Task 2c – Reflective Theory

Dewey believed that reflection begins in a state of doubt or perplexity and that is exactly how I have felt for the majority of this course so far. Am I on the right track? And more aptly, what on earth does that mean? I would consider myself fairly well educated, with a firm grasp of the English language however, that said, I have to admit to spending the last few months in a state of confusion:

Task 1 left me questioning how these tools could be useful to my professional practice, however Task 2 had me questioning what exactly we are supposed to be doing, where this is going, when I am supposed to find time and why am I so stressed about it all?!

On my initial perusal, I did not feel that the Reader gave me what I needed, and therefore set about finding out where I could get the information for myself, who these theorists were and what their main principals were. In addition I looked at what I am currently doing, how it fits into their theories and where/when these have an effect on my work. Having undertaken my own research and subsequently re-read the reader numerous times I now feel more able to complete this task.

To quote the reader “Learning a new idea is not as simple as it seems. For example, if you ask the question ‘what is a bachelor?’ To know if the answer is correct ‘a bachelor is an unmarried man’ you need to know the idea (concept) of being ‘an unmarried man’. You are not learning a new idea; you are just learning a new term.”

The Reader goes on to pose the statement “seeing something is missing is the first stage of learning” if this is believed to be true then surely learning a term for a practice you already undertook but didn't know existed, is learning? Learning a new term as opposed to learning a new idea is still learning, furthermore with learning that new term undoubtably a whole new set of principles have been put in front of you. Take Tacit Knowledge, for example; I have known of muscle memory for as long as I can remember but have not been aware of any theories behind it or its relevance to reflection.

Within the excerpt from Boud were a number of reasons highlighting why journal writing is considered so beneficial. I found this excerpt interesting even after multiple reads and I have created a mind map of my main points from the excerpt:

Within this are included the 9 principles of reflection from Moon that are quoted within the excerpt.

During this task I have discovered that I am very good at looking at the past, relecting and seeing where I have come from, and looking to the future, reflecting and seeing where I would like to be. What I am not great at is reflecting on is the 'now'.

Dewey – REFLECTIVE THOUGHT
According to the reader Dewey saw reflective thought as an “active, persistent and careful consideration of any belief or supposed form of knowledge in the light of the grounds that support it and the further conclusions to which it tends” (Dewey, 1933). He also considered that “Education was an experiential action”. To me, the latter implies that education itself is not the key to learning, instead the tool by which we acquire information allowing the process of reflection to be stimulated and thus turned into knowledge. Dewey defined the educational process as a “continual reorganisation, reconstruction, and transformation of experience.” This concept could be highlighted by using a choreographic experience as an example: You have the ideas, play around with them, decide on an order, rearrange/re-choreograph and eventually end up with a complete piece that has transpired and transformed since the initial thought process.

John Dewey, considered reflection an extension of thought and said “while we cannot learn or be taught to think, we do have to learn to think well, especially acquire the general habit of reflection” (Dewey, 1933). This makes me question whether I have truly engaged in the reflection of my practice, as opposed to merely thinking about my practice. At what point does thought, and its extension turn into reflection? Dewey considers reflection to be “rational and purposeful”, to include a“conscious and voluntary effort” and seeks to“establish belief upon a firm basis of evidence and rationality” (Dewey, 1933). Taking the idea of a choreographic experience from above Dewey suggests you go further than the 'end stage' and reflect on what processes would allow the work to mature faster in subsequent choreographic projects.

Dewey also discusses how “Interaction with the arts led to a unique and valuable experience” (Dewey, 1934). Your understanding of this quote depends on your definition of “The Arts”. The Oxford English Dictionary gives the definition of The Arts as follows “(2) The Arts: the various branches of creative activity, such as painting, music, literature, and dance: the visual arts” 

Potentially many of us as dancers would consider “The Arts” to refer to Performing Arts and I am sure we all have our own theories on how Performing or Visual Arts is beneficial within formal education. Whilst this was my initial understanding I now believe Dewey to be talking about the importance of creativity in any form, linking back to the journal ideas with in module: Pictures/Writing/Videos/Reading.

Despite Dewey having influence many of his succeeders I currently find his theories and ideas difficult to identify with. That is not to say I disagree with them in principal, just that my formation of ideas surrounding Dewey's ideas has not been so succinct as many of the other theorist.

