Difference between revisions of "Ivaldi2020"

From emcawiki
Jump to: navigation, search
(Created page with "{{BibEntry |BibType=ARTICLE |Author(s)=Antonia Ivaldi; Alive Sanderson; Gareth Hall; Michael Forrester; |Title=Learning to perform: A conversation analytic systematic review o...")
 
 
Line 4: Line 4:
 
|Title=Learning to perform: A conversation analytic systematic review of learning and teaching practices in performing arts lesson interactions
 
|Title=Learning to perform: A conversation analytic systematic review of learning and teaching practices in performing arts lesson interactions
 
|Tag(s)=EMCA; Performing arts; Multimodality; Embodiment; Systematic review
 
|Tag(s)=EMCA; Performing arts; Multimodality; Embodiment; Systematic review
|Key=Ivaldi2020
+
|Key=Ivaldi2021
 
|Year=2021
 
|Year=2021
 
|Language=English
 
|Language=English

Latest revision as of 04:48, 6 November 2020

Ivaldi2020
BibType ARTICLE
Key Ivaldi2021
Author(s) Antonia Ivaldi, Alive Sanderson, Gareth Hall, Michael Forrester
Title Learning to perform: A conversation analytic systematic review of learning and teaching practices in performing arts lesson interactions
Editor(s)
Tag(s) EMCA, Performing arts, Multimodality, Embodiment, Systematic review
Publisher
Year 2021
Language English
City
Month
Journal Learning, Culture and Social Interaction
Volume 28
Number
Pages
URL Link
DOI https://doi.org/10.1016/j.lcsi.2020.100459
ISBN
Organization
Institution
School
Type
Edition
Series
Howpublished
Book title
Chapter

Download BibTex

Abstract

This review synthesizes conversation analysis research examining multimodal performing arts interactions in learning and teaching contexts. It shows how the art itself is integrated into the learning dialogue and how it is integral to getting the business of learning and teaching done. Twenty-three publications met the criteria: conversation analytical multimodal research in performing arts lessons and rehearsals, with participants of all ages. The review highlights the developing field of conversation analysis in the performing arts over the last five years in particular. Nine practices were identified: (1) establishing and manipulating rhythm, space and timeframe, (2) making corrections, (3) miming and mirroring to provide information and understanding, (4) highlighting movements and demonstrations, (5) teacher/conductor controlling beginnings/restarts/end of activities, (6) cues for where to start/pick up from, (7) students showing understanding, (8) getting ready to perform, and (9) making learning inclusive and collaborative. As the practices were predominantly teacher led, students have little opportunity to engage in the learning dialogue and drive their own learning – responding mainly with performance. More active learning opportunities need to be created by teachers and conductors so that students can generate their own practices for learning.

Notes