{"id":1312,"date":"2026-04-14T14:44:55","date_gmt":"2026-04-14T11:44:55","guid":{"rendered":"https:\/\/dev.wrkshp.fi\/as-colliander\/?p=1312"},"modified":"2026-04-30T09:28:42","modified_gmt":"2026-04-30T06:28:42","slug":"table-of-contents","status":"publish","type":"post","link":"https:\/\/actascenica.teak.fi\/colliander-tuire\/table-of-contents\/","title":{"rendered":"Table of Contents"},"content":{"rendered":"<p><a href=\"..\/acknowledgements\/\">Acknowledgements<\/a><\/p>\n\n\n\n<p><a href=\"..\/publication-information\/\">Publication Information<\/a><\/p>\n\n\n\n<p><a href=\"..\/abstract\/\">Abstract &ndash; Tiivistelm&auml; &ndash; Abstrakt<\/a><\/p>\n\n\n\n<p><a href=\"..\/invitation-letter-to-the-reader\/\">Invitation Letter to the Reader<\/a><\/p>\n\n\n\n<p><a href=\"..\/table-of-contents\/\">Table of Contents<\/a><\/p>\n\n\n\n<p><a href=\"..\/references\/\">References<\/a><\/p>\n\n\n\n<p><a href=\"..\/1-introducing-in-the-opening-circle\/\">1 Introducing in the &lsquo;Opening Circle&rsquo;<\/a><\/p>\n\n\n\n<p>The &lsquo;Opening Circle&rsquo;<\/p>\n\n\n\n<p><a href=\"..\/1-1-introducing-the-work\/\">1.1 Introducing the Work<\/a><\/p>\n\n\n\n<p>1.1.1 Aims and Motivation<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Arts-Educational-Philosophical Grounding<\/li>\n\n\n\n<li>Motivational Grounding<\/li>\n<\/ul>\n\n\n\n<p>1.1.2 Research Questions<\/p>\n\n\n\n<p><a href=\"..\/1-2-situating-the-contexts\/\">1.2 Situating the Contexts<\/a><\/p>\n\n\n\n<p>1.2.1 Academic Contexts<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Artistic Research<\/li>\n\n\n\n<li>Intra-active Pedagogical Orientation<\/li>\n<\/ul>\n\n\n\n<p>1.2.2 Practical Contexts<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Improvisation-based Dance Education<\/li>\n\n\n\n<li>Fieldwork in Early Childhood Education<\/li>\n\n\n\n<li>The Pre-examined Artistic Component K&auml;&auml;nn&ouml;ksi&auml; &ndash; Transpositions<\/li>\n<\/ul>\n\n\n\n<p><a href=\"..\/1-3-outlining-the-structure\/\">1.3 Outlining the Structure<\/a><\/p>\n\n\n\n<p>1.3.1 Assembling the Thesis as a Storyboard<\/p>\n\n\n\n<p>1.3.2 Navigating the Work<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Outlining the Pieces of the Storyboard<\/li>\n\n\n\n<li>Guidelines for the Reader<\/li>\n<\/ul>\n\n\n\n<p><a href=\"..\/2-tuning-in-to-intra-active-early-childhood-dance-pedagogies\/\">2 &lsquo;Tuning in&rsquo; to Intra-Active Early Childhood Dance Pedagogies<\/a><\/p>\n\n\n\n<p>&lsquo;Tuning in&rsquo;<\/p>\n\n\n\n<p><a href=\"..\/2-1-intra-active-pedagogy\/\">2.1 Intra-active Pedagogy<\/a><\/p>\n\n\n\n<p>2.1.1 Ethico-onto-epistemological Grounding<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>The Landscape of Relational Ontologies<\/li>\n\n\n\n<li>The Concept of Knowledge as Relational and Situational<\/li>\n<\/ul>\n\n\n\n<p>2.1.2 Intra-active Orientation<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Related Research with an Intra-active Approach<\/li>\n\n\n\n<li>Intra-active Pedagogy as an Emergent Space<\/li>\n<\/ul>\n\n\n\n<p>2.1.3 Entanglements of Assemblages<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Assemblages as Sites of Collective Expression<\/li>\n\n\n\n<li>Thinking-with Materials: Duplo Blocks and Playdough<\/li>\n<\/ul>\n\n\n\n<p>2.1.4 Agency as Relational<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Agency as Intra-active<\/li>\n\n\n\n<li>More\/other-than-human Agency<\/li>\n\n\n\n<li>Agencies in Improvisation-based Dance Education<\/li>\n<\/ul>\n\n\n\n<p><a href=\"..