Auswahl der wissenschaftlichen Literatur zum Thema „Teacher-led play pedagogy“

The author explores tensions between teacher-centered styles of teaching and play-based approaches that invite students to be creators of their own learning. Through narrative inquiry, the author uses a metaphor of wildflowers growing in natural environments to explore a child-led process of learning through play that fosters creativity and deep thinking. Teaching Kindergarten for the first time, the author reflects on challenges of living “secret stories” in the classroom that differ from “sacred stories” of the school’s pedagogical practices, feeling a need to create a “cover story” to present her pedagogy as conforming, yet capable and successful.

This action research discovers the learning preferences of middle school students enrolled in an advanced steel drum class in central Florida, specifically their attitudes toward the learner-centered approach while composing and learning music. Sixteen participants compare the traditional teacher-led formal instruction to student-led informal learning across three projects: composition, peer teaching, and student-led small group with the introduction of Modern Band instruments. Students are given creative freedom to choose their own friendship groups, instruments, and songs. Ease, enjoyment, and success rates are measured through questionnaires, video recording, field notes, and interviews. Student preferences toward teacher-directed and peer-directed learning change throughout the study, from student-led learning to teacher-led instruction as the tasks become more difficult. In addition, preferred learning techniques of the steel drum are found to be reading notation, listening to the music, and demonstrating how to play the instrument through kinesthetic means. Music teachers can successfully implement a more learner-centered classroom by planning lessons that are in line with student ability and background knowledge, while incrementally increasing challenges.

This exploratory qualitative case study explored the pedagogical beliefs and classroom practice of four Post Graduate Certificate in Education (PGCE) students when they implement Information and Communication Technology (ICT) for teaching and learning, including what influences their beliefs. Data were gathered by means of a teacher belief system (TBS) tool, drawing prompts that led to individual interviews, an open-ended questionnaire, lesson plans and assessment feedback forms, short summaries of how they used the ICT resources and feedback from the method lecturer and an appointed mentor teacher. The findings suggest that there appears to be a mismatch between the participants’ espoused beliefs and enacted beliefs when using ICT at this point in time. The participating student-teachers used ICT tools predominately in teacher-centred ways, yet they indicated that they held learner-centred beliefs. At the same time, this does not imply that there were no learner-centred activities during their lessons. The data seems to suggest that their exposure to teacher-centred pedagogy while being learners at school, as well as their tertiary experience could have played a role in how they taught Science. It is therefore important that lecturers model constructivist learner-centred pedagogy to students and provide opportunities for students to plan and model such practice. Key words: habitus, ICT beliefs, learner-centred pedagogy, student-teacher beliefs, teacher-centred pedagogy.

Background Early nutrition interventions to improve food knowledge and skills are critical in enhancing the diet quality of children and reducing the lifelong risk of chronic disease. Despite the rise of mobile health (mHealth) apps and their known effectiveness for improving health behaviors, few evidence-based apps exist to help engage children in learning about nutrition and healthy eating. Objective This study aimed to describe the iterative development and user testing of Foodbot Factory, a novel nutrition education gamified app for children to use at home or in the classroom and to present data from user testing experiments conducted to evaluate the app. Methods An interdisciplinary team of experts in nutrition, education (pedagogy), and game design led to the creation of Foodbot Factory. First, a literature review and an environmental scan of the app marketplace were conducted, and stakeholders were consulted to define the key objectives and content of Foodbot Factory. Dietitian and teacher stakeholders identified priority age groups and learning objectives. Using a quasi-experimental mixed method design guided by the Iterative Convergent Design for Mobile Health Usability Testing approach, five app user testing sessions were conducted among students (ages 9-12 years). During gameplay, engagement and usability were assessed via direct observations with a semistructured form. After gameplay, qualitative interviews and questionnaires were used to assess user satisfaction, engagement, usability, and knowledge gained. Results The environmental scan data revealed that few evidence-based nutrition education apps existed for children. A literature search identified key nutrients of concern for Canadian children and techniques that could be incorporated into the app to engage users in learning. Foodbot Factory included characters (2 scientists and Foodbots) who initiate fun and engaging dialogue and challenges (minigames), with storylines incorporating healthy eating messages that align with the established learning objectives. A total of five modules were developed: drinks, vegetables and fruit, grain foods, animal protein foods, and plant protein foods. Seven behavior change techniques and three unique gamified components were integrated into the app. Data from each user testing session were used to inform and optimize the next app iteration. The final user testing session demonstrated that participants agreed that they wanted to play Foodbot Factory again (12/17, 71%), that the app is easy to use (12/17, 71%) and fun (14/17, 88%), and that the app goals were clearly presented (15/17, 94%). Conclusions Foodbot Factory is an engaging and educational mHealth intervention for the Canadian public that is grounded in evidence and developed by an interdisciplinary team of experts. The use of an iterative development approach is a demonstrated method to improve engagement, satisfaction, and usability with each iteration. Children find Foodbot Factory to be fun and easy to use, and can engage children in learning about nutrition.

