Hvem der? Hyperkompleksitet, devising, performative research, U-teori, teamlæring, flow

    Research output: ThesisMasterResearch

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    Master of Drama and Theatre Education Danish School of Education Aarhus University

    Title: Who's there?

    Keywords: Hypercomplexity, U-theory, The learning organisation, Performative research, Devising, Flow

    Formulation of problem: How can one design a learning process which is consistent with the education ideal of the hypercomplex society and the demands the fully-educated pedagogue thus faces?

    Abstract: This project deals with learning in the hypercomplex society and has aesthetic learning processes as a turning point. It is my intention to show how a teacher at the bachelor degree of social education could design an education process for students with Expression, music and drama as their main course. A process which is consistent with the education ideal of the hypercomplex society and the demands the fully-educated pedagogue in such a society thus faces.

    My master thesis and following my design is built on a proposed design-matrix, which operates at 3 levels: a systemic, a factual and a strategic. Additionally exists the operative level, which represents practice. The design-matrix functions as a frame of reference through which I look at the different systems that influence the learning processes of the participants. Furthermore I look at the factual values, aim, content and resources which these systems call for and contribute to and from this a range of strategies for the process will be organized. With its complexity the design-matrix offers complexity-reduction as complexity needs to be handled with complexity. The surrounding world to my own system – the complex teaching situation with its many conditions and possibilities – thus becomes manageable for me as a teacher.

    The process-strategy is organized with devising as a method for an aesthetic-based investigation. This I have chosen as it is consistent with the form of learning which the hypercomplex society calls for. Furthermore, if proven successful, it leads to a development of competences which matches with the demands the pedagogue to be faces. In addition I use the principles of C. O. Scharmer’s Theory U in combination with B. Austring and M. Sørensen’s standard model of creating learning processes just like I argue for a number of didactic values that substantiate a flow-creating learning process.

    The actual course is divided in two with Identity as the main theme. In the first part of the course the students are to investigate ‘identity’ as a concept and create a performance with me as the initiator. The process is synonymous to a research process through which empirical data and knowledge is gathered. Data in the form of literature about identity, investigations of one’s own (pre)understanding of identity and field observations with the coming target group. The performance is shown to fellow students who in the way gain insight into the research about identity and the topic the students have chosen.

    The second part of the process – to initiate a devising-process and develop performances for the target group with whom they are doing their practicum – also has to deal with identity but in this case the aim is to get as close as possible to the participants and the process is carried by the principles of life stories. Thus the turning point is an investigation and narration of the identity of the target group. A narrativity which per se is identity creating. In this way with the process and the performance the contributory actors are offered to see themselves in a 2. frame of reference.

    To investigate and convey such subjects through an aesthetic production rooted in the art of theatre leans heavily on the research methodology Performative Research. This methodology differs from the qualitative and quantitative methodology and thus represents a new paradigm in which we question, research and communicate in an extended symbolic form, namely that of art.

    My point is that through the aesthetic form of research and presentation another and more solid and engaging way of learning is offered. Among other things this happens because we make use of our feelings and senses when we work with and express ourselves through the art. Furthermore, the process resembles the way children play. A fact, which can help me arguing for its usability as the way children are in engaged in play is a spontaneous way of learning. This way of learning is also imbedded in human beings. Working in this way can furthermore be compared to Lars Qvortrup’s 3. form of learning. In this way the research methodology performative research rooted in a devising process offers the possibility of a way of learning through which the student develops and thereby is able to meet the demands of cooperation, readiness to change and creativity of the hypercomplex society.
    Original languageDanish
    Publication statusPublished - 24 May 2011


    • educational science studies

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