Polyani TACIT KNOWLEDGE
The reader describes Tacit Knowledge as "knowledge you cannot express with words". During my research into Tacit knowledge I read many different descriptions and have been left slightly perplexed by the true meaning. Another thought is that Tacit Knowledge is things that have become so a part of your thinking that you don't even think about them anymore. However my research on this left me questioning if anyone is truly able to conceptualise tacit knowledge. 

It is becoming evident that things once known are not the same as things now, or currently know. I'm not talking about things we once believed to be true but have since proved otherwise like fundamental thought shifts in the ideas behind flexibility training, for example the eradication of the use of ballistic stretching in dance, I am talking about the things learned years ago that are no longer known or remembered, the subjects of which I am unable to share due to no longer knowing. Is the knowing of the existence of these 'things' without their defined subject matter Tacit Knowledge?

In addition there are things once consciously knew, and now subconsciously done. There is no longer a need to verbalise the processes, to ask questions or to even think about them, for example, clutch control whilst driving. Or where the letters are on a keyboard whilst typing. Or with reference to Dance proprioception and kinaesthetic awareness. Is this Tacit Knowledge?

There are also the things you know but are unable to verbalise. A great friend once said “Oh Megan! I know what I want to say, just God didn't give me the vocabulary”. How do you explain how something feels? Who's to say two people's perceptions of that description would be the same? Or visa versa. . Or, with reference to Dance, how do you verbalise and describe the move you have just choreographed? Is this Tacit Knowledge?

The reader says that it is important to find ways to articulate and support reflection, but how can you do this if you do not yet know what you know? If you are to take Twyla Tharp's concept of muscle memory being tacit knowledge, as a dancer I have been aware of muscle memory all my life but verbalising or vocalising what exactly muscle memory is is not something I have ever attempted. This links to Moon's idea that reflective practice aims "to enhance creativity by making better use of intuitive understanding"

Schon - REFLECTION IN ACTION AND REFLECTION ON ACTION
The idea of temporal processing is one that specifically resonates within the profession of dance, (undoubtably along with many other occupations), and Schon's theory of reflection in action and reflection on action is the theory that is depicted strongly within my daily practice. In addition to Schon's theories there are other such as those of Lewin that stand out for me. I have noticed that those I relate most strongly with are those of a conceptualisation basis rather than an academic basis.

Potentially the reasons behind my resonation with Schon's theory is because I can immediately see and accept how and when this fits into each part of my daily practice.

During a dance class due to the fast pace of the class, often I am reflecting in action with my response. If the situation is between two students and I have not seen what has happened I always enquire as to the circumstances, outcome usually being both parties apologising and everyone moving on swiftly so as not to dwell and maintain the pace of the class.

When speaking with parents outside of the classroom decisions are not necessarily as immediate as within the class given that we are usually one on one, I have more time to think about their concerns and I am able (time permitting) to structure my response, however I would consider this to be somewhere between reflecting in action and reflecting on action.

In an event that has not been brought to my attention during class (or I have not had time to deal with the parents concern at class) and instead has the situation has been brought to my attention in email format I am able to think more critically about the situation and reflect upon the facts I have been presented with allowing me to reflect on action. I personally feel I a give a better response to most situations outside of the classroom (good or bad) via email as I have had time to think the situation through from all angles before replying or offering suggestions.

The way Robert Kottcamp likens reflection in action to being 'online' and reflection on action as being 'offline' brings the theory up-to-date with modern terminology and therefore made it 'current'. However, referring back to the reader comments on learning, has he actually come up with a new concept? Or just 'renamed' an existing theory?

Peter Honey and Alan Mumford - FOUR STAGE CYCLE

The four stages of the Honey and Mumford cycle are:

• Having an experience
  
• Reviewing the experience
  
• Concluding from the experience
  
• Planning this next steps

I am drawn to this theory because again it exists in my current practice almost subconsciously; this model of 'reflection' almost ingrained in my daily life. Maybe this is a case of confirmation bias. Over the years I have used this model but in a verbal or conceptualistic way, but rarely articular on paper. However looking back at the theories of Dewey's or Moon, is this really reflection? Is thought or conversation alone a great enough articulation of knowledge? I have moved forward, I have looked at the facts and the direction I wish to travel in, but have I really learned anything?

