Reading: Gerofsky, S. & Ostertag, J. (2018). Dancing teachers into being with a garden, or how to swing or parkour the strict grid of schooling. Australian Journal of Environmental Education, 34/2, 172-188.
Summary:
Gerofsky and Ostertag critique the dominance of the “grid” in schools: rigid structures of time, space, curriculum, and assessment that continue to shape schooling. They argue that grids function to sort and order people, ideas, and practices, offering a sense of control and efficiency that is deeply embedded in classroom norms. While familiar and often comforting, these structures regulate bodies, movement, and relationships within schools. The authors assert that the grid is not neutral, but rooted in Western, Enlightenment, and colonial ways of organizing knowledge, space, and power.
The article also acknowledges that educators are deeply entangled with the grid and cannot simply reject it. Institutional constraints such as teacher roles, policy expectations, and school structures require teachers to work within these systems. In response, the authors explore garden-based teacher education as a space where tensions between control and freedom become more visible. Through arts-based, embodied, and outdoor practices, they examine alternative ways of becoming teachers that do not rely solely on traditional, gridded forms of schooling.
Gerofsky and Ostertag introduce the concept of being “beside” the grid, rather than strictly inside or outside of it. Drawing on metaphors such as swing dancing and parkour, they illustrate how creative movement and play can occur within structured systems by leaning into, around, and against constraints rather than opposing them outright. Ultimately, the authors propose a ludic, playful approach to education that moves beyond binary thinking. By positioning the garden itself as a co-teacher, they emphasize relational and more-than-human forms of learning, suggesting this approach is particularly important for teacher education in times of ecological and social uncertainty.
Stops
1) "Are there senses and sense-making ways that are part of ourselves that we cannot truly reject, but might rebalance and reharmonise with ways of being and knowing suppressed by the dominant culture? Bringing this to the world of teacher education, are there ways to acknowledge our love affair with the grid and its occasional benefits, alongside and in the process of rewilding schooling and taking it outdoors?" (p. 179)
This quotation stood out to me due to its practicality. As a classroom teacher, I acknowledge both the restrictions and benefits of the grid, while also recognizing that it cannot be fully rejected given the nature and structure of modern schools. Garden-based or outdoor education does not need to be positioned as an “escape” from schooling, but rather as a way for teachers to begin loosening the restrictions imposed by the grid on both themselves and their students. Vocabulary such as “rebalance” and “reharmonise” reinforces the authors’ stance that arts-based and embodied practices can coexist alongside the dominant structures present in schools, allowing educators to move beyond the binary of the grid versus what is “other”, and instead navigate tensions rather than attempt to fully resolve them.
2) "We are simultaneously within and beside ourselves and the persona of ‘teacher’ we are in the process of adopting. Rather than conforming to this persona, what other ways of being teachers might be possible? Can we dance or daydream teachers into being with a garden?" (p. 180)
This quotation led me to reflect on my practices as a teacher and to question the persona I take on in my school and classroom. While my views of what a “good” teacher is have changed since I began my career, I still conform to many dominant approaches and have little experience in arts-based, embodied, or outdoor practices. This quotation reframes teacher identity as something that is continually formed and changing rather than a fixed role to be mastered, an idea that resonates with me as society and school communities continue to change over time.
The quotation describes how teachers are simultaneously within institutional expectations and “beside” them, highlighting the emotional and ethical tensions involved in becoming a teacher. By questioning conformity to a dominant teacher persona, the authors open space for alternative forms of teacher education that are embodied, relational, and imaginative. While I initially struggled with the metaphor of “dancing or daydreaming teachers into being with a garden”, I came to see how it reinforces the idea that teacher education can be creative, performative, and co-shaped by place rather than governed solely by rigid institutional norms and expectations.
Questions:
1) What might it look like in everyday classroom practice to work “beside” the grid, rather than within or against it?
2) Is it possible to integrate arts-based, embodied, and outdoor learning without positioning it as an “alternative” or add-on to the “real” learning defined by the grid and other dominant forces?
