How to Play in Slow Time

Creativity, Pedagogy, Process
Erscheinungsjahr 2025
ISBN: 978-90-04-72484-6
Verlag: Brill

Buch, Englisch, Band 21, 188 Seiten, Format (B × H): 155 mm x 235 mm, Gewicht: 458 g

Reihe: Imagination and Praxis: Criticality and Creativity in Education and Educational Research

This book considers the role and function of creativity for anchoring educational practices both in universities and beyond. Crucially, the educational practices in question model responsive, careful and attentive encounters with an unfolding present. Reinterpreting the ground-breaking creative processes of leading artists, writers, musicians and dancers, this book offers a toolkit of invitations and encounters that demonstrate how creativity can be practiced – and taught – as a competency that cultivates expertise in harnessing experiment, curiosity, somatic intuition and collaborative practices of world-building. In doing so, the book mounts a vital critical call for developing languages, approaches and methods in both digital and face-to-face learning environments that reconsider creativity as a literacy foundational to all learning settings. Vital to diverse disciplines, fields and professional sectors, this book boldly changes the conversation around the conspicuous role creativity takes in shaping our learning and teaching futures.

Autoren/Hrsg.

Trezise, Bryoni

Farrell, Charlotte

Talamo, Alexandra

White, Maria

Fachgebiete

• Sozialwissenschaften Pädagogik Pädagogik

Inhaltsverzeichnis

Preface: Encountering This Book

Acknowledgements

List of Figures

About the Authors

1 Teaching towards Creating (in) Slow Time 1 When Teaching Is Making 2 Why This Book Now? 3 How to Read This Book 4 Listening to the Itch 5 Creativity as a Literacy 6 Practitioner Profile: Charemaine Seet

2 Practising How to Pay Attention 1 Introduction 2 Going with the Flow 3 The Journey of Attention 4 Cultivating Tender Attentiveness 5 The Hum of Creativity 6 Practitioner Profile: Kirthana Selvaraj

3 Playing with Not-Knowing 1 Introduction 2 Ways We Play 3 Fostering a Playful Attitude: Following the Joy 4 Fostering a Playful Attitude: Combinatory Play 5 Creating a Playful Environment: Critical Distance 6 Conclusion 7 Practitioner Profile: Pablo Latona

4 Feeling Moving as Thinking 1 Introduction 2 Theorising Bodythinking 3 Conclusion 4 Practitioner Profile: Emma Maye Gibson

5 Interlude: An Invitation to Rest Workshop 1 Introduction 2 Creating the Conditions for Restful Play 3 Imaging the Restful Body 4 Building a Nest 5 Conclusion: Gifting Rest

6 Shifting Perspectives through Imaging 1 Introduction 2 Thinking in Images 3 Discovering through Images 4 Learning to See Differently: Disrupting Habits 5 Imaging to Facilitate Embodied Creative Practices 6 Imaging to Encounter the Other 7 Imaging to Reimagine: Wider Implications 8 Conclusion 9 Practitioner Profile: Victoria Hunt 10 Practitioner Profile: Karlie Noon

7 Modelling Imagination 1 Introduction 2 Modelling in Creative Practice 3 Teaching Interdisciplinary Creativity through Modelling 4 Practitioner Profile: Nathan Harrison 5 Practitioner Profile: Alice Osborne

8 Collaborating Outwards 1 Introduction 2 Collaboration in Creative Practice 3 Collaborative Classroom Experiments 4 Outwarding 5 Practitioner Profile: Riana Head-Toussaint

9 Futuring Learning in Ricochet Times 1 Futuring 2 Synthesising towards Outwarding 3 On the Precipice 4 Holding the Time 5 Practitioner Profile: Nitin Vengurlekar

Index

Über Autor(innen)

Bryoni Trezise is Senior Lecturer in Theatre and Performance at the University of New South Wales. She is the author of Performing Feeling in Cultures of Memory (Palgrave, 2013) and Performing Contemporary Childhoods: Being and Becoming a Viral Child (Routledge 2023).

Charlotte Farrell is a performance maker and Lecturer in Theatre and Performance at the University of New South Wales. She is the author of Barrie Kosky on the Contemporary Australian Stage (Routledge 2021), and co-founder of performance company Body of Work with Emma Maye Gibson.

Alexandra Tálamo is a performance artist and sessional Lecturer at the University of New South Wales and National Insititute of Dramatic Art. She has published in Performance Research (2023) and Convergence (2022). She has presented artistic work at The Unconformity (2021) and Kaffee Kuchen-Action Art III (2018).

Maria White is an educator and artist living on unceded Bidjigal land. She holds a Ph.D. in Theatre and Performance Studies from the University of New South Wales and is the Academic Course Coordinator for the Common Subjects at the National Institute of Dramatic Art.