planning for research strands and actual fieldwork, Skills of creativity or originality?, Hierarchy of performance goals?
Initial findings: Different aspects of performance creativity... tool box... butterfly, Positive reaction of filming/watching, Older students more detailed in self-reflections
Principal components, Creativity and Individuality, Cannot be learned with some exceptions, Should be taught well, Craftsmanship and dedication, Knowledge, Coping with challenges
Widely distributed across time/space
Aspects of creativity/originality?
Communicating aspects of research
Can be learnt/taught, >94% teachers agree, <25% students perceive this?
Creativity is the same for all cultures (???)
Men and women/different ethnic origins creative in the same way (???)
Academic performance vs creativity - is it a wild card?
Themes: Perceptions of creativity, teaching and learning, Extract themes that might suggest hindrance of creativity in HE
But are they used?
Requirements of marketing, communications sitting along research questions: what is the potential of the dance to social/personal transformation? What is the space that fosters reflection?
Quality of conversation/dialogue, Personal voice
Insights to teaching/learning of creativities in outreach context... through participants' voices
Participants' extrapolation/identifying with each other's experiences.
Insightful perspectives, Sharable and widely available tools
Strength - capture voices and practices
Support deep learning... developing long term conversation.... what makes learning deep in the school?, Insights may take place outside the classroom, Technological mediation as a problematic entity does not consider the empathetic benefits it afford., Strike balance - development of protocol, Co-construction of meaning by the participants... enter into dialogic space.
The lonely teacher
how to facilitate dialogue?
"new embodiments of knowledge"
"freedom to pursue ideas"
Polyphony of voices
Talk WITH the person... (and in the process hearing several others)
Why should creative music-making stop when people leave full-time education?
How do we reward musical achievement?
What do we believe music is for?
What is the prevailing myth of music in our time?
Music as objects, e.g. 'addiction' to notations
Music as experience, e.g. 'here and now'
Respond to perceived musical needs/main integrity of musical experience through learning process
Lifemusic precepts, Non-negotiable (e.g. everyone is musical), Appreciating 'norms'
South East Coast Communities Programme, e.g. community-university exchange, recognising/valorising community knowledge, Using participatory music to support community, "Turn life into soul"
Challenges, Valorising previously marginalised activity, Community engagement, Redefining music knowledge - new epistemology, New frameworks for musical performance, Developing new assessment tools, Questioning cultural assumptions