Kurt Lewin - SPIRAL CYCLE

Lewin's Spiral Cycle also resonates with me, for the same reasons as above although I believe this to be a more thorough version of Honey and Mumford's cycle I still question whether this is reflection. Although it is definitely one of my current versions of reflection. Taking once again the choreographic example from above:

• Identifying or generating a general idea: What annual production should we do?
• Reconnaissance or fact finding: What dances/characters does this show require?
  
• Planning: How can we ensure there are enough 'numbers' for each class to partake? Which class will be what? What music shall we use? Would any numbers use props?
  
• Take first action step: Start music edits/Commence choreography.Teach choreography and video at the end of class
  
• Evaluate:Watch choreography back during the week.
  
• Amend plan: what can be improved/where to go next
  
• Take second action step: Re-choreograph where necessary. Break down steps. Choreograph additional sections. 

Currently I see this as more useful to, or more demonstrated by, my current practice than Kolb's Learning Cycle, of which I am yet to decide on my entry point, instead believing that the point of entry is dependant upon the experience.

Kolb - THE LEARNING CYCLE
Kolb believed in the importance of being able to identify experience and the understanding how that experience is of benefit. Kolb created a learning cycle:

Below are the four points to the entry cycle and how they fit into my everyday practice.

• Concrete experience (doing something)
  
• Reflective observation (watching something)
  
• Abstract conceptualisation (thinking about something)
  
• Active experimentation (experimenting with something)

It is my understanding that we all enter this cycle at different points, however effective learning is only achieved when the subject has passed through all four points. I do not think I am one type of learner, instead entering at different points depending on the task as shown above.  In addition to the above Kolb talks about processing continuum (how we approach a task) and perception continuum (our emotional response to it).

I found this website particularly helpful in explaining Kolb's thoughts.  It is suggested that knowing someone's learning style, and tailoring the work to that allows learning to happen more easily however in a classroom situation However that is not always possible. Another factor to consider is Howard Gardner's theory of multiple intelligences.

Howard Gardner - MULTIPLE INTELLIGENCES 
Howard Gardner's work was inspired by Kolb, however Gardner proposed the idea of Multiple intelligences. I find the idea of multiple intelligences interesting and can definitely relate to children learning in difference ways. I have long known of Visual, Auditory or Kinaesthetic learners but had not known of these additional “layers” until now.

It is interesting how Gardner says these theories on multiple intelligences should not limit the individual instead using them as a tool for understanding how one learns when a label in itself is often exactly that, a limitation.

Other ideas
Whilst researching this blog I discovered some additional ideas that I liked (predominately from  www.nationalgeographic.com). I have decided not explore them here, and instead list them citing my idea that they could have an influence of reflection and might promote further insight:

The Dunning-Kruger effect is an interesting thought and is similar to my blog post. The same article touched upon:

• Cognitive bias 
• Overconfidence effect - systematically overestimating your knowledge and abilities.
• Heuristic 
• Confirmation bias 
• illusion of control bias 
• Illusion of validity
• Fatigue
• Humanist theories - importance of the whole person

Task 2d (Sixth and Final instalment)

Task 2d seemed huge to me and once I started writing I did not stop.  As a result I have made the decision to post the answers to the questions posed in the task in instalments in the hope they will be more manageable to all.  In each post I will specify the question(s) tackled.

• What gets you angry or makes you sad?
• Who do you admire who shares your feelings or has found a way to work around the sadness or anger.

As a teacher in the UK I felt that children were not achieving as well as the same age group might have ten years ago. Potentially this could be down to the cotton wool culture of the training coupled with society becoming less active/more lazy collectively.

Despite coverage in the news regarding the perception of examinations becoming easier I believe the opposite is happening within dance and standards are increasing at speed. Many UK children are unable to keep up with this and it is leaving us, as a nation, behind. Within schools children are taught to question why, and with “because I said so” no longer an acceptable answer much of any class is taken up with discussion. This has its merit; however these are not necessarily visible within the confines of a 45 minute dance lesson.

