Abstract
Creating dance in physical education teacher education (PETE) is described as a way of expressing subjective experiences based on movements that the students have already mastered or as a way of composing dance with set movements from various dance forms that are further explored through concepts such as time, space, power and flow. This article shows how 13 Norwegian student teachers experienced the creation of dance as part of their PETE. It explores the following questions: how do student teachers in PETE experience dance creation as an embodied process of exploring, transforming and creating movements, and how were these experiences facilitated by bodily learning that was initiated by body memories? The results show that creating dance is a intersubjective, intercorporeal and interaffective phenomenon where the sense-making process happens as both an individual and a joint process. This ongoing individual and participatory sense-making can further be understood as a reciprocal dependency between culture and self, where the students' bodily learning process evolves on an existential level over time. Through this process, the students develop a sense of confidence and trust in each other, which creates a feeling of belonging. The educational potential of bodily learning through creating dance can be seen in relation to the affordances the students perceive and utilize within their learning culture in PETE.
Highlights
Creative dance as a dance form emerged in the beginning of the 20th century as a protest against established dance forms, such as classical ballet, that are based on established steps, movement patterns, as well as concepts (Daly, 1994)
Building on the studies presented above, I ask the following questions: how do student teachers in physical education teacher education (PETE) experience dance creation as an embodied process of exploring, transforming and creating movements, and how were these experiences facilitated by bodily learning that was initiated by body memories? The first question will be presented and discussed together with the results of the study
I use the concepts embodied inter/affectivity, body memory, social musicality, and participatory sense-making (De Jaegher and Di Paolo, 2007; Fuchs, 2016, 2017) to discuss the second research question
Summary
Creative dance as a dance form emerged in the beginning of the 20th century as a protest against established dance forms, such as classical ballet, that are based on established steps, movement patterns, as well as concepts (Daly, 1994). H’Doubler (1998) emphasized the importance of that creating dance and dancing could be a personal, non-competitive, democratic activity in which students learn to express themselves, instead of focusing on movement mastery within established dance forms (H’Doubler, 1998). This experience-based approach to creating dance was further developed by Hawkins (1991), Fraleigh (2004), Hämäläinen (2006) and Sheets-Johnstone (2009), amongst others
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