A sociocultural analysis of learning to teach

This paper addresses the question of how teachers learn from experience during their pre-service course and early years of teaching. It outlines a theoretical framework that may help us better understand how teachers' professional identities emerge in practice. The framework adapts Vygotsky's Zone of Proximal Development, and Valsiner's Zone of Free Movement and Zone of Promoted Action, to the field of teacher education. The framework is used to analyse the pre-service and initial professional experiences of a novice secondary mathematics teacher in integrating computer and graphics calculator technologies into his classroom practice. (Contains 1 figure.) [For complete proceedings, see ED496848.]

Learning mathematics in a classroom community of inquiry

This article considers the question of what specific actions a teacher might take to create a culture of inquiry in a secondary school mathematics classroom. Sociocultural theories of learning provide the framework for examining teaching and learning practices in a single classroom over a two-year period. The notion of the zone of proximal development (ZPD) is invoked as a fundamental framework for explaining learning as increasing participation in a community of practice characterized by mathematical inquiry. The analysis draws on classroom observation and interviews with students and the teacher to show how the teacher established norms and practices that emphasized mathematical sense-making and justification of ideas and arguments and to illustrate the learning practices that students developed in response to these expectations.

Moving and dancing towards decolonisation in education: An example from an Indigenous Australian performance classroom

This paper explores the special type of thinking, moving and dancing place which is opened up for decolonisaton when students engage in an embodied pedagogical practice in Indigenous education. The author examines what decolonisation means in this context by describing the ways in which the curriculum, the students and teacher, and more generally the discipline of ethnomusicology itself, undergo a process to question, critique, and move aside the pedagogical script of colonialism in order to allow Indigenous ways of understanding music and dance to be presented, privileged and empowered. Key questions are: What is the relationship between embodiment and disembodiment and decolonisation and colonisation? In what ways is embodiment more than, or other than, the presence of moving bodies? In what ways is performativity an aspect of power/knowledge/subject formations? How can it be theorised? What could the pedagogical scripts of decolonisation look like?