What is the story you are going to tell?

Today, Tuesday 2nd April, we had a Module 3 skype session where we discussed the stories of our inquiries. Essentially, the entire process from the starting initial ideas to the resulting analysis and reflection is a story of experiences which we are telling through our essay and our artefacts.

Each enquiry has a beginning, middle and end. The beginning 'questions' that need answering are why am I doing this inquiry and what do I hope to gain from it? The middle asks what happened as you carried out your discovery process? The ending asks the question - what do these findings mean? And furthering this, by reflecting on our beginning question, what have I gained?

The artefact goes hand in hand with telling this same story. It isn't a representation of the results or the grand conclusion of this inquiry. It is another form of telling the story of your enquiry. And (reassuringly for me anyway at this stage) we won't fully understand what our artefact is going to be until we understand the complete story.

I hope this short run down of our skype call helps anyone who couldn't attend. The advice we were given and that I will pass on, is to keep practicing telling your 'story' to people and ask them to say back to you what they understand your inquiry to be. This will reveal any gaps in your story telling and will ultimately help the writing up process and how you want your inquiry to be represented.

Explicit V Implicit knowledge

As I sit writing my first draft of my literature review, I have been led to reflect on the importance of the different types of knowledge that we gain from ballet training. Euichang Choi & Na-ye Kim's article on Whole ballet education: exploring direct and indirect teaching methods tells us that there are 2 different types of knowledge; implicit and explicit knowledge.

Explicit knowledge emcompasses the technical information which is taught through instructional methods. For example, last week I was teaching a intermediate foundation class how to execute a demi-grande rond de jambe. To explain the correct technique I used a hands on approach, which allowed me to show the students on their own bodies how the movement should be performed in order for them to understand the mechanics of the movement. I used an instructional teaching method in order to pass on the necessary information regarding the facts of how this movement should be executed. This is an impersonal method of teaching, but one that I see as necessary when a student is very first learning a new step. 

Implicit knowledge is the more personal and reflective part of a person's learning. This is where each individual makes their own judgments and reflective thought is encouraged. As a teacher this is seen as more imparting knowledge, allowing the student to make of the ideas and information what they decide works best for them. Implicit knowledge plays a huge role in individuation - the process of individuals in society becoming differentiated from one another. 

My inquiry is targeting the question of how to encourage implicit knowledge learning through transformative learning theory. As I progress, I am finding more and more ideas of how this theory should work, but little on how to actually execute it in the studio. I still feel very much at the start of this inquiry, but more intrigued than ever to find out more. 

From this information, I have started to reflect on my own experiences of different teaching from when I was a student. I remember almost every teacher passing on explicit knowledge, through multiple methods (as this is pretty standard and expected from dance educatiuon). However in order to become artists, we need to be able to use our implicit knowledge to make decisions for ourselves. As a student I became so dependent on my teachers for knowledge, that when I graduated I stuggled to understand who I was as an artist and how to navigate myself and my abilities within the industry. What was I capable of? What areas did I need to focus on in order to continue to grow as a technician and artist? How am I supposed to react when no one is telling me what is expected of me? 

I wander if anyone else has any thoughts on this? Can you remember being encouraged to work for yourself often and what methodolgy was used in order to achieve this? Thank you for reading, I've blogged and clarifyed things in my mind, but would love to discuss this further if anyone has any thoughts!? 

•  Choi Euichang &  Kim Na-ye (2015) Whole ballet education: exploring direct and indirect teaching methods, Research in Dance Education, 16:2, 142-160, DOI: 10.1080/14647893.2014.950643 

A quick re-cap on transformative learning theory

I have been accumulating everything that I have so far learnt about Transformative learning theory. The image above is a very condensed version, but I have put this onto my wall so that I can consistently keep on studying it. I have done this in order to become as familiar as possible with the theory before I commence my data collection (semi-structured interviews). I am sharing it here as I thought it may be useful for others to see a more visual representation of one element (or discourse) of my inquiry topic; How could different teaching methods/theories affect ballet pedagogy and will they positively optimise young dancer's abilities?

Also, I have 2 new key words to add to the glossary;
1. Critical Transivity - global and critical thinking enabling you to initiate/find change in oneself.
2. Individuation - the process by which individuals in society become differentiated from one another.

