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!