There is also the 'X-Factor culture' to consider. In an article in The Guardian in 2011 Iain Duncan Smith said “A 'get rich quick' celebrity culture exemplified by The X Factor and the dysfunctional lives of footballers has created a society 'out of balance'" Whilst I have always maintained I do not consider people to be influenced by the media as much as the hype would allow us to believe, I do believe shows like the X Factor hinder ambition, or rather the commitment, work ethic and drive required not just to achieve and succeed but to excel.

I believe a combination of the above, amongst other factors, to be disabling our young talent and it is heartbreaking. It makes me sad when children are underachieving, but even more so when they have no idea of their potential. As teachers we work so hard for our students giving up our own time to help them; planning and researching, looking for new avenues for them to blossom in that when they don't show commitment or understanding of the team work involved, it leaves us disappointed.

The industry of performing arts is a notoriously difficult one for a variety of reasons and there are often times you watch incredible talented people fail, or incompetent people succeed. An example of this is unqualified teachers starting classes and schools, ruining established businesses, putting children at risk and belittling the industry. A colleagues I met on a course has started a campaign against this, details can be seen here.

The principal of my current school and the principal of my old vocational college both have a great work ethic. They both choose to run their businesses in very different ways, and are both great teachers but with very different styles. They have had very similar experiences to me at various times and from both sides of a situation. It is interesting to always have other opinions or ideas on how I might approach something available to me and I regularly speak with them both when I am unsure how to move forward.

Regarding the above, I have previously spoken my childhood Ballet teacher, and she is in agreement that the work ethic and standards of British children has slipped. The continued presence of the Asian work ethic is something I am really enjoying at the moment, and is something my current boss has definitely tapped into. 

Task 2d – Things I love (fifth instalment of task)

Task 2d seemed huge to me and once I started writing I did not stop.  As a result I have made the decision to post the answers to the questions posed in the task in instalments in the hope they will be more manageable to all.  In each post I will specify the question(s) tackled.

Questions I will attempt to answer in this blog:

• What do you love about what you do?
• Who do you admire who also seems to love this or is an example of what you love?

I am fortunate enough to be able to say I absolutely love every aspect of my job. I have always loved my job, although admittedly to varying degrees over the years. Moving abroad was the best thing I have done and I wish I'd done it years ago, although the challenges of living in a Communist Country are vast I am at a great school and love every day. I feel challenged here, and that I am able to move forwards with my career. I love the difference that I can make to a student's day, and the difference that they can make to mine. I love that I never stop learning, and that no two classes will ever be the same despite the words on the lesson plan.

I love that as part of my job I get to watch great choreography and see dancers with beautiful line, extension and unfaultable technique perform.

I love the opportunities dance has given me. It has allowed me to make life long friends; to be a part of something; to travel the world; to never feel like I'm going to work even though I could have a full day of teaching, followed by a business meeting, followed by a trip to the theatre, followed by planning. It's allowed me to own my own business; to buy a house; and to achieve and excel in a way I would never have been able to academically.

In a classroom situation refection in action is most usual however below are some examples of reflection on action:

I pride myself on never letting something cross over into the next class. For example not allowing one classes behaviour to affect my behaviour with the following class. 

I also pride myself on my fairness. If, on reflection, I think I have been too harsh the previous week, I will apologise to the class and not just ignore it.

I expect the same high standards of myself as I expect from the children. If I have delivered a bad class/got results I am not happy with I do not just right it off and let it go, I look at why it went wrong and what I could do to improve upon subsequent lessons just as I would expect the children to in their practice.

In addition, I am never happy sitting still, always looking for ways to better and/or challenge myself. I am continuously thinking about CPD and what/where I would like to go next with my work. What will be beneficial all round. I have also always been supportive of my colleagues and contemporaries helping them in anyway I can.

I don't think you could be involved with something like dance without a genuine love. You certainly couldn't maintain a career. It is not a career of financial reward. All of my colleagues and contemporaries within the industry are admirable for many reasons. Some are just setting out on their own adventures and starting their own businesses, some are striving for better and not settling for what they've already had, some are furthering their qualifications and some continue to build upon the success they have had for years – none of them are happy sitting still in their profession.

