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I denne studien undersøkes lærerstudenters og lærerutdanneres meningsdanning i møte med skapende dans i en kroppslig-estetisk workshop. Utgangspunkt tas i Deweys (2008) forståelse av den estetiske erfaring og Merleau-Pontys (2004) kroppsforståelse. Metodisk brukes fokusgruppegruppeintervjuer (Creswell 2013), og data analyseres ved hjelp av en induktiv og empirinær kodeprosess (Corbin & Strauss 2015). Analysene viser at informantene i ulik grad stoler på at de har tilstrekkelig kunnskap og adekvate verktøy for å kunne lage bevegelser og koreografi, og noen møter utfordringer når de skal skape og danse sin egen dans. Dette arbeidet ble for mange likevel en følelsesmessig reise fra det ukomfortable til det befriende. Lærerutdannerne og musikkstudentene utrykker seg positivt til skapende dans og ser verdien av estetiske prosesser i skolen. Kroppsøvingsstudentene derimot har mer vanskeligheter med å se verdien av dans som en estetisk aktivitet. Basert på resultatet i denne studien synes det å være et behov for i større grad enn i dag, å tilrettelegge for læringsarenaer der det skapes muligheter for å arbeide med kroppslig-estetiske kunnskapsprosesser i grunnskolelærerutdanningen.
This study aimed to investigate the perceptions and experiences of student teachers and teacher-educators when participating in an interdisciplinary workshop in which they were to create and explore their own expressive movements and others’ bodily expressions. The study employed a qualitative approach, and in order to acquire access to the informants’ lifeworlds and their immediate and mediated experiences, open focus group interviews were conducted after the workshop. We based our analysis on inductive coding (Corbin & Strauss, 2015), the results of which were then interpreted in light of Dewey’s (1934) understanding of the aesthetic experience and Merleau-Ponty’s (1994) phenomenological notion of the body. Our analysis demonstrates that the informants were not familiar with using bodily expression, nor did they believe that they had the knowledge or skills needed to create movement and dance, which may explain why they struggled to engage with the creative process. By observing the dances others created, the informants discovered that there was no right or wrong way to express movement. They became a little more open and acquired what Dewey (1934) describes as an aesthetic quality. The music students and teacher-educators were inquisitive about and open to using these kinds of creative processes in schools. The physical education students had a more reserved attitude toward the inclusion of dance, confirming the findings of other studies. These results indicate a need to create more room for processes that increase aesthetic abilities in teacher education.