1. Choreographing research in the third space: exploring co-participative research into creativity and partnership in dance education. CREATE seminar, University of Exeter 17 th November 2008, 16.15-17.45 Kerry Chappell, Anna Craft, Linda Rolfe, University of Exeter Veronica Jobbins, Laban

2. Today’s presentation Rationale for this study Theoretical context - creativity + partnership Choreographing the methodology Summary

3. Creativity stifled by increasing constraints from performativity? Within dance education (Ackroyd, 2001; Chappell, 2007, 2008;Jobbins, 2006) Wider education (e.g. Craft & Jeffrey, 2008) OFSTED reports - creativity is assumed as a dance education product when this is not always the case (OFSTED, 2006).

4. Creativity and Education NACCCE, 1999 Creative Partnerships (2002) Roberts Review (2006) New Secondary Curriculum (2008) Cultural Entitlement – new CCE (2008) Find Your Talent (2008) European Year of Creativity + Innovation (2009)

5. Dance Policy Two major “shaping” factors Dance as art / creative and expressive Dance as physical activity, part of PE Import of: Dance located within PE national curriculum Physical Activity Agenda Dance Review (2008)

6. dance partners for creativity research response Co-participative study University-based researchers School-based partner researchers What kinds of creative partnerships are manifested between dance-artists and teachers in co-developing the creativity of 11-14 year olds, in dance education, and how do they develop?

7. Potential DPC contribution? 1.Power of arts to change and transform (e.g. Greene, 2003), mirrored in DPC. 2. Creative dance partnerships as embodied + humane; DPC seeks to re-enfranchise (Bresler, 2004; Bowman, 2004; Claxton, 1997; Chappell, 2006; Peters, 2004)

8. Theoretical Framework Area 1: Creativity in Dance Education Smith-Autard’s Midway Model (2002) –Creativity, imagination, individuality balanced with knowledge of dance theatre –Balance between expression + form –Creating, performing, viewing - appreciating

9. Creativity in dance education Chappell (2006, 2008)

10. Other approaches to creativity in dance education Cognitive approach (e.g. Brennan, 1989) Artistic process skills model (Hanstein, 1986, in Popat, 2002) Feminist + critical pedagogy approach (e.g. Stinson, 1994, Shapiro, 1998) Play emphasis (e.g. Lindqvist, 2001)

11. Theoretical Framework, Area 2 Creative Partnership Apprenticeship learning? Modelling approaches Authenticity of activity Locus of control Genuine risk taking Scaffolding

12. Polarizing teachers and artists? Galton, 2008 Teacher Artist AuthoritarianEgalitarian DidacticDialogic Immediate Time to think ‘cued elicitation’ ‘Guided discovery’ Pupil views negativePupil views positive

13. Alternative conceptualisations Co-participative partnerships (Jeffery, 2005) Enquiry-based partnership: role of mentor, emergent 3 rd space (Chappell, Craft & Best, in review)

14. Methodology Qualitative Epistemology acknowledging social construction of reality Broad critical theory frame “Theory cannot be reduced to being perceived as the mistress of experience…Its real value lies in its ability to establish possibilities for reflexive thought and practice on the part of those who use it….The crucial element in both its production and use is…the human agents who use it to give meaning to their lives.” (Giroux, 2003)

15. Transformation for university- based + partner researchers Freire’s (1983): praxis is not blind action…it is action and reflection. Men and women are human beings because they are historically constituted as beings of praxis and in the process they have become capable of transforming the world – of giving it meaning.

16. Research roles & relationships Critical theory researchers as reflexive too Partner researchers must not be expected to be ‘superhuman’ Power not given + taken away by core team Empowerment through practice/action (Gore, 2003)

17. Research roles & relationships Surfacing tensions re power + language What can we do for you? - in both directions Relates to empowerment + transformation Our previous experience (Chappell & Goldsmith et al, 2008; Craft, Burnard, Grainger & Chappell, 2006 Chappell, in press) Experience of SUPER team at University of Cambridge (McLaughlin + Black-Hawkin, (2007); McLaughlin, 2004)

18. Concept of third space … Border crossings generate a third space between first + second place perspective (Zeichner, 2008)

19. Choreographing in the ‘third space’ Border crossings generate a third space between first + second place perspective (Zeichner, 2008) Third space is “a creative recombination and extension, one that builds on a first place perspective that is focused on the ‘real’ material world--- and a second place perspective that interprets this reality through imagined representations of spatiality” (hybridity theory, Soja, 1996)

20. Community of practice Wenger’s work on communities of practice (1998) Primary focus is on learning as social participation Mutual engagement, in a joint enterprise and a shared repertoire of practises Interplay between the participants and the things they create are central to how we view and choreograph our methodology Requires us to develop a vocabulary to ‘talk’ about the experiences we have in the research that shape our learning

21. Partner Researcher Dance Teacher Partner Researcher Dance Artist Lead Researcher Reflective Enquiry Research design

22. Research Design

23. PARTNER RESEARCHER HANDBOOK 2008-2010

24. Ethical procedures Ethical relationships between the core research team and partner researchers are being carefully negotiated within the guidelines of the University of Exeter Ethics committee Ethical procedures will also be established for all other participants

25. Data Collection methods These will include participatory and reflective methods, as well as ethnographic methods including:- Reflective semi-structured interviews; reflective journals; participant observation; conceptual drawing; photographic/video evidence The team will also need to be responsive to on-site activities, applying cycles of data collection and analysis accordingly

26. Research outcomes Intention to disseminate using multiple modes (e.g. visual, written, embodied) within dance and wider education These include: seminars, a book, articles, national + international conference presentations, dance teachers publications

27. Trustworthiness Fit between epistemology / ontology + methods Seeking credibility, transferability + confirmability (Lincoln & Guba, 1985) Challenges: Co-participative meaning-making in context of critical theory (motivation toward change)

28. Does the Third Space seem a convincing concept for this enquiry-based partnership? What aspects of trustworthiness seem most relevant (or problematic?) within this research? What experiences do others have? How can we try to ensure that through joint learning a genuine community of practice emerges? Provocations to discussion

29. Acknowledgements Our funders: AHRC Also, for images: CapeUK, Creative Partnerships Norfolk University of Exeter PGCE course, Laban The Open University Our emergent partners