Generative Divergent Analysis as a Model for Reflection Illustrated with Reference to an Early-years Reception Class and Wicker Settee

Generative divergent analysis (GDA) is a creative additive approach to raising insignificant details of experience to significance. A schematic view of the model highlights use of evocative objects as starting point for ‘turning towards’, ‘turning away’ and ‘being-in-relation-to’ as part of an ongoing burgeoning of experience.The model is exemplified by focusing on a wicker settee as an evocative object that was noticed in an early-years reception class. Revisiting the object generated several speculative ideas relating to the hidden curriculum and energies of childhood. Poetry and song were used during the revisiting in order to develop a more direct experience in addition to the more contemplative awareness that was evoked during the first encounters. As an additive process the outcome of GDA takes the form of unfinished resources for thinking.

Development of Social Relationships, Interactions and Behaviours in Early Education Settings

Recent research and policy regarding the advantages of early years provision has focused largely on the enhancement and development of cognitive skills for preschoolers. This study, based in the United Kingdom, focuses on a range of cognitive and social skills and identifies beneficial characteristics of a government pilot scheme for 2-year-olds in areas of social disadvantage. Data were collected from nursery managers and parents across six early years settings using a combination of qualitative and quantitative methods centred around in-depth observational techniques focused on children. Results indicate that in addition to the development of cognitive skills, children showed increased confidence and modes of communication and interaction and that these were associated with the varied activities and routines established within the early years settings. Some variations in terms of frequency and quality of interactions, activities and practice were identified in settings; however, interpersonal support for learning and development was consistent across settings.

Why is Research Still Invisible in Further Education?

This article takes as its starting point earlier research reported by Geoffrey Elliott in 1996. That study found that research was consistantly marginalised in the FE sector, and identified a number of structural factors that contributed to this ‘invisibility’. This new study draws upon a small sample of lecturers who belong to a Further and Higher Education Early Years Partnership. Through the participants’ voices and perspectives, the authors identify continuing dissonance and issues of research marginalisation. The discussion also highlights contemporary educational discourse, with its predominant focus upon measurable value at the expense of values, as a key factor in sustaining a culture that is antithetic to thoughtful reflection and research. The authors identify the development of a ‘collaborative centralised’ research community as critical to an alternative possibility for research in further education.

Creative Reflection in Action

This (Students as Academic Partners) project aimed to explore the potential of a creative approach to reflection. Developing approaches to reflective practice is directly relevant for teachers and those who are training to become teachers. Individual reflections were produced by project participants based on several very short video clips of children in a nursery school. These individual reflections were extended into a collaborative reflection highlighting common themes. This broader focus seeks to contribute to an encompassing discourse related to early years practice. The poster aims to show how critical reflection and speculation can develop an understanding of the child, their development and potential barriers to this development. Through observing stills from the video footage, viewers of the poster are challenged to speculate about the child’s body language, what they might be doing or whether the learning environment is suitable to develop and progress their knowledge and understanding further?

'Producing the Scene': the Evolution of the Director in British Theatre 1900-50

The role of the director as the individual who harnesses and controls resources to shape the theatrical product to a personal artistic vision, begins to emerge in British theatre in the early years of the twentieth century. What distinguishes the role from that of the actor-manager who had led the profession since the seventeenth century, is that it separates off from the leading actor in performance. The power and authority of the director (or producer as he or she tended to be known initially) is exercised in the pre-performance stage. In the first half of the century there were still old-style actor-managers—Donald Wolfit is a prime example—and many of the new directors had begun their careers as actors and some continued to act their in their own productions. But the perception of the function of the director began to change radically. In part this was linked to the early attempts to create a new model of producing company or ‘repertory’ theatre which required a different set of administrative as well as artistic skills to tackle the challenge of a short-run system of multiple play production. This became especially important in the developing network of regional repertory theatres which were established as autonomous, locally-specific institutions predicated on policies opposed to the dominant commercial ethos. The best-known of the early directors, most notably H.Granville Barker, confined their radical experiments to short-lived metropolitan experiments, or, as in the case of Terence Gray and J.B.Fagan, operated within the influential Oxbridge nexus. Others such as H.K.Ayliff, Herbert Prentice, William Armstrong and William Bridges-Adams remain comparatively obscure because of their long-term ‘provincial’ connections or, as in the case of Nugent Monck and Edy Craig because their creativity was largely channelled through amateur actors. This chapter will explore the evolving role of the director as both a necessary functionary and an artistic innovator within the changing structures of British theatre.