This paper explores the rationale for including drama-based pedagogy into the curriculum of the Department of English at Ritsumeikan Asia Pacific University (APU) in Japan. Traditional Japanese teaching practices are explained, followed by an outline of the parallels between drama-based pedagogy and teaching practices of the Japanese elementary school. Contrary to popular expectation, drama-based pedagogy is compatible with existing traditional and cultural systems of education in Japan. Therefore, drama-based pedagogy was included in the Fundamental English language course at APU to provide the students a bridge to move from teacher-led styles of junior high and senior high schools to return to the more learner-centered styles of education of the elementary educational system. This would seem a reasonable way in which to facilitate more cooperative, rather than competitive, styles of learning. Secondly, within the course subject matter of “Intercultural Communication”, drama-based pedagogy could be employed through role plays and self-reflection inside the classroom to allow the students to experience awareness of differing communicative styles when engaged in social interaction with the international students outside of the classroom. Likewise, the process of self-reflection in drama and theatre practices is a complex mix of introspective interrogation and affective engagement, which forms the catalyst for dramatic communication. The purpose of this paper is to present one specific case where drama-based pedagogy was incorporated into the English language curriculum of a rather unique Japanese university.

In this article I analyse global and national neoliberalisms- economic and social class war from above- neoconservatisms which are leading to and connected with NeoFascisms- with their scapegoating, racism, xenophobia, misogyny, heterophobia, militarism and the attacks on dissent- whether electoral, media, or from academics/ universities and workers’ organisations and actions. Six prime examples are Erdogan in Turkey, Bolsonaro in Brazil, Trump in the USA, Orban in Hungary, the Law and Justice government in Poland, and the racist government in Italy, in effect led by Salvini. Across Europe Far-right anti-immigrant, xenophobic and ultra nationalist authoritarian parties are recruiting and becoming electorally significant- and, in some cases, significant on the streets. Critique social democratic reformist parties and governments for adopting neoliberal austerity policies and thereby becoming delegitimised, together with the too-often `accomodationist' trade union and party leaderships. and critically examine prospects for left social democracy as represented, for example, by the Jeremy Corbyn led Labour Party in the UK. Much of the article is devoted to the resistant and the revolutionary role of teachers, academics and education/ cultural workers in different arenas, from national and local electoral and direct action politics/ Focusing on Critical Education, Critical Educators, Marxist Education, Marxist Educators, I seek to address four aspects of education: pedagogy, the curriculum, resistance in the classroom and the hidden curriculum, and the structure of schooling nationally and locally (within-school). I conclude by setting out what is specifically Marxist about the proposals set out. These are: (1) Class Analysis: the Capital-Labour Relation; (2) Capitalism must be replaced by Socialism and that change is Revolutionary; and (3) Revolutionary Transformation of Economy and Society needs to be preceded by and accompanied by a Class Programme, Organisation, and Activism. Regarding capitalism, our task is to replace it with democratic Marxism, to lead, firstly, into socialism, and ultimately, into communism. As teachers, as educators, as cultural workers, as educational, union and party activists, as intellectuals, we have a role to play.

Yoga, Ayurveda, and Siddha represent the ancient science of healthy living originated in India. Some of the oldest texts from around 5000 years back, such as Vedas and Upanishads, provide evidence of such lifestyle. Many seals and fossils from Indus Valley Civilization authenticate the practice of Yoga in ancient India. According to yogic tradition, Shiva, one of the Hindu Gods, is the first yogi (Adi yogi) and the first teacher (Adi Guru). The meticulous practice of Yoga is widely believed to play a major role to overcome mental and physical suffering and leads to self-regulation, and finally to self-realization or liberation. Since the Pre-Vedic period around 2700 B.C., people started practicing Yoga. Later on, Patanjali Maharshi (between 3rd to 6th centuries BC) systematized and codified knowledge of Yoga through his Yoga Sutras. Later, with the help of many sages and masters, Yoga spread through different traditions, lineages and Guru-shishya parampara. Various Yoga schools viz. Jnana, Bhakti, Karma, Raja, Dhyana, Patanjali, Kundalini, Hatha, Laya, Jain, Buddha, Hatha etc. which follow their own practice, principles and tradition. However, they all lead to the same goal. The history of modern Yoga started in 1893 when the Parliament of Religions was held. After that many yogacharya, teachers and practitioners tried to spread Yoga, not only in India but worldwide (1). One of the milestones in the history of Yoga has been the adoption of the International Day of Yoga. The Honorable Prime Minister Sri Narendra Modi addressed the world community on 27th September 2014 in 69 sessions of the United Nations General Assembly (UNGA) (2). The proposal was approved on 11th December 2014 by 193 members of UNGA to establish 21 June as “International Day of Yoga”. Six months later after passing the resolution and confirmation to establish IDY, the first IDY held in 2015. Several Yogic events were organized and publicized throughout India as well as abroad and got national and international publicity that Yoga has originated from Indian culture. The essential and pivotal role of Yoga in education, pedagogy, curriculum, as well as clinical research has been realized well across the globe (3). To achieve the same, AYUSH Ministry was established November 9, 2014 (http://ayush.gov.in) to facilitate research and educational activity in Ayurveda, Yoga and Naturopathy, Unani, Siddha and Homoeopathy. The existence and excellence of Yoga-based researches in the premier Institutes of India is another milestone towards the implementation of yogic sciences in the academic sphere. Several Yoga departments and centers in the premier Institutes and central universities of India, their existence and establishment, is the result of the consultative meeting on Yoga Education in Universities held in Bangalore on 2nd January 2016, chaired by the Hon’ble Minister for Human Resource Development in the presence of Vice-Chancellors from Indian universities. It was resolved to set up a Department of Yogic Art and Science in the Universities and constitute a committee on Yoga Education in universities to look into various aspects pertaining to setting up of these Departments. Further, collaborative efforts were made to support Psychology, Philosophy, and Yogic Science at different collaborating organizations, by utilizing their respective expertise, knowledge, resources and infrastructure (https://www.nhp.gov.in/list-of-yoga-institutes_mtl). The aim of such centers was to understand deeper knowledge of Yoga philosophy and Yoga therapy based on classical Yogic texts. For the last several years, S-VYASA University has been doing research on evidence-based Yoga & its application, to prevent diseases and to promote positive health (https://svyasa.edu.in/Research_Publications.html). Swami Vivekananda Yoga Anusandhana Samsathana (S-VYASA), established in 1986, is a pioneer Institute in the field of Yoga Research. It is the first and foremost Institute with a broad vision of scientifically evaluating yoga, its applications, and policies led by Dr. H R Nagendra.

