| Abstract | Pedagogija tijela i pokreta područje je koje je u akademskom diskursu nedovoljno istraženo te se, shodno tome, oslanjanjem na koncept autentičnosti, pokušao dobiti uvid u načine na koje plesni pedagozi konceptualiziraju ples, svrhu plesnog obrazovanja, te na koji način, sukladno vlastitoj implicitnoj pedagogiji, promišljaju, realiziraju i samoevaluiraju vlastitu plesnu pedagošku praksu usmjerenu k podupiranju učenikove autentičnosti. Odabirom kvalitativnog nacrta istraživanja, provedena su dva dubinska, polustrukturirana intervjua s plesnim pedagogom i plesnom pedagoginjom koji djeluju na području Republike Hrvatske u kontekstu održavanja plesnih satova komercijalnog stila. Induktivno-deduktivnim pristupom analizi dobivenih podataka, prepoznate su glavne kategorije kojima je moguće uprizoriti rezultate istraživanja. Opisivanjem profesionalnog habitusa plesnog pedagoga, primijećeno je kako plesni pedagog i pedagoginja konceptualiziraju ples te se dobio uvid u to kako su stekli svoje plesno-pedagoške vještine. Pri definiranju svrhe plesnih satova, plesna je pedagoginja navela da joj je važno stvaranje sigurne zone u kojoj će učenici moći kontinuirano otkrivati plesne realitete koji su u skladu s učenikovim vlastitim plesnim izričajem, dok je plesni pedagog kao svrhu naveo podupiranje učenika u njihovom procesu iscjeljivanja. Oboje žele da njihovi učenici pronađu vlastiti plesni izričaj, steknu samopouzdanje i samorefleksivnost. Kako bi mogli podržavati učenikovu autentičnost, važno im je da učenici preuzmu ulogu subjekta u vlastitom plesnom napretku te da stvaraju pozitivne socijalne odnose. Pri osmišljanju plesnih satova, pozornost obraćaju na specifičnost svake grupe uočavajući aspekte u kojima se grupa treba razvijati oblikujući aktivnosti koje pridonose kontinuiranom napretku stvarajući specifičnu atmosferu na satovima plesa. Pri davanju povratne informacije, preferiraju se obraćati grupi, ali su otvoreni i za komuniciranje individualnih povratnih informacija. Izazovi pri podupiranju učenikove autentičnosti kategorizirani su s obzirom na: učenika, plesnog pedagoga i širi, društveno-plesni kontekst. |
| Abstract (english) | Body and movement pedagogy is an area that is insufficiently researched in the academic discourse, and consequently, by relying on the concept of authenticity, what is tried in this paper is to gain insight into the ways in which dance pedagogues conceptualize dance, the purpose of dance education, and how, in accordance with their own implicit pedagogy, they think, perform, and self-evaluate their own dance pedagogical practice aimed at supporting the student's authenticity. By choosing a qualitative research design, two in-depth, semistructured interviews were conducted with dance pedagogues who work in the territory of the Republic of Croatia in the context of holding commercial style dance classes. Through an inductive-deductive approach to the analysis of the obtained data, the main categories were recognized, which can be used to present the results of the research. By describing the professional habitus of a dance pedagogue, it was observed how a dance pedagogues conceptualize dance, and an insight was gained into how they acquired their dance pedagogical skills. When defining the purpose of dance classes, the female dance pedagogue stated that it is important for her to create a safe zone where students will be able to continuously discover dance realities that are in line with the student's own dance expression, while the male dance pedagogue stated the purpose of supporting students in their healing process. Both want their students to find their own dance expression, gain self-confidence and self-reflexivity. In order to be able to support the student's authenticity, it is important for them that the students assume the role of the active subject in their own dance progress and that they create positive social relationships. When designing dance classes, they pay attention to the specificity of each group, noting the aspects in which the group needs to develop, shaping activities that contribute to continuous progress, creating a specific atmosphere at dance classes. When giving feedback, they prefer to address the group, but are also open to communicating individual feedback. Challenges in supporting the student's authenticity are categorized in regard to: the student, the dance pedagogue and the wider, social-dance context. Overcoming the aforementioned challenges is possible through the willingness to be open to learning for all participants in the dance educational process. |
