Langues, arts et empathie à l’école
Cet article présente un dispositif expérientiel associant l’apprentissage d’une langue vivante (anglais) à plusieurs pratiques artistiques (arts visuels, danse, poésie, musique), développé à partir de la théorie de « l’art comme expérience » de Dewey (1934/2014) et mis en œuvre au cours d’une année...
Сохранить в:
| Опубликовано в: : | URI:https://journals.openedition.org/tipa, |
|---|---|
| Главный автор: | |
| Формат: | Article ou chapitre numérique |
| Язык: | Français |
| Опубликовано: |
TIPA. Travaux interdisciplinaires sur la parole et le langage
2019
|
| Предметы: | |
| Online-ссылка: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| id |
openedition-oai:revues.org:tipa_3375 |
|---|---|
| record_format |
openedition |
| collection |
OpenEdition Journal |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
expérience langages empathie perception/action pratiques artistiques experience languages empathy perception/action artistic practices |
| spellingShingle |
expérience langages empathie perception/action pratiques artistiques experience languages empathy perception/action artistic practices Potapushkina-Delfosse, Marie Langues, arts et empathie à l’école |
| description |
Cet article présente un dispositif expérientiel associant l’apprentissage d’une langue vivante (anglais) à plusieurs pratiques artistiques (arts visuels, danse, poésie, musique), développé à partir de la théorie de « l’art comme expérience » de Dewey (1934/2014) et mis en œuvre au cours d’une année scolaire, au sein d’une classe de CE1, dans le cadre d’une recherche action. Apprendre une langue n’implique pas uniquement le développement de compétences « techniques » (phonologiques, lexicales, grammaticales) mais aussi, et avant tout, la construction de l’habileté à langager (Maturana, Varela, 1994, Aden, 2017), c’est-à-dire, se relier à soi et à autrui. Les entretiens conduits avec les élèves en fin d’année, selon la méthodologie proche de celle d’explicitation, adaptée à l’âge du public et aux particularités de l’environnement scolaire, ont fait l’objet de l’analyse qui a permis l’identification d’éléments variés se rapportant aux états d’empathie, éprouvés par les élèves. Divers comportements empathiques stimulés par l’approche didactique, mettant en synergie le cognitif et le sensible, sont explicités avec l’appui sur des travaux de Berthoz, Jorland et al. (2004). |
| author |
Potapushkina-Delfosse, Marie |
| author_facet |
Potapushkina-Delfosse, Marie |
| author_sort |
Potapushkina-Delfosse, Marie |
| title |
Langues, arts et empathie à l’école |
| title_short |
Langues, arts et empathie à l’école |
| title_full |
Langues, arts et empathie à l’école |
| title_fullStr |
Langues, arts et empathie à l’école |
| title_full_unstemmed |
Langues, arts et empathie à l’école |
| title_sort |
langues, arts et empathie à l’école |
| publisher |
TIPA. Travaux interdisciplinaires sur la parole et le langage |
| publishDate |
2019 |
| container_title |
URI:https://journals.openedition.org/tipa |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/tipa.3375 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/tipa/3375 |
| _version_ |
1877241553179639808 |
| spelling |
openedition-oai:revues.org:tipa_3375 https://doi.org/10.4000/tipa.3375 urn:doi:10.4000/tipa.3375 fr https://journals.openedition.org/tipa/3375 2019-07-23T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/lgns https://creativecommons.org/licenses/by-nc-nd/4.0/ Langues, arts et empathie à l’école TIPA. Travaux interdisciplinaires sur la parole et le langage Laboratoire Parole et Langage info:eu-repo/semantics/reference/issn/2264-7082 URI:https://journals.openedition.org/tipa Potapushkina-Delfosse, Marie expérience langages empathie perception/action pratiques artistiques experience languages empathy perception/action artistic practices Cet article présente un dispositif expérientiel associant l’apprentissage d’une langue vivante (anglais) à plusieurs pratiques artistiques (arts visuels, danse, poésie, musique), développé à partir de la théorie de « l’art comme expérience » de Dewey (1934/2014) et mis en œuvre au cours d’une année scolaire, au sein d’une classe de CE1, dans le cadre d’une recherche action. Apprendre une langue n’implique pas uniquement le développement de compétences « techniques » (phonologiques, lexicales, grammaticales) mais aussi, et avant tout, la construction de l’habileté à langager (Maturana, Varela, 1994, Aden, 2017), c’est-à-dire, se relier à soi et à autrui. Les entretiens conduits avec les élèves en fin d’année, selon la méthodologie proche de celle d’explicitation, adaptée à l’âge du public et aux particularités de l’environnement scolaire, ont fait l’objet de l’analyse qui a permis l’identification d’éléments variés se rapportant aux états d’empathie, éprouvés par les élèves. Divers comportements empathiques stimulés par l’approche didactique, mettant en synergie le cognitif et le sensible, sont explicités avec l’appui sur des travaux de Berthoz, Jorland et al. (2004). This paper is dedicated to an experiential approach to teaching/learning foreign languages, associated with various artistic practices (painting/drawing, dance, singing, poetry), created under the influence of John Dewey’s theory of “art as experience” (1934/2014). Before talking about an experiential approach, it is important to clarify the concept of experience as Dewey defined it: “the interaction of live creature and environing conditions (that) is involved in the very process of living” (1934/2014: 80). He distinguished experience (qualified by distraction, dispersion, usually stopped before attaining its aim) from an experience (characterized by fulfillment and harmony). An experience can result from activities of many kinds but is most spontaneously achieved in the field of arts. Dewey explains this fact by the simultaneity of perception and action, which is typical both for artistic processes and the process he calls an