Dansdidaktik kan utgå ifrån att dans är ett sätt att skapa rörelsemedvetenhet och koreografier, men också en möjlighet att dela med sig av kunskap, fantasier, traditioner och livet i stort. Forskning visar hur dans kan skapa meningsfullhet, ökad rörelsemedvetenhet, självkänsla och gruppsammanhållning för elever.

What researchers see in pre-school children’s reactions to live classical piano music, and how this knowledge can be interpreted into a broader societal context, is the focus of this study. The specific purpose was to see how a transdisciplinary group of researchers, interpreted 32 pre-school children’s reactions when listening to a short live classical professional piano concert, Beethoven’s piano sonata No. 23, Op. 57 “Appassionata”, first movement. The children were video recorded before, during and after the piano concert and were asked to draw self-figure drawings before and after the live concert. Through body language and cognitive/verbal reactions, interviews, analyses of movements and self-figure drawings, rich data from the pre-school child- ren were analyzed and discussed. The concert affected the children in differ- ent ways and as interpreted from the narratives from the pre-school teachers; the children were absorbed and energized many days after the concert. Re- search collaborations across disciplinary boundaries are needed to deepen the knowledge of how music can contribute to children’s creativity, curiosity, physical security, and creative learning for the coming school year. We need to look deeper into the meaning of kinesthetic musicality in pre-school con- texts and more frequently ask in what ways knowledge is taught and orga- nized.

Kinestetisk musikalitet kan beskrivas som ett rörelsesinne som gör det möjligt att samspela med, lära sig om och förstå världen. Den här artikeln erbjuder pedagoger stöd i att analysera sin verksamhet och planera för en undervisning i rörelse. Här föreslås didaktiska idéer som gäller dans utifrån observation av barns lek, men också rörlighet i andra ämnen såsom språk eller matematik. 

How to give brain and body to the multiple pack that we already are or are becoming: how, in other words, are we to make sensible (auditory, visually and affectively) the time before I think and We think that we cannot plan, control or know, but simply experiment with, which is the time of the city and nothing else?' (Rajchman, 2010, p.39)These powerful words constitute the starting point for this article that argues that, within the context of early childhood literacy in a globalized and multicultural' world, we need to experiment with new ways of understanding identity and language through amalgamating early childhood pedagogy and didactics with aesthetics. Such an endeavour needs to take place beyond the indignity of speaking for the other' (Deleuze, 2004, p. 208) and beyond the constructed categories that have been attributed to children in the name of one or another minority group. Through vivid examples and theoretical movements taking place within the research project The Magic of Language' we propose to shift focus - from the identifying and categorizing of individuals, as well as from the epistemological violence performed in the name of recognition and linguistic representation - to aesthetic experimentation and to the place of experiments. A time of the city' is also a time of the place' and in this article we are arguing for the importance of aesthetic experimenting with that place.

Hur påverkar skolans rum vår perception, uppmärksamhet, koncentration och lärande? Genom våra sinnen förbinds vi med det som omger oss. Ändå är skolans fysiska miljö något som inte anses forma elever och pedagoger lika mycket som pedagogiska metoder och modeller. Min text är en reflektion kring hur skolans gemensamma utrymmen formar regler och beteenden både hos pedagoger och barn. Den lyfter fram idéer om hur estetiska ämnesdidaktiska rum skulle kunna skapas genom att ägna mer uppmärksamhet åt varje ämnes estetiska dimensioner och hur de påverkar barns strategier för lärande.

Ebba Theorell, Stockholms Universitet, är disputerad i Estetiska ämnens didaktik med inriktning dans och film. Hon har under många år forskat kring de yngsta barnens krigslekar och undrat hur vi som vuxna ska förhålla oss till dem. En av de första iakttagelserna hon gjorde var att barnens intresse för rörelse verkade vara helt central i leken. Därför började hon filma och sedan analysera pojkars krigslek med hjälp av dansteori för att kunna förstå och förklara lekens rörelser på ett mer precist sätt.

I hennes presentation visas filmklipp och bilder från projektet som börjar specifikt i analys av krigslek men som sedan öppnar sig mot mer generella idéer och begrepp kring dans, lärande och rörelse. Och om hur vi som vuxna kan bli mindre dömande och mer intresserade av det nya som nya generationer skapar.

War play has generally been studied with violence as a central perspective, investigating its impact on children’s aggression, both in a positive and negative sense. Some research results have claimed that war play can contribute to normalising or even encouraging violent behavior amongst children, while other results have claimed that children can develop important physical, cognitive or social skills through war play. However, this study examines the aesthetic dimensions that children create and explore in war play in their early childhood, above all by placing their movement at the foreground. The phenomenon of war play is here reframed and analysed, mainly through a dance theoretical framework. This framework embraces phenomenology with a focus on the body-subject´s movement in the world–a focus which is further displaced towards movement in the world with the help of process philosophy.The research data is mainly based on ethnographic field studies and art film, but also of interviews with the participants who are boys aged three to nine years old. The structure and organisation of the analysis is inspired by the principles of Grounded Theory. Six main categories emerged as the result of the study: rhythm, orchestrating space, fictional characters as spaces for exploring movement-quality, the movement canon of war play, phrases and aesthetic attention. Concluding, the results of the thesis are discussed with a focus on the core category, kinesthetic musicality, that connects all the categories found in the research data. Kinesthetic musicality also constitutes the core of an emerging theory that can be further tested and developed in future research. This emerging theory can be described as capturing a dimension of how children in their early childhood understand, explore and create the world. 

Hur kan vi bemöta små barns (oftast pojkars) krigslekar på fler sätt än att bara automatiskt förbjuda dem och visa vårt ogillande? Föreläsningen utgår från Theorells avhandling Kraft, form, transformationer: om kinestetisk musikalitet ochkroppsvärldande i pojkars krigslek som bygger på många års filmande och observerande av de yngsta barnens fysiska, intensiva och låtsasaggressiva krigslekar. I föreläsningen visas filmklipp och foton både från forskning och praktikutvecklande projekt.

I skola och förskola är det vanligt att införa totalförbud mot krigslekar, actionlekar, superhjältelekar. Men riskerar ett automatiskt, konsekvent förbjudande att alienera vissa barn från våra gemenskaper och att försämra kommunikationen mellan barn och vuxna? Ebba Theorell har undersökt aspekter av krigslek som vi inte vanligtvis uppmärksammar. Vilka dimensioner uppstår i nya generationers krigslek och vilka möjligheter finns för vuxna att tolka och bemöta dem på? Föreläsningen innehåller tankar om krigslekens komplexitet; perception, lek, tolkning, meningsskapande, maskulinitet och estetik.  

Pedagogical tact is a core aspect of pedagogical professionalism. Originally defined as “a quick judgment and decision…answer[ing to the] requirements of the individual case”. Pedagogical tact is of renewed interest in research on practices, materiality of education, embodiment and learning and in terms of questions of equality. However, it is described as elusive, intangible. Tact is particularly visible in terms of body’s own aporias. It 'shows itself' performatively—“manifest as a teacher’s reserve exercised for the sake of the child’s independence”. Herbart models pedagogical tact as a form of professional knowledge in three ways: First, tact enters spaces which theory has left empty, thus becoming the 'regent' of practice. Second, Herbart uses 'tact' almost synonymously with the Kantian 'judgement'. Third, he understands the concept as representing an indispensable link between theory and practice in pedagogy, i.e. as rapid assessment and decision directed to meeting the demand of the individual case. This serves as a basis for the analysis how pedagogical tact can be degenerated into ideology.