Shaping relationships

The relationship between teachers and students forms the basis for all pedagogical interaction. The mindsets and attitudes present in how we meet one another substantially influence our behavior and our actions. Teachers are therefore required to continuously question their individual behavior, to react in accordance with the momentary situation and to regard the shaping of relations as mutual learning. Located in the center of this pedagogical process are the students with their singular educational biographies. When designing practices of teaching and learning, the focus should be on the particular needs and approaches in relation to learning and on how to facilitate self-directed learning. Students should be met with respect to their individuality and receive the opportunity to contribute their own experiences and resources to the classroom. Understanding this should translate into a teacher’s appreciation of their students’ responsibility for their personal education process and into respecting their individuality. (ce)

Musings of a female lecturer

„I show a possible journey that should be undertaken and explored on one’s own. I’m the travel companion. Having faith in the individual development paths of the students entrusted to me alleviates me from the burden of believing that I am responsible for this process to the very last detail. Simultaneously, students retain their autonomy without being left alone.” (mh)

Ideas for co-creating relationships

Shaping relationships is a central component of individual artistic tuition given that it crucially influences students’ learning success in a one-to-one setting. In order for educational processes to succeed, it is necessary to establish a trustful atmosphere of cooperation characterized by acceptance and mutual appreciation. Concerning their respective expertise, teacher and student should meet at eye level – students are responsible for their personal educational and development process while teachers have the obligation to offer support and guidance.

  • Clarify mutual expectations and requests concerning the course early on
  • Incorporate the ideas and visions students have in relation to their personal study process
  • Develop possibilities for feedback together
  • Ask your students for feedback on your teaching
  • Regularly review the mutual process from an outside perspective in order to align it with the respective expectations and requests and to adjust future teaching

Teachers’ questions to inspire reflection

directed at oneself directed at students
What do I expect from the student? What expectations do you have in relation to class design?
What characterizes constructive interaction with the student? Where do you see your strengths and in what way do you intend to utilize them?
How do I envision leading or guiding the student? What kind of support do you need for your development process?
When I was a student myself, what did I experience in individual artistic lessons and (how) does this affect my notions of studying and teaching? Thinking back to your time at school, do you remember any people that had a special influence on you, did you have any role-models? How have these persons had a lasting impact on you?
How much space do I grant a student for being initiative and autonomous within my teaching? When do you need space for initiative and autonomous work? Under which circumstances?
What is my opinion concerning the mutual responsibility for the student’s development process? What are your thoughts concerning your responsibility for your development process?
Which aspect of the mutual development process do I experience as rewarding and which as particularly demanding? Which aspect of the mutual development process do you experience as rewarding and which as particularly demanding?
How do I want to frame feedback for the student? In which manner do you wish to receive what kind of feedback?
In which manner do I wish to receive what kind of feedback on class design from my students?
What importance does a student’s individual educational biography have for me and to what extent am I able to address it in designing classes? Which experiences did you make during your time at school? How do these experiences affect your ideas of studying and practicing?

Reality check

Meeting at eye level (Even being on) A first-name basis does not necessarily translate into respectful encounters at eye level. At the same time, it poses the danger of obscuring the different positions and role understandings between teachers and students. Students are adults and should therefore generally be addressed formally by their second name. Informal first-name addresses are only allowed following the student’s permission. Students often react politely and accept that they are addressed by their first name while continuing to address the teacher formally. This mode of interaction is strongly discouraged. Being on a first-name basis must feel right for both sides.
The relationship between closeness and distance Language/Communication: We can create closeness or distance with the language we choose and the manner we communicate in. Exchanges characterized by respect and sincereness are of importance here with teachers functioning as role models and bearing responsibility. Perception exercises/Body awareness: Issues of closeness and distance are also important in Body(awareness) exercises. In order to mind students’ boundaries and to find respectful ways of handling physical touch, appropriate communication and consideration are required. Students are to be physically touched/approached during the course of any teaching situation only if the teacher explains beforehand why touching is necessary or that physical contact will aid in sustainably grasping teaching content. ‘No’ as a response means no and must be accepted. In such a case, the transfer of knowledge has to happen differently. This rule also applies vice versa, i.e. when students are expected or want to physically touch teachers.
Privacy Respecting students’ privacy is important. As is identifying clear boundaries as a teacher. Students are to be met as autonomous, self-reliant beings. Providing unsolicited advice concerning students’ lifestyles – for example in relation to their housing situation or their choice of friends/romantic partners – is not part of a teacher’s job.

Impulse for alternative teaching formats

Reflections of a female teacher and practical experiences for student-centered instruction in the main artistic subject.

“It is not necessary to refrain from one-to-one settings and their advantages as there are numerous possibilities and approaches that can instill awareness and render them non-discriminatory. In order to arrive at more diverse and dialogic formats of teaching, it is crucial to critically reassess the concept of the masterclass which focuses on a s i n g l e outstanding artistic personality.” (nz)

The teachers of a main artistic subject exchange regularly and view themselves as a team. Given that the expertise of all is included in selecting students, the teachers of a specific discipline will be familiar with all the newly accepted students after the entrance examinations. In the major subjects, teachers will commence teaching with the students initially assigned to them. During the course of a maximum of eight semesters, students have the option to repeatedly change the instructor of their major subject. This possibility is communicated to students early on. They know that in doing so they have the chance to enhance their range of experiences both artistically as well as pedagogically.

From the third or fourth semester onwards, the hours of the major subject, usually two per semester, can be split up and divided between two major subject teachers. The advantage of this is that students can benefit from the expertise of two teachers by, for example, gaining insights into different methods and perspectives.

This format also has the advantage of enabling professional exchange between teachers concerning students’ learning success.

By learning from more than one master in their respective artistic major, students become familiar with different forms of instruction. Being able to split up the hours of the artistic major therefore generally promotes critical as well as self-reliant development of art students.

Prior to the start of the semester/academic year, all major subject teachers plan an Open Day. This day is communicated to all students on the first course date and recognized as part of the curriculum alternative to a single (a number of) one-to-one lesson(s). In order to familiarize themselves with different teachers, styles and methods, students are granted the possibility to sit in on all classes offered by the teachers of a certain subject on Open Day.

In a Workshop Week organized by all teachers of a main artistic subject, thematically different classes will be offered by individual teachers according to their respective expertise (e.g. Atem-Tonus-Ton®, CVT, Estille Voice Training®, Lichtenberger®). As students are invited to gain insights into a variety of techniques, schools and approaches, they will not have any major classes during this week.

Further Tools

for practicing and experimenting with