Engaging in future generations
is more important
For the Map to the Stars pilot project, they share their skills and experiences in:
- raising children’s awareness of movement and dance,
- supporting for creative and collaborative practices for children,
- creating artistic works mixing body language and new technologies,
- handing on technological and digital skills to children and teachers,
- creating educational tools both analog and digital
As artistic operators specialized in dance, Map to the Stars partners have seen a significant evolution of the European choreographic sector in recent years. Choreographic productions are increasingly incorporating digital technologies on stage. However young people’s interest in dance is stagnant or even declining. The latest study published by Eurostat in 2013 shows that only 18% of the European population have attended a ballet or dance show in the last 12 months.
Giving young generations the opportunity to discover the world of dance and their bodies as a means of expression seems essential in order to preserve the ability of dance to interact with the world, nourishing emotion and creativity.
Strengthening dance education in schools
In some European countries, dance has found its place in schools, proving every day its ability to allow children to get to know each other better and to concentrate, to increase their motivation and their social and relational skills.
In Berlin, the TanzZeit project takes place in about 50 schools a year, allowing students to explore their sensitive bodies, their environment and their relationship to others, regardless of their social and cultural background, their gender and their means.
Dance is taught with the same commitment as mathematics or languages.
Dance education has become a tool for democratizing the access to culture.
However today movement and dance education is only rarely mentioned in educational programs in Europe. Teachers lack knowledge and skills in this area or face a lack of resources, such as adequate space. Lucky are those who can benefit from art education offers conducted by dance professionals on their territory.
An innovative tool
Contrary to popular belief, creativity is not an innate quality, but it works, preserves and develops through effort and regular practice. This observation comes from research in experimental psychology.
According to the newspaper Le Monde, “there is an urgent need to train a new generation that is truly creative. Not only because our knowledge economy needs it, but because we can not read the third millennium through the prism of the previous one. And also because the challenges facing the planet require innovative solutions.“
Guy Aznar, founder of the French association of the development of creativity, distinguishes three concepts of creativity: the imaginary expression, the artistic creation and the creativity of ideas. “The creativity of ideas refers to both the ability to invent new solutions, called” ideas “, in response to a problem (hence my proposal to speak rather of inventiveness) and also all techniques and teaching methods called “creativity”, which facilitate this approach.”
The newspaper Le Monde refers to the latter definition.
As for the natural and imaginary expression that constitutes a basis for inventiveness, Aznar identifies two factors explaining the brakes: the methodical conditioning to censor ones imagination to better adapt to society; the refusal to express emotions usually related to the territory of the imagination.
In our schools, the imagination is often excessively condemned in favour of an over-valorization of logical mechanisms, of rational thought, based on deductive sequences.
“Globally, we have often killed the imagination in the bud to better adapt children to the reality of their social environment. Instead of organizing the methodical separation of the two phases (…), we have simply condemned the imaginary, or we have reserved it for children with deviant behaviour.” Guy Aznar
In recent years, digital technologies are ubiquitous in our daily lives and the effects on our society are notable. Children in particular are enthusiastic consumers of digital content. According to a study by Eurostat in 2014, 81% of European households have access to the Internet and 50% of European children have tablets or home computers. According to available data, children aged 5 to 15 spend three hours a day on the Internet.
What is the place of digital and what are the uses of digital today in primary school?
According to the French Ministry of National Education, the school trains students to master these digital tools and prepares the future citizen to live in a society whose technological environment is constantly changing.
The School will contribute to the project of a society of information and communication for all by initiating, in partnership with communities and various actors, actions to generalize uses and develop digital resources for education.
Our sources in the field testify a delay in the implementation of the digital plan especially for schools of cycle 3. They do not always have computers or tablets, or teachers trained for the use of digital tools in class.
Map to the Stars partners make the hypothesis that children could develop their creative abilities in a transversal approach through movement and dance.
New technologies, because of the enthusiasm they often create among the younger generations, seem to us a means to explore and provide low-qualified teachers with education in movement and dance. The use of new technologies in the classroom seems essential to us if we want education to meet the societal need for future generations for enlightened and responsible use of these technologies.
We want to invent a digital awareness tool for dance for (cycle 3) teachers and their pupils aged eight to twelve. This tool is thought of as a mobile application for tablets and smart phones.
The application will allow teachers:
- to animate live sessions of variable duration, varying levels and adapted to many constraints, such as space,
- to encourage movement and the creation of individual phrases as a means of self-knowledge and the co-construction of collective movements and phrases as vectors of social skills,
- to create links between the individual or collective movements and the school subjects taught, in order to develop the notion of “embodied language”,
- to encourage the child’s imagination and creative abilities to become the author of his movement sequence.
The use of the mobile application will be inserted naturally in the daily life of the class.
Teachers from participating countries will have access to a forum for exchanging best practices and experience.
The children will also be encouraged to interact with students from other classes and countries through the development and sending of “challenges”, playful exercises posing constraints for the movement and encouraging creativity in their pairs.
The mobile application is under construction and will lead to a beta version in autumn 2018/2019. It is created by a multidisciplinary team of dancers and choreographers, educators, educational researchers and digital developers.
Teachers and students as future users are involved in the process of creating the application from the very beginning.
Thus, the partners wish:
- to question the use of digital tools in schools,
- to identify existing potentials and brakes,
- to create a tool that meets the needs of its users, and that takes into account their problems and constraints,
- to create strong research-action partnerships with committed teachers and schools.
Three classes are selected in each country to participate in the pilot project.
Over a school year starting in September 2018/2019, our teams will accompany teachers and students, allowing them to test the application independently.
FOR WHO ?
Targets for the App
Pilot testing> in 3 classes ( à 25 pupils) in each country > 12 teachers & 300 pupils
WORK IN PROGRESS
This is a very draft presentation of the toolkit
Screen example for
the educator side
for the game