Purpose – The purpose of this paper is to explore a model of Lesson Study owned entirely by pre-service teachers (PSTs), conveying its potential to facilitate mutual spaces of learning between peers beyond formal hierarchical relationships with expert teachers. Fuller’s (1969) conceptual framework of teacher development informed the study, consisting of self, task and impact “phases of concern”. Design/methodology/approach – Participants were secondary physical education PSTs (n=17), completing a university-led postgraduate certificate in education course. Action research methodology was adopted during school placements, when PSTs engaged in Lesson Study with peers. Data obtained through a group discussion board, individual questionnaires and interviews, were subjected to inductive analysis, with key patterns compared to locate themes. Findings – All PSTs felt Lesson Study contributed positively to their training, reinforcing perceived benefits of cycles of action for planning, observing a lesson, reviewing and adapting the plan before re-teaching the revised plan. Findings reveal increased confidence in reducing self and task concerns through four emergent themes: acquiring content and pedagogical knowledge; developing the planning process; understanding individual learners’ needs; and embedding reflective practice. Mutually supportive peer-learning environments created pedagogic space beyond formal mentoring processes, augmenting learning to teach and the understanding of learners’ needs. Research limitations/implications – Endorsement of Lesson Study by PSTs as a method of engaging in a positive peer-learning climate suggests the workability of this model. Originality/value – Findings contribute to existing literature exploring the effectiveness and impact of Lesson Study within initial teacher education.

Values are at the center of culture, the core of intercultural communication, and the chief element affecting communication between nations. Currently, educating students regarding appropriate cognitive attitudes and behaviors in intercultural communication, the basis for the acquisition of intercultural citizenship, has become a challenge for educators. This paper presents a case study of an intercultural communication curriculum where students participate in a new community and thereby understand the differences between reality and media representation of foreign immigrants. At the end of class, the concept of “access media” will be presented to train students on producing community videos that voice the reality they have experienced through the curriculum processes to which they have been exposed. This involves training students to take social action against media manipulation of stereotypical images of foreign immigrants. This case study demonstrates how an intercultural communication process of learning transforms students. The data include an analysis and evaluation of classroom observations, student and teacher diaries, questionnaires, and focus groups to explain how students’ intercultural communication competence was developed and led to their acquiring intercultural citizenship qualities that include “action in the community,” in this case publishing their own community video. The article concludes by explaining how intercultural theory plays a significant role in intercultural communication and relationship formation, and provides a guide to assist teachers in Taiwan develop pedagogy of literacy for general education.

