The Guide to Curriculum in Education illuminates how four commonplaces of curriculum--subject matter, teachers, learners, and milieu--are interdependent and interconnected in curriculum making and the ties between and controversies over public debate, policy making, university scholarship, and school practice in defining and developing curricula. Complex traditions of curriculum scholarship are traced to illuminate curriculum ideas, issues, perspectives, and possibilities. A major goal is to highlight and explicate how subject matter, teachers, learners, and context or environment are interdependent and interconnected in decision-making processes that involve local and state school boards and government agencies, educational institutions, and curriculum stakeholders at all levels. Key Features: • Organized around four parts as articulated by curriculum scholar Joseph J. Schwab: subject matter, teachers, learners, and milieu • Brief, objective chapters of 5,000 words each provide student readers with more depth than found in an encyclopedia entry • Chapters focus on key contemporary concerns and provide Further Reading suggestions for students wishing to explore a topic in more detail • The Guide focuses on 55 topical chapters organized in four parts: Subject Matter as Curriculum, Teachers as Curriculum, Students as Curriculum, and Milieu as Curriculum This guide will serve as a general, non-technical resource for students and researchers within education programs who seek to better understand the four commonplaces of curriculum and how it influences various aspects within the field of education.
Chapter 28: Teachers as Improvisational Artists
Teachers as Improvisational Artists
A moment of grandeur comes to everyone when they act out of their humanness without need for acceptance, exhibitionism, or applause. An audience knows this and responds accordingly.
Creativity is not the clever rearranging of the known.
Reflecting on our multiple identities of poet, teacher, theater actor/director and the degree and extent to which those identities have shaped our teaching over many years is germane to this chapter. How we have developed and enacted improvisational techniques/approaches in the classroom to start conversations, make connections, and enhance (overall) the quality of classroom engagements is a strong feature of our message here. Oftentimes for artists, the extemporaneousness of performance is a means of deepening our relationship to art. ...