Difference as a Creative and Critical Force in Teacher Education: Reflective Partners Teaching in and out of the Wheelchair

Østern, Tone Pernille; Øyen, Elen

doi:10.1080/15290824.2014.924053

Cited by 6 publications

(5 citation statements)

References 2 publications

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“…EcoJustice education recognizes diversity as "the condition of difference necessary to all life and creativity" (Martusewicz, Edmundson, and Lupinacci 2015, 26). We suggest that the acknowledgment and celebration of diversity (also Østern and Øyen 2014;Urmston and Aujla 2019) should form the basis of socially and ecologically aware dance education. By diversity, we mean species diversity as well as human and cultural diversity that can be recognized and empowered by creating spaces that embrace different ways of being and acting in this world.…”

Section: Celebrating Diversitymentioning

confidence: 94%

“…Traditionally, dance teaching has emphasized the technical progress of the student's bodily control, and there has been little room for differentlyabled bodies. However, in recent years there has also been a welcome change toward celebrating contributions to dance by performers with disabilities (Whatley 2007;Østern and Øyen 2014;Anderson 2015). The discussion of the body in the field of cultural and social studies has put pressure to further debate difference and diversity in dance.…”

Section: Celebrating Diversitymentioning

confidence: 99%

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EcoJustice Approach to Dance Education

Foster

Turkki

2021

Journal of Dance Education

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Heatwaves, extinct species, and broadly polluted areas worldwide are apparent signs of the humancaused ecological crises. Scholars agree that a collective ecological change is needed to save the Earth. Thus, we must critically reflect how we, as dance educators, are dependent on how dance is defined, and how its educational aims and practices are justified in the era of ecocrisis. In this article, we suggest an EcoJustice approach to dance education. This theoretical study is based on the EcoJustice education framework but draws from our practices as dance educators and the directors of community dance projects. In this article, we open up a discussion on the ways that the processes of dance education can lead to an ecosocially informed paradigm shift. We will suggest three aspects considering the three aspects of an EcoJustice approach to dance education: 1) celebrating diversity, 2) recognizing the lived body, and 3) practicing co-creation.

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Section: Celebrating Diversitymentioning

confidence: 94%

Section: Celebrating Diversitymentioning

confidence: 99%

EcoJustice Approach to Dance Education

Foster

Turkki

2021

Journal of Dance Education

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“…In short, inclusive dance within contemporary dance contexts highlights, values and draws on cultural pluralism and diversity to experience and create dance (Albright, 1997;Benjamin, 2002;Channells, 2015;Kuppers, 2001Kuppers, , 2006Kuppers, , 2015Østern, 2009Østern & Øyen, 2014a, 2014b. In this chapter "inclusive contemporary dance context" refers to an artistic and/or educational dance community where differently bodied dancers, with and without disabilities, and with little or much previous experience of dance, participate in and contribute to creative dance processes, often ending up in performances on stage.…”

Section: Inclusive Contemporary Dance -A Brief Overviewmentioning

confidence: 99%

“…Since we come from dance art and education, we interpret the experiences of change analysed in this chapter in terms of aesthetic transformation (Bond, 2008;Dewey, 1934Dewey, /1980Østern, AL, 2008), transformative learning (Mezirow, 1991), experience-based transformation of the body-subject in dance and the importance of dance as a bodily art form (Fraleigh, 1987;Parviainen, 1998), difference and plurality in dance (Benjamin, 2002;Bond, 2017;Bond & Etwaroo, 2005;Channells, 2015;Kuppers, 2001Kuppers, , 2006Østern & Øyen, 2014a, 2014b, and the choreographer-teacher´s role (Buber, 1995;Stavik-Karlsen, 2014). We interweave these theoretical perspectives in this chapter.…”

Section: Theoretical Perspectivesmentioning

confidence: 99%

Life-Changing Life Journeys Through Artistic and Educational Inclusive Contemporary Dance Contexts

Østern

Øyen

Channells³

2019

Dance and the Quality of Life

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This chapter presents a case study of two of the authors-Elen, a dancer, and Philip, a choreographer-teacher. It focuses on their experiences of change through long-term engagement in inclusive contemporary dance contexts, and how this participation has contributed to their quality of life. In this study, "inclusive contemporary dance context" refers to a dance community where differently bodied dancers, with and without disabilities, and little or much previous experience of dance, participate in and contribute to artistic and educational dance processes, often culminating in performances on stage. Individual meanings and shared themes are identified through holistic life story analysis of the two artists' written stories completed for the study. Participants' experiences are interpreted with the help of theory about aesthetic transformation and learning within a wider framework of dance art, dance education and quality of life.

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“…I experience that my practice in these projects lies in between education, choreography, research, and dance, as an a/r/tographic practice (Le Blanc & Irwin, 2019). This means that I am constantly attending to these different aspects and how they relate (Bickel et al, 2011;Irwin, 2004;Irwin et al, 2006;Østern, 2018b) in my practice.…”

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confidence: 99%

Diffracting Through an Ethical Itch: Becoming a Response-Able Dance Education Researcher

Flønes¹

2023

JASEd

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In this article I describe and discuss how an ethical doubt has performed on my a/r/tographic research journey and led to ethical, methodological and choreographic-pedagogic insights. The ethical doubt emerges from working with the video format as research presentation in a dance education research project where children are involved. The focus of this article is how I dealt with these ethical challenges through a diffractive inquiry, and further how such an inquiry led into a sense-making process entangling ethics, research, choreography, dance and education. Through exploring how the ethical doubt performed on the research process, this article contributes to a rather scarce field of research on the topic of ethical issues in research presentation and ethical-pedagogical-choreographic and research methodological entanglements. In the article I am thinking with the theoretical frameworks of post-qualitative inquiry and agential realism. The apparatus of inquiry is constructed from a/r/tography, performative inquiry, and diffractive inquiry though a transcorporeal engagement with these research methods. As I unravel the research journey, I also diffract with the concepts of response-ability and the expanded notion of choreography. In the final discussion I propose a response-able practice of research through a relational approach and attunement to research, pedagogy, choreography, and ethics.

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Difference as a Creative and Critical Force in Teacher Education: Reflective Partners Teaching in and out of the Wheelchair

Cited by 6 publications

References 2 publications

EcoJustice Approach to Dance Education

EcoJustice Approach to Dance Education

Life-Changing Life Journeys Through Artistic and Educational Inclusive Contemporary Dance Contexts

Diffracting Through an Ethical Itch: Becoming a Response-Able Dance Education Researcher

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