IntroductionClowns can be seen as enacting catastrophe with a small “c.” They are experts in “failing better” who perhaps live on the cusp of turning catastrophe into a metaphorical whirlwind while ameliorating the devastation that lies therein. They also have the propensity to succumb to the devastation, masking their own sense of the void with the gestures of play. In this paper, knowledge about clowns emerges from my experience, working with circus clowns in Circus Knie (Switzerland) and Circo Tihany (South America), observing performances and films about clowns, and reading, primarily in European fiction, of clowns in multiple guises. The exposure to a diverse range of texts, visual media and performance, has led me to the possibility that clowning is not only a conceptual discipline but also a state of being that is yet to be fully recognised.Diminutive CatastropheI have an idea (probably a long held obsession) of the clown as a diminutive figure of catastrophe, of catastrophe with a very small “c.” In the context of this incisive academic dialogue on relationships between catastrophe and creativity where writers are challenged with the horrendous tragedies that nature and humans unleash on the planet, this inept character appears to be utterly insignificant and, moreover, unworthy of any claim to creativity. A clown does not solve problems in the grand scheme of society: if anything he/she simply highlights problems, arguably in a fatalistic manner where innovation may be an alien concept. Invariably, as Eric Weitz observes, when clowns depart from their moment on the stage, laughter evaporates and the world settles back into the relentless shades of oppression and injustice. In response to the natural forces of destruction—earthquakes, tsunamis, cyclones, and volcanic eruptions—as much as to the forces of rage in war and ethnic cleansing that humans inflict on one another, a clown makes but a tiny gesture. Curiously, though, those fingers brushing dust off a threadbare jacket may speak volumes.Paradox is the crux of this exploration. Clowns, the best of them, project the fragility of human value on a screen beyond measure and across many layers and scales of metaphorical understanding (Big Apple Circus; Stradda). Why do odd tramps and ordinary inept people seem to pivot against the immense flows of loss and outrage which tend to pervade our understanding of the global condition today? Can Samuel Beckett’s call to arms of "failing better” in the vein of Charles Chaplin, Oleg Popov, or James Thiérrée offer a creative avenue to pursue (Bala; Coover; Salisbury)? Do they reflect other ways of knowing in the face of big “C” Catastrophes? Creation and CatastropheTo wrestle with these questions, I wish to begin by proposing a big picture view of earth-life wherein, across inconceivable aeons, huge physical catastrophes have wrought unimaginable damage on the ecological “completeness” of the time. I am not a palaeontologist or an evolutionary scientist but I suspect that, if human life is taken out of the equation, the planet since time immemorial has been battered by “disaster” which changed but ultimately did not destroy the earth. Evolution is replete with narratives of species wiped out by ice-ages, volcanoes, earthquakes, and meteors and yet the organism of this planet has survived and even regenerated. In metaphorical territory, the Sanskrit philosophers have a wise take on this process. Indian concepts are always multiple, crowded with possibilities, but I find there is something intriguing in the premise (even if it is impossible to tie down) of Shiva’s dance:Shiva Nataraja destroys creation by his Tandava Dance, or the Dance of Eternity. As he dances, everything disintegrates, apparently into nothingness. Then, out of the thin vapours, matter and life are recreated again. Shiva also dances in the hearts of his devotees as the Great Soul. As he dances, one’s egotism is consumed and one is rendered pure in soul and without any spiritual blemish. (Ghosh 109–10)For a dancer, the central location of dance in life’s creation forces is a powerful idea but I am also interested in how this metaphysical perspective aligns with current scientific views. How could these ancient thinkers predict evolutionary processes? Somehow, in the mix of experiential observation and speculation, they foresaw the complexity of time and, moreover, appreciated the necessary interdependence of creation and destruction (creativity and catastrophe). In comparison to western thought which privileges progression—and here evolution is a prime example—Hindu conceptualisation appears to prefer fatalism or a cyclical system of understanding that negates the potential of change to make things better. However, delving more closely into scientific narratives on evolution, the progression of life forms to the human species has involved the decimation of an uncountable number of other living possibilities. Contrariwise, Shiva’s Dance of Eternity is premised on endless diachronic change crossed vertically by reincarnation, through which progression and regression are equally expressed. I offer this simplistic view of both accounts of creation merely to point out that the interdependency of destruction and creation is deeply embodied in human knowledge.To introduce the clown figure into this idea, I have to turn to the minutiae of destruction and creation; to examples in the everyday nature of regeneration through catastrophe. I have memories of touring in the Northern Territory of Australia amidst strident green shoots bursting out of a fire-tortured landscape or, earlier in Paris, of the snow-crusted earth being torn asunder by spring’s awakening. We all have countless memories of such small-scale transformations