Musings about creative movement: coming to terms with music, movement and drama

ABSTRACT

This qualitative case study examined the definitions, structure and pedagogical approaches that constituted a creative movement program as part of an artist-in-school-scheme for pre-schools. Data was collated through audio-recorded interviews with teachers, the school principal and dance instructor. Creative movement classes were video recorded and all interviews and video recordings were transcribed together with a series of analytical memos. Analysis zoomed in on the varied definitions of creative movement, and the content and pedagogical approaches utilized during the program. Beyond the foregrounding of movement objectives, the inter-connectedness with music and drama should not be downplayed. If the key objectives include children’s self-expression and the exploration and experimentation of movement, a proposed cross-continuum of music and movement would be helpful for the dance instructor to critically reflect on how creative movement programs might be shaped in-line or despite the instructor’s prior movement and music expertise and experiences. To ensure a robust design and implementation of a creative movement program, the instructor will also need skilled knowledge and pedagogical understanding in movement, music and drama so that the aesthetic knowings and sensitivities associated with these art forms can be effectively encouraged and culled out through skillful facilitation.

KEYWORDS:

• Creative movement
• music
• drama

Notes

1. According to the dance instructors, Singaporean children are familiar with these Australian and American children program content as they have been aired regularly on Singapore TV channels and Singaporean children watch these programs frequently. A critique about the choice of more local narratives is laid out later under the ‘Contradictions and Dilemmas’ section.