Trying my best to expand my academic vocabulary and always on the hunt to understand and incorporate new words... if anyone has any more word suggestions please comment below. Also if you are a teacher and interested in being part of my discussion for my inquiry please let me know in the comments below!

Key words, key message; keep the glossary updated!

On Tuesday we had our first module 3 skype session. We were discussing the vocabulary written about in our handbooks and key academic words that we all should be familiarizing ourselves with throughout the BAPP course. Here are some descriptions to add to the your glossary;

• Artifact - put simply this is a thing/object that is evidence of something's existence. In the new module 1 handbooks they are advised to find the artifacts that represent their practice. For example, for me as a ballet dancer some artifacts relevant to my practice would be; pointe shoes, costumes, show programmes, practice skirts (romantic skirts or classical tutu etc. 
• Triangulation - This is when you compare 3 sources. So in terms to understand for the inquiry this would be comparing sources such as the literature, data collection and personal reflections. Bringing these sources together is called triangulating the data.
• Ethnography -   This is a word which I had been pretty certain that I understood.... until Adesola started to explain and I discovered that my understanding of ethnography was WAY off!... ethnography is when you are present in an event. For example, studying your own practice and witnessing the events first hand is an ethnography, compared to reading about an event which you are in no way involved in. If you are taking a reflexive approach (reflecting on a situating as it happens) an reflexive ethnography means that you are actively considering a situation which you are witnessing. 
• Paradigm - Essentially think of this as broadening a view. Seeing a situation from one perspective but then stopping to consider a different perspective which could lead to a change in understanding or in correct terms, a paradigm shift. 
• Discourse - This is the ongoing discussions surrounding a subject. Adesola used Brexit as an example and all the many discourses surrounding it as a topic (the pound, immigration etc.)

I hope this helps anyone who missed the skype session, it has certainly helped me to understand them further by taking time to explain these again. Also... *note to self*.... keep the glossary updated ready for when you come to write!!

What do you look for in a teacher?

During my research this week I came across an article by Kolb and Kalogeropoulou called In Defence of Ballet: Women, Agency and the Philosophy of Pleasure (2012). This article explores the positives of authoritarian teaching methods and why women (in particular) continue to want to join ballet classes and seek out the pleasure from within the art form and it's tough training.

Reading this article allowed me to start to reflect on what I look for in a teacher. Why do I enjoy ballet class? What do I expect from my teachers? I noted down a list of reflections in my journal;

• Gives corrections in a positive and critical manner
• Radiates an energy and brings the studio atmosphere to life
• Is mindfully 100% present in the studio
• Always searching for a resolution to a problem, does not settle or accept that something 'isn't possible' for someone
• Individual focus...to everyone! Does not prioritise some students over others
• Honesty (carefully worded and considerate of a students feelings)
• Always searching for the positive as well as the yet to be established improvements
• Installs confidence in others
• Motivates students to keep pushing (physically and mentally)
• Is an inspiration to students
• Educates in discipline, self-motivation and positive mindset

Following this (though not particularly wanting to look on the negative side) I thought it important to note down what I definitely do not look for in a teacher. This reflection was not as joyful as the first, but I think it is important for me to have these realisations so that I can consciously decide to not do any of the following when I am teaching; 

• Shows a lack in energy and interest in the class
• Delivers corrections with the basis of negativity
• Removes confidence from students (for example, by telling them that they can not achieve something)
• Prioritises certain students, leaving others feeling rejected and not worthy of attention
• Gives up on motivating students to achieve a correction before the student has had time to process said correction
• Values respect over the well being of students
• Cares more for personal achievements than watching students celebrate personal achievements
• Attacking nature whilst correcting - works by scaring the student by negatively enforcing corrections
• Harshly strict and speaks without first considering the potential consequences (specifically mental) effects that could be imposed on a student.

If anyone has any additional points to either list or disagrees with any of my opinions of what I look for in a teacher, please comment below so that we can discuss! 

Reference:

- Kolb, A. and Kalogeropoulou, S. (2012). In Defence of Ballet: Women, Agency and the Philosophy of Pleasure. Dance Research, [online] 30(2), pp.107-125. Available at: https://www-euppublishing-com.ezproxy.mdx.ac.uk/doi/full/10.3366/drs.2012.0042 [Accessed 5 Feb. 2019]. 

