Abstract

Resisting a deep-seated technical perspective of education, I attend to the notion of attunement as a key concept with which to imagine curriculum as a complicated conversation. As fully appreciating the meaning and potential of attunement requires an embodied sense of the word that is deployed by working from within our bodily, social, and autobiographical experiences, I explore the notion of attunement in two of my own educational experiences: learning the Lindy Hop and teaching English. In doing so, I weave the Deweyan notion of habits into the discussion. I apply my search for rhythmic attunement (1) to partners’ and students’ becoming, (2) to the emerging creative processes of aesthetic/educative experience, and (3) to the yet-to-come through impulse and reflection by theorizing my habits as sensitivity, art, and constant renewals. I hope that my lived account of what attunement may feel and look like in education contributes to enhancing the understanding of what curricular and pedagogical practices may entail when teachers are not reduced to mere technicians. I hope to encourage educators to become nuanced dancers who constantly interpret and reinterpret the moves they have learned and willingly reimagine them while responding to ever-changing educational contexts and relationships.

摘要

抵制教育的深层技术视角，我坚持将调和作为一个关键概念，将课程想象为一个复杂的对话。由于要充分理解调和的含义和潜力，需要通过在我们的身体，社会和自传体经验中进行工作来体现对单词的具体理解，因此我在自己的两种教育经历中探讨了调和的概念：学习Lindy Hop和教英语。通过这样做，我将Deweyan的习惯概念融入了讨论中。我将节奏调律的追求（1）应用于伴侣和学生的适应，（2）新兴的审美/教育经验的创新过程，（3）通过冲动和反思来理论化我的节奏习惯，例如敏感性，艺术性和不断更新。我希望我对生活中的和谐感和生活方式的真实描述有助于加深人们对当教师不只是技术人员的情况下课程和教学实践的理解。我希望鼓励教育工作者成为细致入微的舞者，他们不断地对自己学到的动作进行解释和重新诠释，并在对瞬息万变的教育环境和人际关系做出回应的同时，愿意对其进行想象。