\/2-2-on-children-childhood-and-education\/\">2.2 On Children, Childhood, and Education<\/a><\/p>\n\n\n\n<p>2.2.1 Contemporary Views on Children and Childhoods<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Posthuman Perspectives in Childhood Studies<\/li>\n<\/ul>\n\n\n\n<p>2.2.2 Posthuman Reconfigurations of the Child<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>The Human as Child and Adult<\/li>\n\n\n\n<li>Posthuman Perspectives on Age<\/li>\n\n\n\n<li>The Relational Child<\/li>\n<\/ul>\n\n\n\n<p>2.2.3 Early Childhood Education (ECEC)<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>The Finnish Early Childhood Education and Care Context<\/li>\n\n\n\n<li>Alternative Perspectives on Curricula<\/li>\n\n\n\n<li>Posthuman Approaches to ECEC<\/li>\n\n\n\n<li>Embodied Aspects of ECEC<\/li>\n<\/ul>\n\n\n\n<p><a href=\"..\/2-3-early-childhood-dance-education\/\">2.3 Early Childhood Dance Education<\/a><\/p>\n\n\n\n<p>2.3.1 Central Concepts<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Dance and Movement as Mutually Inclusive Partners<\/li>\n\n\n\n<li>From Creative Dance for Children to Dance Improvisation for All<\/li>\n\n\n\n<li>Early Childhood Dance Education<\/li>\n<\/ul>\n\n\n\n<p>2.3.2 Entanglements with Earlier Research<\/p>\n\n\n\n<p>2.3.3 Improvisation-based Dance Education<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Dance Improvisation as a Relational Practice<\/li>\n\n\n\n<li>Working with Emergence<\/li>\n<\/ul>\n\n\n\n<p><a href=\"..\/3-warming-up-with-methodology\/\">3 &lsquo;Warming Up&rsquo; with Methodology<\/a><\/p>\n\n\n\n<p>&lsquo;Warming Up&rsquo;<\/p>\n\n\n\n<p><a href=\"..\/3-1-dance-pedagogical-research-within-artistic-research\/\">3.1 Dance Pedagogical Research within Artistic Research<\/a><\/p>\n\n\n\n<p>3.1.1 Postqualitative and Posthuman Approaches to Artistic Research<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Methods as Emergent<\/li>\n\n\n\n<li>Building on Earlier Research<\/li>\n<\/ul>\n\n\n\n<p>3.1.2. Artistic Research as Translation<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Translation in Artistic Research<\/li>\n\n\n\n<li>Moving between Modalities<\/li>\n\n\n\n<li>Translating across Contexts and Languages<\/li>\n\n\n\n<li>Philosophical Aspects<\/li>\n<\/ul>\n\n\n\n<p><a href=\"..\/3-2-research-methods\/\">3.2 Research Methods<\/a><\/p>\n\n\n\n<p>3.2.1 Emergent Approaches<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Improvisation-based Dance Pedagogy as Research Practice<\/li>\n\n\n\n<li>The Hunting&ndash;Gathering Method<\/li>\n\n\n\n<li>Propositions Enabling Emergent Research<\/li>\n<\/ul>\n\n\n\n<p>3.2.2 Collaborative Aspects<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Deep Hanging Out<\/li>\n\n\n\n<li>Thinking-with Multiple Agencies in Research<\/li>\n\n\n\n<li>Embodied and Entangled Being-with in Research<\/li>\n<\/ul>\n\n\n\n<p>3.2.3 Writing as a Research Practice<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Writing as Artistic Research<\/li>\n\n\n\n<li>Writing with the Body: The Verbs and Lines Method<\/li>\n<\/ul>\n\n\n\n<p>3.2.4 Play in This Research<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Play as a Nomadic Research Practice<\/li>\n\n\n\n<li>Dance Improvisation as Embodied Play<\/li>\n\n\n\n<li>Researching Playfully<\/li>\n<\/ul>\n\n\n\n<p><a href=\"..\/3-3-working-diffractively-with-research-materials\/\">3.3 Working Diffractively with Research Materials<\/a><\/p>\n\n\n\n<p>3.3.1 Pedagogical Documentation<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Pedagogical Documentation as Material and Agential Translation<\/li>\n\n\n\n<li>Pedagogical Documentation as Data<\/li>\n<\/ul>\n\n\n\n<p>3.3.2 Research Materials<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Writings<\/li>\n\n\n\n<li>Drawings<\/li>\n\n\n\n<li>Recordings<\/li>\n\n\n\n<li>Gifts<\/li>\n<\/ul>\n\n\n\n<p>3.3.3 Diffractive Analysis<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Reflective Diffraction<\/li>\n\n\n\n<li>Diffractive Reading<\/li>\n\n\n\n<li>The Glow of Data<\/li>\n\n\n\n<li>Re-turning<\/li>\n<\/ul>\n\n\n\n<p><a href=\"..