Improvisation in teaching and education—roots and applications
The main aim of this review article is to understand and discuss the concept of improvisation as a professional skill for teacher educators. The literature review suggests that five academic traditions are especially relevant to examine: Rhetoric, music, theatre/drama, organizational theory and educ...
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2016-12-01
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Online Access: | http://dx.doi.org/10.1080/2331186X.2016.1204142 |
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doaj-47843a9796554ada9c54b86aec8cd7f42021-02-18T10:11:02ZengTaylor & Francis GroupCogent Education2331-186X2016-12-013110.1080/2331186X.2016.12041421204142Improvisation in teaching and education—roots and applicationsKari Holdhus0Sissel Høisæter1Kjellfrid Mæland2Vigdis Vangsnes3Knut Steinar Engelsen4Magne Espeland5Åsmund Espeland6Stord/Haugesund University CollegeStord/Haugesund University CollegeStord/Haugesund University CollegeStord/Haugesund University CollegeStord/Haugesund University CollegeStord/Haugesund University CollegeStord/Haugesund University CollegeThe main aim of this review article is to understand and discuss the concept of improvisation as a professional skill for teacher educators. The literature review suggests that five academic traditions are especially relevant to examine: Rhetoric, music, theatre/drama, organizational theory and education. The dialogic, open-scripted, interactive and responsive aspects of improvisation are common features for all the traditions we have examined and could provide a common basis for improvisation as a key curricular concept in teaching, and hence teacher education. Every day teachers are challenged to act in accordance with the situational needs and requirements arising in different pedagogical situations. We have identified four different aspects of improvisation, which appear to be of crucial importance in any discussion about improvisation as a key concept in education: (1) Communication and dialogues: Communication in improvisation can be described along a continuum of two positions: From the internal process of communication itself to the external intended result of it. The purpose can also vary from emphasizing the effect on the audience to emphasizing the process of exploration. (2) Structure and design: All traditions claim that to be a good professional improviser, you have to be aware of and be skilled in planning and structural thinking. (3) Repertoire: Learnable repertoires, shaped by content knowledge and pedagogical content knowledge, are an underlying prerequisite for improvisation in education. (4) Context: Professional improvisational practices are context dependent and domain specific to a great extent.http://dx.doi.org/10.1080/2331186X.2016.1204142improvisationdialoguestructurerepertoireteachingteacher education |
collection |
DOAJ |
language |
English |
format |
Article |
sources |
DOAJ |
author |
Kari Holdhus Sissel Høisæter Kjellfrid Mæland Vigdis Vangsnes Knut Steinar Engelsen Magne Espeland Åsmund Espeland |
spellingShingle |
Kari Holdhus Sissel Høisæter Kjellfrid Mæland Vigdis Vangsnes Knut Steinar Engelsen Magne Espeland Åsmund Espeland Improvisation in teaching and education—roots and applications Cogent Education improvisation dialogue structure repertoire teaching teacher education |
author_facet |
Kari Holdhus Sissel Høisæter Kjellfrid Mæland Vigdis Vangsnes Knut Steinar Engelsen Magne Espeland Åsmund Espeland |
author_sort |
Kari Holdhus |
title |
Improvisation in teaching and education—roots and applications |
title_short |
Improvisation in teaching and education—roots and applications |
title_full |
Improvisation in teaching and education—roots and applications |
title_fullStr |
Improvisation in teaching and education—roots and applications |
title_full_unstemmed |
Improvisation in teaching and education—roots and applications |
title_sort |
improvisation in teaching and education—roots and applications |
publisher |
Taylor & Francis Group |
series |
Cogent Education |
issn |
2331-186X |
publishDate |
2016-12-01 |
description |
The main aim of this review article is to understand and discuss the concept of improvisation as a professional skill for teacher educators. The literature review suggests that five academic traditions are especially relevant to examine: Rhetoric, music, theatre/drama, organizational theory and education. The dialogic, open-scripted, interactive and responsive aspects of improvisation are common features for all the traditions we have examined and could provide a common basis for improvisation as a key curricular concept in teaching, and hence teacher education. Every day teachers are challenged to act in accordance with the situational needs and requirements arising in different pedagogical situations. We have identified four different aspects of improvisation, which appear to be of crucial importance in any discussion about improvisation as a key concept in education: (1) Communication and dialogues: Communication in improvisation can be described along a continuum of two positions: From the internal process of communication itself to the external intended result of it. The purpose can also vary from emphasizing the effect on the audience to emphasizing the process of exploration. (2) Structure and design: All traditions claim that to be a good professional improviser, you have to be aware of and be skilled in planning and structural thinking. (3) Repertoire: Learnable repertoires, shaped by content knowledge and pedagogical content knowledge, are an underlying prerequisite for improvisation in education. (4) Context: Professional improvisational practices are context dependent and domain specific to a great extent. |
topic |
improvisation dialogue structure repertoire teaching teacher education |
url |
http://dx.doi.org/10.1080/2331186X.2016.1204142 |
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