This article contributes to the knowledge about artist-teacher collaboration by focusing on aesthetic processes in a partnership between pedagogues and artists in two Danish kindergartens over a period of 18 months. The research is within the framework of action research and links to the development project, European Children of Culture, which involved several European/Baltic/Nordic countries in 2015-2017. The article rests on empirical material (interviews, photos, video recordings and field notes from actions and reflections) and investigates how the involved adults understand, facilitate and frame aesthetic processes and how this leads the researcher to expand perspectives on aesthetics in early childhood services. The aim of the article is to rethink aesthetic processes – to explore the many layers of aesthetics, not to reduce them. Hence, aesthetic processes in kindergartens become profound aesthetic-sensitive experiences involving hands-on processes with intensified meaning, subtle meetings and intermediate worlds, and ultimately termed “beauty bubbles”.
The increase in internationalization of education has set off a proliferation of educational models. Study abroad has emerged as one of the educational approaches through which universities can support students to internationalize their experiences, hone their skills and knowledge bases, sharpen professional proficiencies, and broaden their cultural perspectives. What meanings do foreign students who participate in study abroad programs in African dances in local African communities construct? This article engages the theory of experiential learning and concept of Orientalism to provide a critical examination of the meanings that the students from the U.S who took part in dance education study abroad to Uganda constructed from participation in neo-traditional dance activities. A hermeneutic phenomenological research paradigm was applied to collect data from six students from the U.S who took part in the Dance Education study abroad program to Uganda. The findings reveal how the study abroad programs enabled the students to negotiate, question, and conceptualize the idea of “study abroad to Uganda” as a “place” of nativism, exoticism, identity variances, and cultural differences. Critical analyses are made on how the students’ agency in neo-traditional activities cultivated embodied connections to the “other,” allowed for exploration of communalized pedagogies, facilitated holistic learning of dance through music and storytelling, and fostered immersion into “local” artistic and educational realities through collaborative and interactive lesson-planning and co-teaching. Issues of how study abroad in dance can aggravate cultural appropriation are also examined. This article offers insights into the intricate trajectories that students take to construct complex meanings through embodied and reflective participation in dance activities in local African communities, which can be beneficial to dance educators, cross-cultural and intercultural learners, and individuals who run cultural exchange programs.
The aim of this article is to explore how the multiple perspectives offered by an artographer’s lens contribute to three literacy events generated by writing play activities for children three to five years old. These events are part of a more comprehensive study of emergent literacy in writing play workshops, focusing on writing in different displays and with different writing tools. The artographer in the comprehensive study is Solveig Åsgard Bendiksen, also the first author in this article. The two other co-authors contribute with artographic methodology and with concepts from agential realism in the analysis of three literacy events. The intra-actions between the artographer, the children, the affects, the affordance of rich materials, and the context as performative agents in diffractive reading produced a number of findings concerning emergent writing literacy, especially concerning emergent cultural literacy.
This ethnodrama uses verbatim transcriptions of classroom stories shared by a first-year teacher in the Chicago Public Schools to help audience members ask better questions about teaching and the systems that shape teachers’ labor. The production uses a small number of theatrical conventions to create an aesthetic experience built from moments of connection and moments of detachment and analysis. The script is structured as a polysemy: The teacher’s words contribute to the ethnography of urban schools in the U. S. and speak to the spiritual heart of teaching. The show is designed to be staged by anyone, anywhere, to create rich dialogue about life in schools. The script is published in full, along with a short introduction.