of pain and destruction into startling glimpses of beauty. It is at this scale of creative wrestling that I see the clown playing his/her role.In the tension between fatalism and, from a human point of view, projections of the right to progression, a clown occupying the stage vacated by Shiva might stamp out a slight rhythm of his/her own with little or no meaning in the action. The brush on the sleeve might be hard to detect in an evolutionary or Hindu time scale but zoom down to the here and now of performance exchange and the scene may be quite different?Turning the Lens onto the Small-ScaleSmall-scale, clowns tend to be tiny bundles or, sometimes, gangly unbundles of ineptitude, careering through the simplest tasks with preposterous incompetence or, alternatively, imbibing complexity with the virtuosic delicacy—take Charles Chaplin’s shoe-lace spaghetti twirling and nibbling on nail-bones as an example. Clowns disrupt normalcy in small eddies of activity which often wreak paths of destruction within the tightly ordered rage of social formations. The momentum is chaotic and, not dissimilar to storms, clownish enactment bears down not so much to threaten human life but to disrupt what we humans desire and formulate as the natural order of decorum and success. Instead of the terror driven to consciousness by cyclones and hurricanes, the clown’s chaos is superficially benign. When Chaplin’s generous but unrealistic gesture to save the tightrope-act is thwarted by an escaped monkey, or when Thiérrée conducts a spirited debate with the wall of his abode in the midst of an identity crisis (Raoul), life is not threatened. Such incongruous and chaotic trajectories generate laughter and, sometimes, sadness. Moreover, as Weitz observes, “the clown-like imagination, unfettered by earthly logic, urges us to entertain unlikely avenues of thought and action” (87). While it may seem insensitive, I suggest that similar responses of laughter, sadness and unlikely avenues of thought and action emerge in the aftermath of cataclysmic events.Fear, unquestionably, saturates big states of catastrophe. Slide down the scale and intriguing parallels between fear and laughter emerge, one being a clown’s encapsulation of vulnerability and his/her stoic determination to continue, to persevere no matter what. There are many ways to express this continuity: Beckett’s characters are forever waiting, fearful that nothing will arrive, yet occupy themselves with variations of cruelty and amusement through the interminable passage of time. A reverse action occurs in Grock’s insistence that he can play his tiny violin, in spite of his ever-collapsing chair. It never occurs to him to find another chair or play standing up: that, in an incongruous way, would admit defeat because this chair and his playing constitute Grock’s compulsion to succeed. Fear of failure generates multiple innovations in his relationship with the chair and in his playing skills. Storm-like, the pursuit of a singular idea in both instances triggers chaotic consequences. Physical destruction may be slight in such ephemeral storms but the act, the being in the world, does leave its mark on those who witness its passage.I would like to offer a mark left in me by a slight gesture on the part of a clown. I choose this one among many because the singular idea played out in Circus Knie (Switzerland) back in the early 1970s does not conform to the usual parameters. This Knie season featured Dimitri, an Italian-Swiss clown, as the principal attraction. Following clown conventions, Dimitri appeared across the production as active glue between the various circus acts, his persona operating as an odd-jobs man to fix and clean. For instance, he intervened in the elephant act as a cleaner, scrubbing and polishing the elephant’s skin with little effect and tuned, with much difficulty, a tiny fiddle for the grand orchestration to come. But Dimitri was also given moments of his own and this is the one that has lodged in my memory.Dimitri enters the brightly lit and empty circus ring with a broom in hand. The audience at this point have accepted the signal that Dimitri’s interludes prepare the ring for the next attraction—to sweep, as it were, the sawdust back to neutrality. He surveys the circle for a moment and then takes a position on the periphery to begin what appears to be a regular clean-up. The initial brushes over the sawdust, however, produce an unexpected result—the light rather than the sawdust responds to his broom stokes. Bafflement swiftly passes as an idea takes hold: the diminutive figure trots off to the other side of the ring and, after a deep breath and a quick glance to see if anyone is looking (we all are), nudges the next edge of light. Triumphantly, the pattern is pursued with increasing nimbleness, until the figure with the broom stands before a pin-spot of light at the ring’s centre. He hesitates, checks again about unwanted surveillance, and then, in a single strike (poof), sweeps light and the world into darkness.This particular clown gesture contradicts usual commentaries of ineptitude and failure associated with clown figures but the incongruity of sweeping light and the narrative of the little man who scores a win lie thoroughly in the characteristic grounds of clownish behaviour. Moreover, the enactment of this simple idea illustrates for me today, as much as it did on its initial viewing, how powerful a slight clown gesture can be. This catastrophe with a very small “c:” the little man with nothing but a broom and an idea destroyed, like the great god Shiva, the world of light.Jesse McKnight’s discussion of the peculiar attraction of two little men of the 20th century, James Joyce’s Bloom and Charles Chaplin, could also