Module 3; the beginning..

Over the Christmas break I have had opportunity to reflect on my inquiry topic and what I hope to gain from it. I will continue my reflections here for those that are interested!..

As a professional ballet dancer who when in between performing contracts works at local dance and performing arts schools as a teacher, I decided that the hole in my knowledge lies within teaching methodology. I trained at vocational schools where my education was based solely on furthering myself in a career as a performer. I have never had formal training as a teacher (although I can claim that my technical knowledge of dance is vast but not complete). I would like to learn more about teaching and learning theories that lead to bringing the best out of students. Therefore my inquiry question is "How could different teaching methods/theories affect ballet pedagogy and will they positively optimise young dancer's abilities?"

As a student I was often taught under a strict authoritarian method, where I was just expected to listen and apply corrections, never being encouraged to question or reflect on how I personally could better myself. I was dependent on the teacher to tell me what to do and how to do it. Reflecting on this in module 1 I realised that this could have affected me personally long term as I entered my career. Starting out in the industry I was scared to speak up, scared to put myself out there, lacking in confidence in my own abilities and unknowing in how to continue to better myself without a teachers presence. I wander if this is down to the way I was taught and how classes were conducted at school?

It was this reflection that led me to consider different learning theories.

Since turning in my inquiry proposal plan, new challenges have developed in my professional practice. I have taken on some new classes at new schools which to say the least haven't been the easiest to adapt to. I have been very conscious to try to not involve too much authoritarian method in my teaching practice however these more challenging classes have led me to some interesting questions; is authoritarian teaching what parents of non-vocational students expect from ballet classes? After all, ballet training doesn't just teach technique, it is also an education in manners and respect. Is this important to the training and could it take away from the education if I were to use a different methodology? And should I be more specific in this inquiry as to researching the teaching methods in vocational or non-vocational training? Should the methods used be different depending on what kind of school you attend? And out of all of this - how do I focus my search in order to find the best benefits to my practice?

I will keep you updated as my reflections and findings unfold throughout this inquiry. But please in the meantime, comment below if you have any thoughts or opinions (or questions) for me to consider. It would be of great help and hugely appreciated! 

Module 2; Creating the structure!

This morning I had an incredibly helpful 1:1 tutorial with Adesola. We discussed my inquiry topic idea, ethics and structuring my time for module 3. 

I had been worrying that I couldn't find any literature contradicting my thoughts of how a ballet dancer's voice is silenced during ballet training. Adesola corrected me in thinking that there wasn't anything out there - I just haven't found the right way to search for it yet. But this could take years, and this course and inquiry isn't about trying to prove a point. It is about trying to fill in the gaps. I have been formally trained as a technical dancer, not as a teacher. Therefore this inquiry for me is to try to fill some of gaps in my knowledge to help further my practice in teaching. 

So instead of worrying about finding literature that goes against my opinions of the subject, I am instead going to continue to focus on the different teaching techniques and explore the literature around them - including the outcomes that other scholars have discovered. 

In my last post I discussed my new 'sharing rule' in class. Adesola pointed out to me that I don't actually know for sure yet how this will effect the class as right now I still haven't done enough research into the results of using this peer review technique. Therefore in a way I am experimenting on the class (which sounds utterly awful and is far from my intention of bringing the class together in a focused, positive and uplifting environment.) But this has made me aware that I do need to research further into different teaching techniques and the outcome effects that they have on the students (before I introduce them to my classroom). 

This brings me on to deciding to interview teachers and their own opinions on the best ways to conduct a class in order to bring the best out of their students. Learning is a very individual thing and everyone learns differently. But to find a way that makes everyone feel included in a classroom situation would be an ultimate aim now for me. And to do this I need 

Module 2 is about creating a structure (or a road to travel down) for module 3. During module 3 we may stray away as we uncover new ideas, but the structure will be there to pull us back to the main road so that we can continue to travel towards the aim we set out with. So my next plan is to start to structure out my time - first for the rest of this module and then for module 3, so that I have more of a plan to go forward with. 

So onward with planning the rest of this module, writing my first draft of my proposal and completing the MORE form.