I wasn't completely clear on what Task 2b was, as I explained in Task 2b confusion - HELP! So I thought I would attempt cover all bases with Reflective journal, Task 2b, part A, and this blog. Let's hope.
The problem with not knowing something, is that you don't realise that you don't know it. That is, until you need to know it and realise there is a hole. The problems that come with realising you don't know something are huge. Take not knowing how to spell something, for example. The dictionary is there. You (hopefully) have the knowledge to go to the place to find out, but what do you do once you're there? If indeed you do not know how to spell something, where do you start? Your current knowledge extends to the means to find the dictionary and potentially first letter. You could probably even take an educated guess at the second and third. But what then? Let's take scissors, for example. How would a dictionary every help you to spell this word if you did not already have the knowledge that 'c' was the second letter. I genuinely spent five minutes earlier trying to establish how to spell discipline. The answer these days is, obviously, Google.
I have noticed of late that I have some gaps in my knowledge of terminology. These were not gaps that were apparent when teaching ISTD Ballet in the UK. Although as a teacher my ballet classes are, and have always been few and far between. And I have always, if I'm honest, thought of my Ballet steps etc in Jazz terms and translated them, almost like a foreign language (and this has served me well for a number of years!) However the school that I am currently working with teaches the syllabi of the RAD and not the ISTD (where I hold my qualifications). Nevertheless both are Imperial Ballet and even as a late comer I studied both, up to grade 5 (circa 1998) after which I moved to the syllabi of the ISTD to take my majors.
Each week I teach two Ballet classes, along with a full programme of Tap and Jazz. The differences between the awarding bodies are slight, but definite. On the most basic of levels, I need to remember to refer to my arm positions in numbers. It also seems to me the RAD do not differentiate between their ronds de jambe a terre and their assembles soutenus, although I am yet to clarify this as it makes little difference providing I am clear when setting my choreography.
I am fortunate enough to be working with a Licentiate of the RAD and she is able to clarify anything I notice in class, I think of her as my 'Ballet Google'. I have other Googles too. The principal of my old college is my Google for most things dance related and my assistant here is my Google for all things China related.
Last week I asked the girls for a pose assembles soutenus en tournant at the end of an exercise. I know that my pose assemble soutenus are correct because I spent all of last year studying for the ISTD DDE Ballet examination and went on the ISTD's residential ballet course (a very brave move for a Modern and Tap - er) this summer and we had to analyse the movement (amongst a lot of other steps!) individually in front of the class during the week. The girls were missing out the circular movement and I so went through the step, action by action, including directions with them to resolve any uncertainty.
In the same class they were also unable to execute echappes sautés battus femme beating on both the journey out, and the journey in with or without a change of feet. I was particularly surprised by this as it would be expected at Grade 5/6 level in ISTD and these girls are Advanced 1 RAD.
The following day I spoke with my boss, and discovered:
- The RAD do not circle their pose assembles soutenus en tournant
- The RAD do not expect echappes sautés battus femme beating on both journeys either with or without a change of feet until Advanced 2.
This week I went back in and apologised to the girls. But given that it is a competition class stressed the importance of being able to adapt steps and having knowledge of what is required by other bodies/a vehicle to assess yourself against. There is also the possibility that when they move on, as many families do here once their contract is up, they will not be able to find an RAD school. We are therefore giving them the best possible broad ballet education we can.
Following this conversation later in the class I taught and asked the girls to perform the 1st Set Allegro from ISTD Intermediate Ballet to see how they faired, and asked them (as would be expected) to dance this four times. I was surprised to see them struggling with their stamina. Since taking on the Jazz and Tap programme I have already established a strength and flexibility class (as I believe one without the other is useless) on top of their Jazz and Ballet timetable, and will now look to increase their cardiovascular work throughout the week. Cardiovascular fitness is often a problem in dance, and I believe this is due to the anaerobic nature of the discipline. The girls had no problem technically with the work, even when asked to dance the allegro through (after a brief moment) another four times, beaten.
Below is a list establishing the 'What, Where, Why, When and How' I have taken away from the above
What didn't I know?
- RAD execute steps differently
- RAD have different expectations at different level
- Girls need to work on stamina
Where did/do I find the resources to improve my knowledge?
- Speak with my boss
- Current knowledge
- Use the internet
Why didn't I know this anyway?
- Because I am only qualified with the ISTD and ballet is my weakest subject.
- Because I have only been teaching the girls for four weeks and I am still learning their abilities and limitations
When did/will I put this knowledge into practice?
- During the girls last lesson
- in there subsequent lessons (not just with me, I will speak with their other teacher and see what can be achieved)
How can I help the girls to work on these things/improve my knowledge?
- Give more cardiovascular work in each lesson - making exercises longer for stamina
- Ensure I am clear with my explanation and demonstration so they are able to hear and see what I require
- Clarify their execution with them, and check with my boss if unsure
In this case of this blog, I have spoken to the girls involved and asked them if they would be willing subjects.