‘Free but not free-free’: teaching creative aspects of dance in physical education teacher education

Abstract

Background: There is a global consensus that stimulating and fostering children’s creativity in education is crucial. Addressing creativity has become an imperative in educational policies and in school curricula internationally. School-based physical education (PE), and specifically the teaching area of dance, has been identified as an important pedagogical setting within which to develop creativity. Existing studies have suggested, however, that dance is seldom taught in PE in ways that acknowledge creative aspects of movement learning. Scholars have claimed that teaching pre-arranged dances with predetermined movement outcomes dominate dance teaching in PE. Furthermore, studies have asserted that the overarching regulative principles of PE and PETE that privilege sport skills and physical exercise hinder creative movement learning. Still, dance teaching is frequently seen as part of expressive dance teaching in PE and PETE and is regarded as holding potential in the area of education for creativity. Little scholarly attention has been given to how teacher educators approach creative aspects in dance teaching. Purpose: This article aims to create insights into how PETE teacher educators understand and work with creative aspects of dance in their educational practice. Method and theory: To address our aim, we investigate how teacher educators describe their teaching of creative aspects of dance. To do this, empirical material was generated through qualitative interviews with PE teacher educators from each of the PETE institutions in Sweden. The theoretical concepts of smooth and striated spaces and experimentation by Gilles Deleuze and Félix Guattari were used to guide the analysis of how the PETE educators described their teaching of creative aspects of dance. Deleuze and Guattari developed a framework that concerned questions of creativity and newness. Despite this conceptual framework having not yet been used in dance education in PE and PETE, their writing fits well when analysing questions of creativity in an educational context. Findings: We identified three major themes relating to creativity in the empirical material: (a) creative aspects of expressive dance; (b) challenges that teacher educators face when introducing movement exploration in expressive dance to their students, and; (c) the teacher educators’ pedagogical work with students. Discussion: The results of this study show that teaching expressive dance can take teaching in PE and PETE in new directions. The results provide insights into alternative ways of teaching in these educational settings that can counter the dominant ways of teaching dance. Results suggest that teacher educators operate in various striated spaces that are shaped by expectations and conventions. In such spaces, the educators aim to create momentary passages of smoothening that open up for experimentation and the development of students’ creativity. The results also suggest that expressive dance in PE and PETE emphasizes creative movement learning through which students learn to operate within new and unpredictable situations.