apply to Dimitri:They are at sixes and sevens here on earth but in tune with the stars, buffoons of time, and heroes of eternity. In the petty cogs of the causal, they appear foolish; in the grand swirl of the universe, they are wise, outmaneuvering their assailants and winning the race or the girl against all odds or merely retaining their skins and their dignity by nightfall. (496) Clowning as a State of Mind/ConsciousnessAnother perspective on a clown’s relationship to ideas of catastrophe which I would like to examine is embedded in the discussion above but, at the same time, deviates by way of a harsh tangent from the beatitude and almost sacred qualities attributed by McKnight’s and my own visions of the rhythmic gestures of these diminutive figures. Beckett’s advice in Worstward Ho (1983) is a fruitful starting place wherein the directive is “to keep on trying even if the hope of success is dashed again and again by failure: ‘Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better’” (Le Feuvre 13). True to the masterful wordsmith, these apparently simple words are not transparent; rather, they deflect a range of contradictory interpretations. Yes, failure can facilitate open, flexible and alternative thought which guards against fanatical and ultra-orthodox certitude: “Failure […] is free to honour other ways of knowing, other construals of power” (Werry & O’Gorman 107). On the other hand, failure can mask a horrifying realisation of the utter meaninglessness of human existence. It is as if catastrophe is etched lightly in external clown behaviour and scarred pitilessly deep in the psyches that drive the comic behaviour. Pupils of the pre-eminent clown teacher Jacques Lecoq suggest that theatrical clowning pivots on “finding that basic state of vulnerability and allowing the audience to exist in that state with you” (Butler 64). Butler argues that this “state of clowning” is “a state of anti-intellectualism, a kind of pure emotion” (ibid). From my perspective, there is also an emotional stratum in which the state or condition involves an adult anxiety desiring to protect the child’s view of the world with a fierceness equal to that of a mother hen protecting her brood. A clown knows the catastrophe of him/herself but refuses to let that knowledge (of failure) become an end. An obstinate resilience, even a frank acknowledgement of hopelessness, makes a clown not so much pure emotion or childlike but a kind of knowledgeable avenger of states of loss. Here I need to admit that I attribute the clowning state or consciousness to an intricate lineage inclusive of the named clowns, Grock, Chaplin, Popov, Dimitri, and Thiérrée, which extends to a whole host of others who never entered a circus or performance ring: Mikhail Dostoyevsky’s Mushkin (the holy Russian fool), Henry Miller’s Auguste, Salman Rushdie’s Saleem, Jacques Tati, Joan Miro, Marc Chagall, Jean Cocteau, Eric Satie’s sonic whimsy, and Pina Bausch’s choreography. In the following observation, the overlay of catastrophe and play is a crucial indication of this intricate lineage:Heiner Müller compared Pina Bausch's universe to the world of fairy tales. “History invades it like trouble, like summer flies [...] The territory is an unknown planet, an emerging island product of an ignored (forgotten or future) catastrophe [...] The whole is nothing but children's play”. (Biro 68)Bausch clearly recognises and is interested in the catastrophic moments or psychological wiring of life and her works are not exempt from comic (clownish) modulations in the play of violence and despair that often takes centre stage. In fact, Bausch probably plays on ambivalence between despair and play more explicitly than most artists. From one angle, this ambivalence is generational, as her adult performers bear the weight of oppression within the structures (and remembering of) childhood games. An artistic masterstroke in this regard is the tripling reproduction over many years of her work exploring gender negotiations at a social dance gathering: Kontakhof. Initially, the work was performed by Bausch’s regular company of mature, if diverse, dancers (Bausch 1977), then by an elderly ensemble, some of whom had appeared in the original production (Kontakhof), and, finally, by a group of adolescents in 2010. The latter version became the subject of a documentary film, Dancing Dreams (2010), which revealed the fidelity of the re-enactment, subtly transformed by the brashness and uncertainty of the teenage protagonists playing predetermined roles and moves. Viewing the three productions side-by-side reveals socialised relations of power and desire, resonant of Michel Foucault’s seminal observations (1997), and the catastrophe of gender relations subtly caught in generational change. The debility of each age group becomes apparent. None are able to engage in communication and free-play (dream) without negotiating an unyielding sexual terrain and, more often than not, the misinterpretation of one human to another within social conventions. Bausch’s affinity to the juxtaposition of childhood aspiration and adult despair places her in clown territory.Becoming “Inhuman” or SacrificialA variation on this condition of a relentless pursuit of failure is raised by Joshua Delpech-Ramey in an argument for the “inhuman” rights of clowns. His premise matches a “grotesque attachment to the world of things” to a clown’s existence that is “victimized by an excessive drive to exist in spite of all limitation. The clown is, in some sense, condemned to immortality” (133). In Delpech-Ramey’s terms:Chaplin is human not because his are the anxieties and frustrations of a man unable to realize his destiny, but because Chaplin—nearly starving, nearly homeless, a