\/3-4-research-ethics\/\">3.4 Research Ethics<\/a><\/p>\n\n\n\n<p>3.4.1 Relational Ethics as Response-ability<\/p>\n\n\n\n<p>3.4.2 Practical Ethical Considerations<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Consent Procedures for the Fieldwork<\/li>\n\n\n\n<li>Consent Procedures for&nbsp;<em>K&auml;&auml;nn&ouml;ksi&auml; &ndash; Transpositions<\/em><\/li>\n\n\n\n<li>Safeguarding and Handling of the Research Materials<\/li>\n<\/ul>\n\n\n\n<p><a href=\"..\/exploring-during-fieldwork\/\">4 &lsquo;Exploring&rsquo; During Fieldwork<\/a><\/p>\n\n\n\n<p>&lsquo;Exploring&rsquo;<\/p>\n\n\n\n<p><a href=\"..\/4-1-preparing-for-the-fieldwork\/\">4.1 Preparing for the Fieldwork<\/a><\/p>\n\n\n\n<p>4.1.1 Fieldwork as a Concept<\/p>\n\n\n\n<p>4.1.2 Practical Arrangements<\/p>\n\n\n\n<p><a href=\"..\/4-2-diffractive-practice-with-propositions\/\">4.2 Diffractive Practice with Propositions<\/a><\/p>\n\n\n\n<p>4.2.1 Allowing Time for Discovery<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Time in ECEC<\/li>\n\n\n\n<li>Time in Dance and Childhood<\/li>\n\n\n\n<li>The Concept of Discovery<\/li>\n\n\n\n<li>Research Discovery: Drawing as a Dance Pedagogical Approach<\/li>\n<\/ul>\n\n\n\n<p>4.2.2 To See and to Become Seen<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Embodied Aspects of Seeing<\/li>\n\n\n\n<li>Digital Seeing: Threat or Possibility?<\/li>\n<\/ul>\n\n\n\n<p>4.2.3 To Listen<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Methodological Steps towards Embodied Listening<\/li>\n\n\n\n<li>Hearing the Material Agencies<\/li>\n\n\n\n<li>Research Discovery: The Methodological Assemblage of Hunting&ndash;Gathering with Embodied Listening<\/li>\n<\/ul>\n\n\n\n<p>4.2.4 To Move and to Be Moved<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Moving with Materials<\/li>\n\n\n\n<li>Research Discovery: Thinking-with Materials<\/li>\n<\/ul>\n\n\n\n<p>4.2.5 To Dance<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>A Magical Encounter: Dancing the Swan<\/li>\n\n\n\n<li>A Clash of Cultures<\/li>\n\n\n\n<li>Research Discovery: The Storyboard Method<\/li>\n<\/ul>\n\n\n\n<p>4.2.6 To Play<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Playful Dancing and Danceful Playing<\/li>\n\n\n\n<li>Becoming-other as a Researcher<\/li>\n<\/ul>\n\n\n\n<p>4.2.7 To Be With<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Being-with the Daycare Community<\/li>\n\n\n\n<li>Being-with More\/Other-than-Human Agencies<\/li>\n<\/ul>\n\n\n\n<p>4.2.8 To Not Know<\/p>\n\n\n\n<p><a href=\"..\/4-3-long-term-cooperation-as-an-overspill\/\">4.3 Long-term Cooperation as an Overspill<\/a><\/p>\n\n\n\n<p>4.3.1 Not\/Finishing the Fieldwork<\/p>\n\n\n\n<p>4.3.2 Overspills of the Research<\/p>\n\n\n\n<p><a href=\"..\/5-sharing-in-the-pre-examined-artistic-component-kaannoksia-transpositions\/\">5 &lsquo;Sharing&rsquo; in the Pre-Examined Artistic Component K&auml;&auml;nn&ouml;ksi&auml; &ndash; Transpositions<\/a><\/p>\n\n\n\n<p>&lsquo;Sharing&rsquo;<\/p>\n\n\n\n<p><a href=\"..\/5-1-navigating-uncertainties\/\">5.1 Navigating Uncertainties<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Warning! You are entering a re\/de\/constructi&nbsp;n site!<\/li>\n<\/ul>\n\n\n\n<p>5.1.1 The Project Becoming a Home-based Family Affair<\/p>\n\n\n\n<p>5.1.2 Challenges while Working towards the Event<\/p>\n\n\n\n<p>5.1.3 Pre-examination of the Event: Wormholes, Ruins, and a Re\/De\/Construction Site<\/p>\n\n\n\n<p><a href=\"..\/5-2-outlining-the-pre-examined-artistic-component-kaannoksia-transpositions\/\">5.2 Outlining the Pre-examined Artistic Component K&auml;&auml;nn&ouml;ksi&auml; &ndash; Transpositions<\/a><\/p>\n\n\n\n<p><a href=\"..