The dilemmas of teaching for creativity: Insights from expert specialist dance teachers

This paper offers part of the findings of a qualitative, interpretive Ph.D. study, which used a case study approach to explore and illustrate the conceptions of and approaches to creativity of three expert specialist dance teachers working with late primary age children. The specialists had extensive expertise as dance educators in different educational settings together with experience as dance artists. One way of framing their conceptions and practice was in terms of the pedagogical puzzles or dilemmas that they encountered. This paper focuses on the dilemma of ‘balancing personal/collective voice and craft/compositional knowledge’ when teaching for creativity. The findings articulate the foundations of embodied knowing (intrinsic to aesthetic understanding) and the processes fundamental to their teaching for creativity. This is followed by details of the key pedagogical spectra which emerged when responding to the dilemma: prioritisation of creative source—inside out or outside in; degrees of proximity and intervention—distanced reactivity or close proactivity; and spectrum of task structures—purposeful play to tight apprenticeship; and their use in action by the teachers in their different situations. The paper relates these findings to two current questions within education: that of the relationship between knowledge and creativity, and the ways in which adults/experts might engage in teaching for creativity. The paper concludes that this research supports calls for a re-evaluation of aesthetic understanding's role in creativity, grounded in embodiment, within dance pedagogy, which might also be fruitfully heeded within wider educational contexts. It also provides the findings as ‘images of possible’ approaches to inter-relating knowledge and creativity both within dance, and other disciplines, and argues for the use of dilemmas and their solutions as one way of acknowledging complexity and encouraging reflective practice in teaching for creativity, both within teacher training and continuing professional development. Finally, the paper highlights the unique perspective of a group of hybrid education professionals at the arts/education interface, and suggests future areas of research which might develop from this investigation of their practice.