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🇸🇪Undervisningspraktik som gynnar utvecklingen av elevernas kreativa förmågor. 🇸🇪(SVENSKA)

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Exempel pÃ¥ en undervisningspraktik som gynnar utvecklingen av elevernas kreativa förmÃ¥gor.  Vid Skolinspektionens senaste granskning av musikämnet lyftes dessa punkter fram: • Digitala verktyg kan bidra mer till musikskapande och främja kreativitet • Improvisation och musikalisk gestaltning där olika uttrycksformer kombineras ingår inte alltid i undervisningen. • Musikskapande görs inte alltid på sätt som främjar utveckling av kreativitet. (Mattiasson, 2020, s. 1). Dessa punkter identifierar behov i musikundervisningen som jag utgått ifrån i skapandet av ett förslag till undervisningspraktik. En praktik som gynnar förutsättningar för utvecklingen av elevernas kreativa förmågor. Musikalisk gestaltning Musikalisk gestaltning är ett begrepp som används både inom dans och musikundervisning. I den västerländska traditionen skiljer vi dansen och musiken åt. Jag undrar varför? Min personliga uppfattning är att dans i skolan hör mer hemma i musikämnet (musikalisk ...
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SALSA NR.4 - 🇪🇸 BASE, ESENCIA Y DOMINIO 🇪🇸

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  QUE SIGNIFICA DOMINAR UN GENERO DE DANZA?  QUE DEFINE UN SALSERO A LA HORA DE BAILAR? LA ENSEÑANZA ACTUAL Y CONVENCIONAL EN RELACION CON EL TEMA   DOMINAR UN ESTILO - LA BASE     ¿ Que define un salsero?  ¿ que es  fundamental en el baile salsa?  "El Salsero se define de su base" (Maykel Fonts 2019) Mira el video y escucha lo que dice el bailarín profesional y maestro Maykel Fonts sobre la base del baile salsa. ¿En general, Que significa dominar un estilo? Nava  (2021) lo define de esta manera: " Significa asumir la responsabilidad de crecer con bases solidas" (Nava 2021)   Mira el video y escucha lo que dice Thati Nava (IG:  @Thati.dothis. ( bailarina, profesora y mentora de bailes urbanos afroamericanos.) Les recomiendo eschuchar todo el episodio  ¿Que significa dominar un estilo? con Thati Nava (El link puedes encontrar en referencias abajo en este post) ASPECTOS PEDAGOGICOS - ENSEÑAZA DE SALSA Que importancia se...
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🇬🇧 Discussing traditional views on musical ability 🇬🇧 (English)

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  Discussing traditional views on musical ability Is musical ability something that everyone owns? or does just a few persons possess the ability? If that's true would dance and music education not be beneficial for everyone?  On a lecture during the ISME- conference 1996  (Inter- national Society for Music Education) in Amsterdam, Rober Walker expressed the dilemma in following words:  If musical ability appears in only a few, why,then, are we educating all children in music in our schools? Should we not simply identify tho-se with ability, as research indicates, and elimi-nate those without it because they would ob-viously not benefit from musical instruction?Again, we cannot have it both ways. We cannot talk of musical ability which implies an uneven distribution across any populace and of an edu-cation for everyone in music, unless we educate the masses towards different educational goals than those with innate musical ability. But there is a more profound proble...
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🇬🇧 CULTURALLY RELEVANT TEACHING 🇬🇧 (English)

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  CULTURALLY RELEVANT TEACHING  DESCRIPTION OF SIGNAL Equality, hierarchy, cultural expressions, aesthetics, dance forms & techniques.   “look at him dance, all he need is some technique, i wish i could get him in a ballet class”   Mcharty -Brown brings up the problem and reflects on the impact traditional dance training and hierarchy can have on students, in her book Dancepedagogy for a diverse world. Mcharty-Brown writes that there is a need for culturally relevant teaching in dance education. She examines the issue of culturally relevant teaching methods in dance education and makes suggestions for development in this area.    REFLECTION From my personal experience as a dancer, coming from a background where I've practiced non-western dance forms, I've seen and I can still see the hierarchy in the dance community and society. But most certainly I also notice that this problem is being brought to the light and more individuals and organizations a...
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​​🇬🇧 Discussing methods of teaching dance technique 🇬🇧 (English)

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  ​​Discussing methods of teaching dance technique  DESCRIPTION OF SIGNAL The historic, widely accepted method of teaching a dance technique class is through direct, teacher-centered instruction.  There is a study realesed 13 juli 2021 in Journal of danceeducation that compares two methods of teaching a dance technique class to determine which produces a greater increase in technical skills.  (in high school students). Current research (for most undergraduate college students) suggests that student-centered instruction may be more effective. REFLECTION I think it's also needed to be said that we are talking about teaching dance technique in a context of dances with European and western heritage. There already exist other traditions of teaching and learning “the hows of dancing” than the classroom, through direct, teacher-centered instruction.  FUTURE The results of this particular presented study found that future research on this topic should include teaching s...
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🇬🇧 Experiencing Dance performance, With all Senses 🇬🇧 (ENGLISH)

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  Experiencing Dance performance,  With all Senses DANCE IS PRIMARILY A VISUAL AESTHETIC EXPERIENCE? In an article published this year, in frontiers Psychol ,16 April 2021, Bläsing and Zimmermann discuss the general perspective of dance as a visual art form by common arts and science perspectives. The article brings in particular up how dance performance can be made accessible for a non-sighted Audience. SIGNAL OF CHANGE Cultural institutions and artists still share the view of dance as primarily a visual aesthetics experience. All thought, there is a growing interest in creating dance performances available for individuals with visual impairment / blindness (Bläsing-  Zimmermann 2021).  Could this interest and perspective lead to a new way for artists and cultural institutions to work with dance performance?   EXPERIENCE DANCE WITH ALL SENSES - DANCE A MULTIMODAL ACTIVITY Different modalities in which dance can be accessed, from the visual (section Watchin...
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🇸🇪 SALSA Nr 1. Salsa, musik och identitet 🇸🇪(Svenska)

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  Salsa, musik och identitet Salsa är ett samlingsnamn som beskriver en bredd av musik och ett dansutövande som utvecklades i Miami, New York och det spansktalande Karibien. Salsan har sina rötter i en mängd av kubanska musikstilar sÃ¥som: son, son montuno, mambo, danzon, chachachá, guaguancó med flera. Den har ocksÃ¥ korsats med fler moderna stilar sÃ¥som: cumbia, merengue, songo, timba, funk och reggaeton med flera (Simpson-Litke och Stover, 2019). Utövandet av salsadans i USA har gjorts om, processats och hamnat lÃ¥ng ifrÃ¥n sina rötter och täckts av en “vit” fasad. PÃ¥ klubbar och dansstudios lär man ut salsa pÃ¥ ett sätt som har mer gemensamt med ballroomdanser än med latino-danskulturen. Hon skriver ocksÃ¥ om de rytmiska indelningarna: “On-1” och “On-2” som refererar till vilka taktslag som markeras i dansen. Hon anser att dessa är västerländska konstruktioner och tar salsa ännu längre ifrÃ¥n de afro-latinska dansformerna som karaktäriseras av ett förkroppsligat förhÃ¥llande till musik...
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