ghost in the machine—cannot not resist “the temptation to exist,” the giddiness of making something out of nothing, pancakes out of sawdust. In some sense the clown can survive every accident because s/he is an undead immortal, demiurge of a world without history. (ibid.)The play on a clown’s “undead” propensity, on his/her capacity to survive at all costs, provides a counterpoint to a tragic lens which has not been able, in human rights terms, to transcend "man’s inhumanity to man.” It might also be argued that this capacity to survive resists nature’s blindness to the plight of humankind (and visa versa). While I admire the skilful argument to place clowns as centrepieces in the formulation of alternative and possibly more potent human rights legislations, I’m not absolutely convinced that the clown condition, as I see it, provides a less mysterious and tragic state from which justice can be administered. Lear and his fool almost become interchangeable at the end of Shakespeare’s tragedy: both grapple with but cannot resolve the problem of justice.There is a little book written by Henry Miller, The Smile at the Foot of the Ladder (1948), which bears upon this aspect of a clown’s condition. In a postscript, Miller, more notorious for his sexually explicit fiction, states his belief in the unique status of clowns:Joy is like a river: it flows ceaselessly. It seems to me this is the message which the clown is trying to convey to us, that we should participate through ceaseless flow and movement, that we should not stop to reflect, compare, analyse, possess, but flow on and through, endlessly, like music. This is the gift of surrender, and the clown makes it symbolically. It is for us to make it real. (47)Miller’s fictional Auguste’s “special privilege [was] to re-enact the errors, the foibles, the stupidities, all the misunderstandings which plague human kind. To be ineptitude itself” (29). With overtones of a Christian resurrection, Auguste surrenders himself and, thereby, flows on through death, his eyes “wide open, gazing with a candour unbelievable at the thin sliver of a moon which had just become visible in the heavens” (40). It may be difficult to reconcile ineptitude with a Christ figure but those clowns who have made some sort of mark on human imagination tend to wander across territories designated as sacred and profane with a certain insouciance and privilege. They are individuals who become question marks: puzzles not meant to be solved. Maybe similar glimpses of the ineffable occur in tiny, miniscule shifts of consciousness, like the mark given to me by Dimitri and Chaplin and...—the unending list of clowns and clown conditions that have gifted their diminutive catastrophes to the problem of creativity, of rebirth after and in the face of destruction.With McKnight, I dedicate the last word to Chaplin, who speaks with final authority on the subject: “Be brave enough to face the veil and lift it, and see and know the void it hides, and stand before that void and know that within yourself is your world” (505).Thus poised, the diminutive clown figure may not carry the ferment of Shiva’s message of destruction and rebirth, he/she may not bear the strength to creatively reconstruct or re-birth normality after catastrophic devastation. But a clown, and all the humanity given to the collisions of laughter and tears, may provide an inept response to the powerlessness which, as humans, we face in catastrophe and death. Does this mean that creativity is inimical with catastrophe or that existing with catastrophe implies creativity? As noted at the beginning, these ruminations concern small “c” catastrophes. They are known otherwise as clowns.ReferencesBala, Michael. “The Clown.” Jung Journal: Culture & Psyche 4.1 (2010): 50–71.Bausch, Pina. Kontakthof. Wuppertal Dance Theatre, 1977.Big Apple Circus. Circopedia. 27 Feb. 2013 ‹http://www.circopedia.org/index.php/Main_Page›.Biro, Yvette. “Heartbreaking Fragments, Magnificent Whole: Pina Bausch’s New Minimyths.” PAJ: A Journal of Performance and Art 20.2 (1998): 68–72.Butler, Lauren. “Everything Seemed New: Clown as Embodied Critical Pedagogy.” Theatre Topics 22.1 (2012): 63–72.Coover, Robert. “Tears of a Clown.” Critique: Studies in Contemporary Fiction 42.1 (2000): 81–83.Dancing Dreams. Dirs. Anne Linsel and Rainer Hoffmann. First Run Features, 2010.Delpech-Ramey, Joshua. “Sublime Comedy: On the Inhuman Rights of Clowns.” SubStance 39.2 (2010): 131–41.Foucault, Michel. “The Ethics of the Concern for Self as Practice of Freedom.” Michel Foucault: Ethics: Subjectivity and Truth. Ed. Paul Rabinow. New York: The New Press, 1997. 281–302. Ghosh, Oroon. The Dance of Shiva and Other Tales from India. New York: New American Library, 1965.Kontakthof with Ladies and Gentlemen over ’65. Dir. Pina Bausch. Paris: L’Arche Editeur, 2007.Le Feuvre, Lisa. “Introduction.” Failure: Documents of Contemporary Art. Ed. Lisa Le Feuvre. London: Whitechapel Gallery, 2010. 12–21.McKnight, Jesse H. “Chaplin and Joyce: A Mutual Understanding of Gesture.” James Joyce Quarterly 45.3–4 (2008): 493–506.Miller, Henry. The Smile at the Foot of the Ladder. New York: New Directions Books, 1974.Raoul. Dir. James Thiérrée. Regal Theatre, Perth, 2012.Salisbury, Laura. “Beside Oneself Beckett, Comic Tremor and Solicitude.” Parallax 11.4 (2005): 81–92.Stradda. Stradda: Le Magazine de la Creation hors les Murs. 27 Feb. 2013 ‹http://www.horslesmurs.fr/-Decouvrez-le-magazine-.html›.Weitz, Eric. “Failure as Success: On Clowns and Laughing Bodies.” Performance Research: A Journal of the Performing Arts 17.1 (2012): 79–87.Werry, Margaret, and Róisín O'Gorman. “The Anatomy of Failure: An Inventory.” Performance Research: A Journal of the Performing Arts 17.1 (2012): 105–10.

