Principled Improvisation to Support Novice Teacher Learning
Principled Improvisation to Support Novice Teacher Learning
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DOI：
10.1177/016146811912100607
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发表时间：
2019-06
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影响因子：
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通讯作者：
T. Philip
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作者：
T. Philip
一个重要的学术机构强调了即兴创作在教学中的重要性，特别是教师与学生共同构建意义所需要的互动和反应性创造力。然而，最近大学教师教育内外的努力已经反对新手教师通过即兴学习，更倾向于关注可识别的组成部分或离散的教学技术的“实践”。基于对实践的广泛看法，我认为即兴创作与实践有着密不可分的联系，并说明即兴创作的边缘化限制了新手教师学习教学相关方面的机会。我发展了有原则的即兴创作的概念：有目的地以正义为导向的即兴创作，并强调教学的每个时刻都是政治性的、伦理的和后果性的。我描述了一个为职前教师设计的学习环境，这个环境是围绕原则性的即兴创作组织起来的，并展示了它对特殊形式的新手教师学习的独特启示。在仔细阅读新教师每周的反思、录音和全班讨论的现场笔记的基础上，我重点介绍了五个实践例子，这些实践以有原则的即兴创作为指导，涵盖了不同的参与者、背景和规模。这些说明性案例并不意味着系统地描述课程中由原则即兴创作指导的所有实践实例；相反，当教师教育围绕原则性的即兴创作进行组织时，它们意味着邀请人们努力应对新的教学和学习可能性（和局限性）。特别地，我探讨了在有原则的即兴创作指导下，学习倾听如何在教师实践中发挥突出作用，并研究了叙述、重新叙述和重新设想经验的机会如何使新手教师学习并集体建立与场所相关的理论。通过围绕原则性即兴创作组织新手教师学习，学习识别情感、倾听、观察种族、考虑政治表达和跨尺度理解权力的机会是教师关系工作的重要方面。如果新教师的经验只是围绕着教学的排练组成部分进行组织，这些形式的学习就不可能发生。它需要在一个复杂的空间中进行教学，将自我和互动与社会中更大的结构和意识形态联系起来。
Background A significant body of scholarship has highlighted the importance of improvisation in teaching, particularly the interactional and responsive creativity that is required for teachers to co-construct meaning with students. However, recent efforts inside and outside university-based teacher education have pushed against novice teacher learning through improvisation, preferring to focus on the “practicing” of identifiable components or discrete techniques of teaching. Purpose Based on an expansive view of practice, I argue that improvisation is inextricably connected to practice and illustrate that the marginalization of improvisation limits opportunities for novice teachers to learn the relational aspects of teaching. I develop the concept of principled improvisation: improvisation that is purposefully oriented toward justice and that accentuates each moment of teaching as political, ethical, and consequential. I describe the design of a learning environment for preservice teachers that was organized around principled improvisation and demonstrate its unique affordances for particular forms of novice teacher learning. Research Design Based on a close reading of novice teachers’ weekly reflections and audio recordings and field notes from the whole-class discussions, I highlight five examples of practice guided by principled improvisation that span a diversity of participants, contexts, and scale. These illustrative cases are not meant to systematically characterize all instances of practice guided by principled improvisation in the course; rather, they are meant to be invitations to grapple with new pedagogical and learning possibilities (and limitations) that emerge when teacher education is organized around principled improvisation. In particular, I explore how learning to listen played prominently in teacher practice guided by principled improvisation and examine how the opportunity to narrate, re-narrate, and re-envision experiences allowed novice teachers to learn and collectively build place-relevant theory. Conclusions The opportunities to learn to recognize emotion, listen, see race in place, consider political expression, and make sense of power across scales were significant aspects of the relational work of teachers that were learned by organizing novice teacher learning around principled improvisation. These forms of learning could not have taken place if the experiences of the novice teacher were only organized around the rehearsal of components of teaching. It required teaching in a complex space that connects self and interactions in place to larger structures and ideologies in society.