in Preservice Physical Education. The second purpose is to bring further the concepts of creativity and critical thinking. The methodical setting of the study was embedded mixed methods research design. A Turkish version of the California Critical Thinking Skills Test-(CCTST) Form 2000 and the California Critical Thinking Dispositions Inventory (CCTDI) were used to collect quantitative data. Qualitative data sources included reflective student journals and semi-structured interviews. Content analysis was used to examine all qualitative data sources. As a result, there is some evidence that creative drama education has positive effects on critical thinking skills and dispositions of Preservice Physical Education teachers. We will discuss these results in order to bring the concepts on creative and innovative practices in the field of teacher education further.
Learning as Displacement and Transformation Anja Kraus The interdependence of materiality and sensation carried out by corporal means creates the modes of a self and world constituting corporality. In this paper a study is presented how different modes of this constituting corporality can be empirically explored and theoretically unfolded. Our corporality is constitutive for our reference to the world (cp. Merleau-Ponty 1968, Waldenfels 2000, Meyer- Drawe 2008). We do not only perceive the objects that are given to us in our perceptions, we also relate ourselves to our environment by means of our body. Each of us interprets the world according to his/her individual way(s) of cultivation. Corporality is not as a mere device but also as an agile and living body. Unlike the currently widespread differentiation between having a body and being a body, introduced by Helmuth Plessner (1982), the conception of corporality introduced by Maurice Merleau-Ponty (1968) provides shelter for the body as a substance and as a sensitive and vivid organism. Transformation, displacement and the diverse ways of showing are esthetical processes in which also corporal aspects of learning become visible. To explore this, we will take a close look on a pedagogical situation by using the method of thick description (Geertz 1973).