\/5-3-diffractive-reading-of-the-embodied-exploration-of-lines-of-flight\/\">5.3 Diffractive Reading of the Embodied Exploration of Lines of Flight<\/a><\/p>\n\n\n\n<p>5.3.1 Setting the Scene for Diffractive Reading<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>The Aim and Outline of the Lines of Flight Activity<\/li>\n\n\n\n<li>Diffractive Reading through Multiple Translations<\/li>\n\n\n\n<li>Working with the Materials on a Re\/de\/construction Site<\/li>\n<\/ul>\n\n\n\n<p>5.3.2 Diffractive Reading Re-presented Through Pedagogical Documentation<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>First Translation: From Affective to Visual<\/li>\n\n\n\n<li>Second Translation: From Textual to Visual<\/li>\n\n\n\n<li>Third Translation: From Thought to Visual<\/li>\n\n\n\n<li>Fourth Translation: From Visual to Embodied<\/li>\n\n\n\n<li>Fifth Translation: From Artistic Expression to Pedagogical Documentation<\/li>\n\n\n\n<li>Sixth Translation: From Explosion into Insights<\/li>\n<\/ul>\n\n\n\n<p><a href=\"..\/6-reflecting-on-the-openings-through-discussion\/\">6 &lsquo;Reflecting&rsquo; on the Openings through Discussion<\/a><\/p>\n\n\n\n<p>&lsquo;Reflecting&rsquo;<\/p>\n\n\n\n<p><a href=\"..\/6-1-dancing-drawing-assemblages\/\">6.1 Dancing&ndash;Drawing Assemblages<\/a><\/p>\n\n\n\n<p>6.1.1 Drawing as Communicating<\/p>\n\n\n\n<p>6.1.2 Creating Choreography through Drawing<\/p>\n\n\n\n<p>6.1.3 Exploratory Dancing&ndash;Drawing<\/p>\n\n\n\n<p><a href=\"..\/6-2-improvisation-based-intra-active-dance-pedagogy-as-dancing-with\/\">6.2 Improvisation-based Intra-active Dance Pedagogy as Dancing-with<\/a><\/p>\n\n\n\n<p>6.2.1 The Methodological Assemblage of Hunting&ndash;Gathering with Embodied Listening<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Nurturing Creativity<\/li>\n\n\n\n<li>Listening Differently by Listening to Difference<\/li>\n\n\n\n<li>Transforming Teaching Art into Making Art<\/li>\n<\/ul>\n\n\n\n<p>6.2.2 The Practice of Dancing-with<\/p>\n\n\n\n<p><a href=\"..\/6-3-overspills-of-the-research\/\">6.3 Overspills of the Research<\/a><\/p>\n\n\n\n<p>6.3.1 Improvisation-based Intra-active Dance Pedagogy in ECEC<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Dance as Integrated into ECEC<\/li>\n\n\n\n<li>Dance as an Inclusive Practice in ECEC<\/li>\n<\/ul>\n\n\n\n<p>6.3.2 Future Directions<\/p>\n\n\n\n<p><a href=\"..\/6-4-critical-reflections-and-conclusions\/\">6.4 Critical Reflections and Conclusions<\/a><\/p>\n\n\n\n<p>6.4.1 Methodological Choices<\/p>\n\n\n\n<p>6.4.2 Theoretical Considerations<\/p>\n\n\n\n<p>6.4.3 Ethical Aspects<\/p>\n\n\n\n<p>6.4.4 Conclusions<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Acknowledgements Publication Information Abstract &ndash; Tiivistelm&auml; &ndash; Abstrakt Invitation Letter to the Reader Table of [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-1312","post","type-post","status-publish","format-standard","hentry","category-start"],"_links":{"self":[{"href":"https:\/\/actascenica.teak.fi\/colliander-tuire\/wp-json\/wp\/v2\/posts\/1312","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/actascenica.teak.fi\/colliander-tuire\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/actascenica.teak.fi\/colliander-tuire\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/actascenica.teak.fi\/colliander-tuire\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/actascenica.teak.fi\/colliander-tuire\/wp-json\/wp\/v2\/comments?post=1312"}],"version-history":[{"count":10,"href":"https:\/\/actascenica.teak.fi\/colliander-tuire\/wp-json\/wp\/v2\/posts\/1312\/revisions"}],"predecessor-version":[{"id":1624,"href":"https:\/\/actascenica.teak.fi\/colliander-tuire\/wp-json\/wp\/v2\/posts\/1312\/revisions\/1624"}],"wp:attachment":[{"href":"https:\/\/actascenica.teak.fi\/colliander-tuire\/wp-json\/wp\/v2\/media?parent=1312"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/actascenica.teak.fi\/colliander-tuire\/wp-json\/wp\/v2\/categories?post=1312"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/actascenica.teak.fi\/colliander-tuire\/wp-json\/wp\/v2\/tags?post=1312"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}