Teacher-led sensory play pedagogy, which specifically focuses on the sensopathic senses, has the potential to facilitate sensory processing in Grade R (Reception Year) children in preparing them for the transition from informal to formal schooling. In this study the complexity of the nature of this inquiry became evident when the body of scholarship was found not to reveal one single framework that represents play pedagogy, sensory integration and best early childhood practices. A variety of theories are available, but not a unifying conceptual framework that integrates cross-disciplinary knowledge systems to inform a scientific research process. Constructing an encompassing teacher-led sensory play pedagogy framework requires the integration of key principles of renowned and trusted grand theories of play, sensory play and play-based pedagogies with international best practice to preserve and advocate the importance of sensory play and learning in the early years. The newly conceptualised framework that represents the phenomenon had to be implemented using scientific research principles. Interpretivism as methodological paradigm guided the entire research process from selecting participants and sites to data generation, analysis and interpretation. The nature of the phenomenon justified a qualitative mode of inquiry with a multiple case study approach. The selection of the research sites as well as the participants warranted a purposive sampling technique. The five sites and ten participants represent teaching communities and learning environments that value sensory play as pedagogy when implementing South Africa’s national curriculum. The conceptual framework informed the construction of sensopathic pathways for indoor and outdoor learning environments. They served as a real-time exposition with actively engaged children. The teacher-participants observed this engagement and expressed their observations and interpretation through semi-structured interviews and reflective journals. To ensure quality data, the participants were given access to a cloud-based data generation application (app) with which they captured their experiences, impressions and thinking textually and visually. Member checking and a reliable audit trail were ensured by empowering the participants to capture their experiences as first-hand raw data themselves. The analysis of the data sets is aimed at determining how the conceptual framework informs teacher-led sensory play pedagogy. Therefore, I conceptualised an a priori coding framework using a deductive derivation of themes (statements), categories and codes to make sense of the data sets. A pivotal part of the study was to scrutinise how the conceptual framework inspired the integration of sensory processing and sensory play activities, as well as how teacher-led activities introduced sensopathic play opportunities to children in an informal learning environment. The importance of aligning sensopathic play experiences with the intended curriculum is key in preparing children for the transitions from Grade R to Grade 1. The interpretation of the analysed data sets indicated that the nature of this phenomenon is more complex than anticipated, as children demonstrated a dire need for a sensory play programme whether they had been diagnosed with sensory processing deficiencies or not. In other words, sensory play pedagogy that stimulates sensory processing, self-regulation and problem-solving skills readies children for formal schooling. The newly conceptualised framework affirms that teacher-led sensory play pedagogy can be incorporated into teachers’ daily school programmes and the national curriculum in South African preschools.
Thesis (PhD)--University of Pretoria, 2020.
pt2021
Early Childhood Education
PhD
Unrestricted

In modern educational conditions the problem of professional mobility of the future Physical Education teacher acquires actual value. This is what strengthens the special interest in the ideas of child`s physical development through the prism of game technologies, which were put forward by educators of the past and have not lost their importance today. Analysis of the creative heritage of outstanding educators makes it possible to use historical experience in the development of modern education. The works of the German teacher F. Froebel and the Ukrainian K. Ushynskyi, wich study the theory of children's game, are of considerable interest nowdays. The subject of research is the pedagogical possibilities of children's games by F. Froebel and K. Ushynskyi in the professional training of a mobile-oriented PE teacher in modern educational conditions. The purpose of the study is to substantiate the effectiveness of game methods of the child`s physical development in the process of future PE teachers training to implement the pedagogical ideas of F. Froebel and K. Ushinskyi in the modern space of higher physical education. Objectives of the study: studying the problem of children's play in the pedagogical concepts of F. Froebel and K. Ushinskyi, outlining ways of creative use of ideas of F. Froebel and K. Ushinskyi in the formation of professional mobility of future PE teachers in the process of practical preparation for play activity of young pupils. The methodological basis of the study is the pedagogical heritage of F. Froebel and K. Ushinskyi; theory of scientific knowledge. The study is based on the principles of historicism, systematics, scientificity, mobility, child-centeredness, creative approach to the personality as a subject of the educational process. The scientific novelty of the study is, that: a comparative analysis of game methods of the child`s physical development through the prism of pedagogical systems of F. Froebel and K. Ushinskyi is given for the first time; the process of professional training of future PE teachers is modeled on F. Froebel's pedagogical ideas; further development of the content and methodological support for the formation of professional mobility of future teachers to implement the provisions of F. Froebel and K. Ushinskyi on children's play activities. Friedrich Froebel (1782-1852) developed the theory and methodology of the game as a means of harmonious development of the child. His system of preschool education was extremely widespread in the world, and is also used today in Europe, particularly in Germany. Konstantin Ushinskyi (1824–1870) formulated the following pedagogical conclusions about the game: games predict the future character and destiny of the child; the game has a great influence on the development of children's abilities; children's games have their nationalities, their centuries-old history; children are constantly creating new games. The study led to the following conclusions: 1. The study of the theory of children's play in the pedagogical concept of F. Froebel showed that it is based on the principles of child centrism, creativity, amateurism, children's self-development, fun, constructive activity through the expression of children's feelings, thoughts, gestures, songs, stories. 2. K. Ushinsky defines the importance of game in the physical and mental development of the personality, argues and critically evaluates the "children's gifts" of F. Froebel. Theoretical and practical study of children's games in modern conditions is an important professional competence of future PE teachers, methodical provisions on their expediency were substantiated by K. Ushinskyi. The conducted historical and pedagogical analysis of the works of F. Froebel and K. Ushinskyi testifies to the important scientific achievements of teachers in the field of children's play theory. 3. Froebel's didactic material was aimed at mastering by students the method of developing children's physical abilities, their ability to constructive activity, logical thinking, which today acquires special significance not only in physical education but also in professional sports. Froebel's pedagogy is designed to educate the future teacher not only of physical culture, but also "culture" in the broadest sense of the word, forms his professional and mobile competencies of the combinatorial type. 4. Necessary pedagogical conditions for the implementation of the main tasks of physical education in the scientific heritage of K. Ushinskyi are compliance with the principles of humanism, nationality, conformity to nature, rational use of effective ways, means and forms of strengthening and preserving mental and physical health of students on the requirements of high moral and professional qualities of teacher's personality.