Motivational Climate during choreographic creation
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TARGET – what is it ?
In 1989, “Epstein first used the acronym TARGET to represent the six areas of task, authority, recognition, grouping, evaluation and time” (Morgan & Carpenter, 2002). TARGET principles can be used to create a task- or an ego-involving motivational climates. Nicholls’s (1989) achievement goal theory states that a high task-orientation is associated with the use of an undifferentiated conception of ability, where effort is seen to equal ability. Individuals who adopt the undifferentiated concept of ability focus on the mastery of the task, the learning of skills, exerting effort and self-improvement.
This mastery-oriented pattern involves the seeking of challenging tasks and the maintenance of effective striving under failure (Dweck & Leggett, 1988). Ames (1995) shows that the degree to which the classroom climate emphasized mastery, rather than performance, was predictive of how students choose to approach tasks and engage in learning. In the same way, you as a dance teacher can create a task-involving motivational learning climate in the studio using TARGET tools.
Autonomous versus controlled motivation
A critical point made in the Self-Deterination Theory is the difference between autonomous extrinsic motivation and controlled extrinsic motivation (Deci & Ryan, 2008).
Extrinsic motivation represents the drive to engage in an activity to gain rewards or avoid punishments. Some people are fundamentally more motivated by extrinsic rewards. In other words, they are motivated by the instrumental value of an activity; it is a means to an end (Ryan & Deci, 2000). Danser who have extrinsic aspirations can see physical attractiveness, and recognition or fame as more important or worthy goals in their life (Deci, Olafsen, & Ryan, 2017).
With controlled extrinsic motivation, people are likely to feel pressured, controlled, or compelled into doing something. In contrast, with autonomous extrinsic motivation, there is an element of self-endorsement or “getting on board” with the activity. They perceive their actions to be voluntary and congruent with what they want or value (Deci & Ryan, 2008). And this is what a dance teacher can support with the following tools.
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Task
How to encourage your student’s autonomy with regard to the Task
The teacher gives the basic theme of the choreography. The students can choose three axes of research among the following: the parts of the body mobilized, the speed of the movement, the quality of the movement, the source of inspiration (cognitive, emotional or physical), and the organization in space (floor, standing, on the spot or moving). The number of movements to be invented is not fixed either and is between 3 and 9.
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Autority
How to encourage your student’s autonomy with regard to the Authority
Each student chooses four movements, two of their own and two from other students.
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Rewards
How to encourage your student’s autonomy with regard to the Rewards
The teacher gives rewards in the form of congratulations to each student either for their commitment to the movement research, or for the movements they have found, or for their curiosity about the work of their peers.
Time
How to encourage your student’s autonomy with regard to the Time
The students divide themselves freely into groups of three or four. During this time the students are free to prepare and structure the time they set aside for creating the routine, learning it and performing it with movements at their maximum scope and intensity. They are also responsible for taking the 10 minute break at a time they find appropriate.
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Grouping
How to encourage your student’s autonomy with regard to the Grouping
Students work together to use the movements that each has selected. They are free to choose music that relates to the theme of the choreography. Then they show their proposed choreography to the others.
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Evaluation
How to encourage your student’s autonomy with regard to the Evaluation
Feedback is given by group and focuses on specific aspects of the work: the use of all the movements chosen for the choreography, the participation of each member of the group in giving their ideas and listening to those of others, and the effectiveness of the choreography in expressing the original theme. The content of the feedback notes one positive point and one point for improvement for each student, and the same for the whole group. Students are encouraged to ask questions if they do not understand the basis of parts of the feedback.
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Download here your plan of the workshop in pdf format for use in the dance studio
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References
- Morgan, K., & Carpenter, P. (2002). Effects of Manipulating the Motivational Climate in Morgan & Carpenter, 2002 Morgan & Carpenter, 2002Physical Education Lessons. European Physical Education Review, 8(3), 207–229. https://doi.org/10.1177/1356336X020083003.
- Nicholls J.G. (1989) The competitive ethos and democratic education. (Harvard University Press).
- Dweck, C. S., & Leggett, E. L. (1988). A social-cognitive approach to motivation and personality. Psychological Review, 95(2), 256–273. https://doi.org/10.1037/0033-295X.95.2.256.
- Ames, C. (1995). Achievement goals, motivational climate, and motivational processes. In Motivation in sport and exercise (pp. 161–176). Human Kinetics Books.
- Deci, E. L., & Ryan, R. M. (2008). Facilitating optimal motivation and psychological well-being across life’s domains. Canadian Psychology/Psychologie Canadienne, 49(1), 14–23.
- Ryan, R. M., & Deci, E. L. (2000). Self-determination theory and the facilitation of intrinsic motivation, social development, and well-being. American Psychologist, 55(1), 68–78.
- Deci, E. L., Olafsen, A. H., & Ryan, R. M. (2017). Self-determination theory in work organizations: The state of a science. Annual Review of Organizational Psychology and Organizational Behavior, 4, 19–43.
- Fisher, L. (2020). University of Florida Listening to the Body: Interoception through GagaMovementLanguage. College of the Arts, University of Florida.
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