Abstract – Tiivistelmä – Abstrakt
Invitation Letter to the Reader
1 Introducing in the ‘Opening Circle’
The ‘Opening Circle’
1.1.1 Aims and Motivation
- Arts-Educational-Philosophical Grounding
- Motivational Grounding
1.1.2 Research Questions
1.2.1 Academic Contexts
- Artistic Research
- Intra-active Pedagogical Orientation
1.2.2 Practical Contexts
- Improvisation-based Dance Education
- Fieldwork in Early Childhood Education
- The Pre-examined Artistic Component Käännöksiä – Transpositions
1.3.1 Assembling the Thesis as a Storyboard
1.3.2 Navigating the Work
- Outlining the Pieces of the Storyboard
- Guidelines for the Reader
2 ‘Tuning in’ to Intra-Active Early Childhood Dance Pedagogies
‘Tuning in’
2.1.1 Ethico-onto-epistemological Grounding
- The Landscape of Relational Ontologies
- The Concept of Knowledge as Relational and Situational
2.1.2 Intra-active Orientation
- Related Research with an Intra-active Approach
- Intra-active Pedagogy as an Emergent Space
2.1.3 Entanglements of Assemblages
- Assemblages as Sites of Collective Expression
- Thinking-with Materials: Duplo Blocks and Playdough
2.1.4 Agency as Relational
- Agency as Intra-active
- More/other-than-human Agency
- Agencies in Improvisation-based Dance Education
2.2 On Children, Childhood, and Education
2.2.1 Contemporary Views on Children and Childhoods
- Posthuman Perspectives in Childhood Studies
2.2.2 Posthuman Reconfigurations of the Child
- The Human as Child and Adult
- Posthuman Perspectives on Age
- The Relational Child
2.2.3 Early Childhood Education (ECEC)
- The Finnish Early Childhood Education and Care Context
- Alternative Perspectives on Curricula
- Posthuman Approaches to ECEC
- Embodied Aspects of ECEC
2.3 Early Childhood Dance Education
2.3.1 Central Concepts
- Dance and Movement as Mutually Inclusive Partners
- From Creative Dance for Children to Dance Improvisation for All
- Early Childhood Dance Education
2.3.2 Entanglements with Earlier Research
2.3.3 Improvisation-based Dance Education
- Dance Improvisation as a Relational Practice
- Working with Emergence
3 ‘Warming Up’ with Methodology
‘Warming Up’
3.1 Dance Pedagogical Research within Artistic Research
3.1.1 Postqualitative and Posthuman Approaches to Artistic Research
- Methods as Emergent
- Building on Earlier Research
3.1.2. Artistic Research as Translation
- Translation in Artistic Research
- Moving between Modalities
- Translating across Contexts and Languages
- Philosophical Aspects
3.2.1 Emergent Approaches
- Improvisation-based Dance Pedagogy as Research Practice
- The Hunting–Gathering Method
- Propositions Enabling Emergent Research
3.2.2 Collaborative Aspects
- Deep Hanging Out
- Thinking-with Multiple Agencies in Research
- Embodied and Entangled Being-with in Research
3.2.3 Writing as a Research Practice
- Writing as Artistic Research
- Writing with the Body: The Verbs and Lines Method
3.2.4 Play in This Research
- Play as a Nomadic Research Practice
- Dance Improvisation as Embodied Play
- Researching Playfully
3.3 Working Diffractively with Research Materials
3.3.1 Pedagogical Documentation
- Pedagogical Documentation as Material and Agential Translation
- Pedagogical Documentation as Data
3.3.2 Research Materials
- Writings
- Drawings
- Recordings
- Gifts
3.3.3 Diffractive Analysis
- Reflective Diffraction
- Diffractive Reading
- The Glow of Data
- Re-turning
3.4.1 Relational Ethics as Response-ability
3.4.2 Practical Ethical Considerations
- Consent Procedures for the Fieldwork
- Consent Procedures for Käännöksiä – Transpositions
- Safeguarding and Handling of the Research Materials
4 ‘Exploring’ During Fieldwork
‘Exploring’
4.1 Preparing for the Fieldwork
4.1.1 Fieldwork as a Concept
4.1.2 Practical Arrangements
4.2 Diffractive Practice with Propositions
4.2.1 Allowing Time for Discovery
- Time in ECEC
- Time in Dance and Childhood
- The Concept of Discovery
- Research Discovery: Drawing as a Dance Pedagogical Approach
4.2.2 To See and to Become Seen
- Embodied Aspects of Seeing
- Digital Seeing: Threat or Possibility?
4.2.3 To Listen
- Methodological Steps towards Embodied Listening
- Hearing the Material Agencies
- Research Discovery: The Methodological Assemblage of Hunting–Gathering with Embodied Listening
4.2.4 To Move and to Be Moved
- Moving with Materials
- Research Discovery: Thinking-with Materials
4.2.5 To Dance
- A Magical Encounter: Dancing the Swan
- A Clash of Cultures
- Research Discovery: The Storyboard Method
4.2.6 To Play
- Playful Dancing and Danceful Playing
- Becoming-other as a Researcher
4.2.7 To Be With
- Being-with the Daycare Community
- Being-with More/Other-than-Human Agencies
4.2.8 To Not Know
4.3 Long-term Cooperation as an Overspill
4.3.1 Not/Finishing the Fieldwork
4.3.2 Overspills of the Research
5 ‘Sharing’ in the Pre-Examined Artistic Component Käännöksiä – Transpositions
‘Sharing’
- Warning! You are entering a re/de/constructi n site!
5.1.1 The Project Becoming a Home-based Family Affair
5.1.2 Challenges while Working towards the Event
5.1.3 Pre-examination of the Event: Wormholes, Ruins, and a Re/De/Construction Site
5.2 Outlining the Pre-examined Artistic Component Käännöksiä – Transpositions
5.3 Diffractive Reading of the Embodied Exploration of Lines of Flight
5.3.1 Setting the Scene for Diffractive Reading
- The Aim and Outline of the Lines of Flight Activity
- Diffractive Reading through Multiple Translations
- Working with the Materials on a Re/de/construction Site
5.3.2 Diffractive Reading Re-presented Through Pedagogical Documentation
- First Translation: From Affective to Visual
- Second Translation: From Textual to Visual
- Third Translation: From Thought to Visual
- Fourth Translation: From Visual to Embodied
- Fifth Translation: From Artistic Expression to Pedagogical Documentation
- Sixth Translation: From Explosion into Insights
6 ‘Reflecting’ on the Openings through Discussion
‘Reflecting’
6.1 Dancing–Drawing Assemblages
6.1.1 Drawing as Communicating
6.1.2 Creating Choreography through Drawing
6.1.3 Exploratory Dancing–Drawing
6.2 Improvisation-based Intra-active Dance Pedagogy as Dancing-with
6.2.1 The Methodological Assemblage of Hunting–Gathering with Embodied Listening
- Nurturing Creativity
- Listening Differently by Listening to Difference
- Transforming Teaching Art into Making Art
6.2.2 The Practice of Dancing-with
6.3 Overspills of the Research
6.3.1 Improvisation-based Intra-active Dance Pedagogy in ECEC
- Dance as Integrated into ECEC
- Dance as an Inclusive Practice in ECEC
6.3.2 Future Directions
6.4 Critical Reflections and Conclusions
6.4.1 Methodological Choices
6.4.2 Theoretical Considerations
6.4.3 Ethical Aspects
6.4.4 Conclusions