experience. It is commonly admitted that being in contact with arts (as a listener, reader, etc.) implies perceptive behavior and being producing artwork involves an active position. By contrast with that widespread view, Dewey notes the necessary co-presence of perception and action in both cases. Being an artist and being in contact with art require co-creation, which is a deeply empathetic attitude:- the person who is going through an esthetic experience enters into empathy with the author or the characters of the artwork he/she is exploring;- while creating, the artist empathizes with “an indispensable partner” that is always present “even when the artist works in solitude”.Given those considerations, it is not surprising to find that empathy and art share a common definition: “art is a mode of knowledge” (Dewey, 1934/2014 : 465) / “empathy is a mode of knowledge” (Pacherie, 2004 : 150). Art and empathy as cognitive (and not only affective) tools seem appropriate to be chosen as the basis of a learning process that aims to lead pupils to a meaningful holistic experience.However, one may ask what link can be found between art/empathy and languages. Each new language is learned through the already mastered modes of expression. Art that is, according to Dewey, “the most universal and freest form of communication” (Ibid. : 440) is confined in museums in the adult world but is a part of children’s everyday life : they use artistic languages (fictional narration, drawing, singing, etc.) as naturally as they speak the verbal language in order to communicate. This is the reason that made me try to use artistic languages as media to foreign language learning. In my research, I have shown, over the last years, the positive impact of such an approach on the development of pupils’ linguistic abilities (pronunciation, memorization of vocabulary and grammatical structures). As for this paper, it focuses on transversal empathy skills. How and to what extent do pupils develop them when language learning is accompanied by artistic practices? In order to answer this question, I conducted a one-year experimental project within a class of 26 7-8-year-old pupils, in a primary school, near Paris. The project comprised four stages of gestural/danced, pictorial, verbal (in French and English) creative activities around:- Sonia Delaunay’s paintings;- The Pied Piper of Hamelin (German legend);- The Magic Paintbrush (Chinese fairy-tale);- William Blake’s poem The Tyger.The fourth stage was conducted in cooperation with Mobilis Immobilis dance company and concluded with a performance produced by the class under the guidance of the artists.At the end of the year, all the pupils were interviewed following the method of explicitation interview (Vermersch, 2010) adapted to the interviewees’ age as well as to the specificities of the school context. Each child was invited to draw his/her “art-language” school year and then to talk about it, explaining the drawing as a start. During the interview, each participant expressed him/herself, listened to other participants within the group, and interacted with them. The analysis of those interactions, based on the theoretical background provided by A. Berthoz (neuropsychology), J. Decety (developmental and affective neuroscience), N. Depraz and E. Pacherie (philosophy) made it possible to identify various types and degrees of empathy shown by children towards fictional characters, other pupils and dancers who worked with the class during the last stage of the project.The most frequent empathetic attitude found in the analyzed interactions is directed towards fictional characters. It is not surprising, since children of this age need to be guided by fiction, for example by fairy-tales (Bettelheim, 1976), that provide them with symbolic answers to problems they encounter on their way towards building identity and social relationships.While having empathic feeling towards a fictional other is natural for a child, empathizing with a real other requires maturity and an adequate emotional environment, if we mean by empathy “an affective response to an other person, that implies (but not always) sharing this person’s emotional state; a cognitive ability to take this person’s subjective perspective” (Decety, 2004 : 57), “distinction between the self and the other in parallel with a possible affective sharing” (Ibid.: 54). Berthoz (2004 : 254) refers to Piaget’s theory according to which, before the age of 7-8, “the child is a prisoner of his/her mental schemas, feeling like a person shut in a labyrinth with the only path leading to the only exit, the only possible point of view (…) on the world”. However, from the age of 7-8, the child starts transforming this egocentric position into a more allocentric one, the quality and speed of this change depending on many factors, education being one of them. The analysis of the interviews allows to consider the implemented pedagogic approach as contributing to the children’ decentering. The detailed interpretation of the selected interview excerpts corresponding to various types and degrees of empathetic attitudes shows that, unlike the adults for whom the “mental simulation” (Berthoz, Jorland, 2004) of someone else’s subjectivity is sufficient to access an empathetic state, the child, most of the time, needs to go through a physical simulation which is made possible and sensible thanks to artistic practices integrated into the project. Empathy results from “a similarity of experience, a community of culture” (Decety, 2004 : 58). The project provided a framework for such an experience, common (belonging to the whole class) and, at the same time, singular (conducted, perceived, understood in an individual manner by everyone). Throughout the creative process that unified pupils, everyone could become immersed in the subjective world of the others, then go back to his/her singularity enriched, stimulated by the encounter, in a cyclic harmonious way. |