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mPPACT manifest - the book methodology for a Pupil and Performing ArtsCentred Teaching
Alex Mavrocordatos (editor)
Writing Team: Nikos Govas, Smaragda Chrysostomou, Alex Mavrocordatos, Dave Pammenter, Betty Giannouli
Photographs: Alan Thompson www.mPPACT.eu This publication has been prepared with the support of the Lifelong Learning Programme of the European Union Education (Audiovisual and Culture Executive Agency) in the framework of the Comenius 2.1 action 129368-CP-1-2006-1-UK-COMENIUS-C21 (mPPACT). Text Copyright © 2009 ISBN 978-07552-0487-8 Authors OnLine Ltd 19 The Cinques, Gamlingay, Sandy, Bedfordshire SG19 3NU, England
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CONTENTS
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by Alex Mavrocordatos
PART ONE: 1
01. DEVISING A ROAD TO THE FUTURE 3
by Alex Mavrocordatos
MPPACT: a methodology for a Pupil and Performing Arts-Centred Teaching. 5
Stepping back 6
The learning journey and its spiral curriculum 7
by Alex Mavrocordatos
Pedagogic approaches 12
Who is it for? 13
How long has it been? 13
Training the mPPACT trainers and the teachers 14
Implementing mPPACT 14
Devised performances and mPPACT events 14
Approaching the course 16
Methodology 17
Follow-up 17
Certificates 18
03. OUR JOURNEY ON THE ROAD OF ENQUIRY AND DEVELOPMENT: CONTEXT – THEORY - PRACTICE 19
by Betty Giannouli & David Pammenter
INTRODUCTION 19
THEORETICAL APPROACHES 22
Education as Practice of Freedom 22
Experiential and active learning 23
Social constructivism 24
Discovery learning: the Spiral model of education 26
The theory of multiple intelligences 28
Emotional intelligence 29
The role of the educator 29
Identity, relation of the ‘self’ with the ‘other’ 31
On ownership 33
CONSIDERATION OF OUR PHILOSOPHICAL ANALYSIS AND FRAMEWORK. 34
Contextualising our contemporary world 34
On imagination 40
On transformation 43
On Being and Becoming.44
What was our collective project task? 46
What did we do? Where did we start? What are we offering? 48
On disturbance and the sharpening of contradictions 52
The conceptual framework shaping the mPPACT course 55
The mPPACT Journey: adding the strands of self and other 57
by Nikos Govas
Introduction 60
The Course objectives 61
The Course aims 61
The Course facilitators and trainers 62
Stage one: The Preparation 62
Stage two: The Training 63
The content of the training 64
Unit 1: Group dynamics and pre-evaluation: 64
Unit 2: Theory input: 65
Unit 3: Personal Engagement-Exploration/Research: 65
Unit 4: From Personal to Communal: 66
Unit 5: Evaluation and Development: 66
Stage three: The Implementation 67
Stage four: The mPPACT event. 67
Stage five: The final reporting and award of certificates 68
05. MONITORING AND EVALUATION 70
by Smaragda Chrysostomou
Internal and external evaluation methodology 70
During the course: 71
How this is done: 72
A note on action-based evaluation: 74
Still pictures: 75
The Margolis wheel: 75
Tips and Options 77
Group Mapping. 77
PART TWO: 79
06. PHOTO ESSAY: USING CFSC TO MEET THE NEEDS OF TODAY’S STUDENTS
by Alex Mavrocordatos & Alan Thomson
by Fotini Dimitriou
Change born from disturbance and challenge 93
The Ritual – The Law 93
Co-intentionality 94
Emotional involvement (challenging emotions) 95
Non Verbal-Communication 95
The senses 96
The Conflict, The Contradiction 97
The Unpredictable, the unexpected 98
Space – Time 98
Interactivity 99
08. MUSIC AND ITS VARIOUS ROLES IN mPPACT 103
by Natassa Economidou-Stavrou
Introduction 103
Listening, performing and improvising musical activities in mPPACT 104
Some examples of listening and responding to music 104
Some examples of performing music 105
Some examples of improvising music 106
Concluding remarks108
09. THE CASE FOR LEARNING FROM THE EXPERIENCES OF EARLY YEARS 109
by Nick Owen
An mPPACT case study: Apple Tree Children’s Centre 111
Outcomes .113
10. ON THE EMERGENCE OF NEW CREATIVE FORMS 114
by Anna Tsichli
PART THREE: 119
11. ACTIVITIES – EXERCISES – TECHNIQUES 121
by Nikos Govas
COMMUNICATION, CO-INTENTIONALITY, TRUST 122
“Everyone who…” 122
“Three truths and a lie” 123
“Leading the blind” 124
“The energy sticks” 125
The ‘all as one’ complicity exercises 126
“Touch the four bases” 126
“The river” 127
“The fairground” 127
EXPLORING BODY LANGUAGE AND SKILLS 129
From image to concept or story 129
“Aim for spaces! (A4S)” 129
Playing with status 131
EXPLORING ATTITUDES AND ISSUES 132
Still pictures I 134
‘SELF’ AND ‘OTHER’ 135
The mirror exercise 135
From the individual to the social: The ‘life map’ activities 136
Example 1: Drawing life maps 138
Example 2: Using narration to map personal stories 139
“Enacting a story: The battle and power games poem” 140
MONITORING AND EVALUATION. 142
Still pictures II 143
Group Mapping 143
PART FOUR: 145
12. BIBLIOGRAPHY 147
13. mPPACT PARTNERS AND TRAINERS 151
UNITED KINGDOM 151
GREECE 154
CYPRUS 157
DENMARK 159
14. INDEX 162