Some people I admire hugely are:

The Principal of my vocational college. The woman amazes me. She finds time for everyone, is incredibly nurturing, and will help in whatever way she can. I have also never heard her raise her voice in 12 years. I could never have achieved what I have without her love, support and expertise. She is an example of how dance takes over your life, with little to no financial reward. She has sacrificed everything for her school. We have very different teaching styles, but I aspire to be as good as her.

A male friend who is the most gorgeous dancer I know. He worked on Cruise Ships for 8 years and is now trying to break into the West End. It is heartbreaking watching him get to the final of every audition just to lose out to someone else. He could easily take another job, but he has decided this is what he wants. His dedication and perseverance is admirable. I am incredibly proud of the him and the way he has chosen to follow his dream and he has helped me to realise mine.

A female friend who moved her life to another part of the UK, has found work as a dance teacher within an established school and set up her own school. She entered the complete unknown and gave up a good teaching job in a well established school for this. I think she was incredibly brave.

A teacher and friend of mine who truly believes in herself. She always seems so confident in everything. She undertakes a lot of CPD but doesn't feel the need to rise through the ranks in the qualification system within an awarding body any further than she already is. She knows what she stands for.

The Principal of my current school knows what she wants, what her school stands for and where she's taking it.  To her, it is not a business.  She will not be swayed by the parents or buckle under customer pressure.  She is strong in her beliefs and clear on her visions and if we are not the school for a certain child then "that's okay".  In addition she has set up this programme in a foreign county, having to abide by rules and regulations that are alien to her, dealing in a language she cannot speak.  I think she is incredibly courageous. 

All of these people have attributes that I admire, and have found strength to follow their dreams. Seeing their strength and struggles has allowed me to evaluate where I am in my development and where I want to be. They have given me strength and belief. 

Ideas and enthusiasm – Task 2d (fourth instalment of task)

Task 2d seemed huge to me and once I started writing I did not stop.  As a result I have made the decision to post the answers to the questions posed in the task in instalments in the hope they will be more manageable to all.  In each post I will specify the question(s) tackled.

• What ideas do you think about?
  
• What in your daily practice get you really enthusiastic to find out more about?
  
• Who do you admire who also works with what makes you enthusiastic?
  

The thought of being able to help someone make a difference pulls me into work every day. I enjoy being part of that breakthrough. Helping students find their strengths and weaknesses and discovering ways we can work together to achieve their potential. A massive part of this is getting the students, irrespective of age, to own their own bodies and therefore own their work, taking responsibility for their own individual learning. Gardiner's 'multiple ways of inteligence' comes into play here: As a teacher it is important that you are aware of the different types of intelligence, and are able to note when a student is on their way to ownership and give the appropriate cue to them as individuals to consolidate their learning and ownership. For example, should I tell them to move their leg? Or should I move it for them? Do they need both?


The students that I have at the moment are particularly daring and willing to try anything. This makes choreography so much fun. I really enjoy giving them new lifts, or jumps to attempt and this keeps me constantly thinking. I am looking at getting a Tumbling Coach for our Troupe girls to push them and expand both mine and their skill sets. I'm really excited at the prospect of working with the Coach and seeing what they are able to offer and we are able to create.


I am particularly interested in strength and flexibility: This is potentially because flexibility is something I have always struggled with, but also because it adds to the aesthetics of every line but is useless without its partner, strength.


At some point last year I came across Deborah Vogel's work and through this discovered Lisa Howell. Both woman are dance specific therapists and have a wealth of knowledge and ideas on issues surrounding flexibility and how it can be improved, although they do not always agree with each others ideas as is evident the podcasts they broadcast.


Last year I was training harder than I had in years and was making next to no progress with my flexibility and was really aware that my student's weren't either. I think a large proportion of this was down to their lack of commitment outside of class. However around the same time as discovering these woman's work, I also took up Bikram Yoga. I was intrigued by Bikram Yoga. I found many of the exercises went against my idea of safe practice and at times the heat was unbearable. I cannot, however, deny the results. It definitely helped my hips to 'open up'. Was this the heat? The relaxation? Or the exercises? Mr Bikram could be onto something.


Initially Vogel, but more recently Howell and a friend qualified in Level 4 Sports Massage introduced me to Myofascial Release and the importance of massage and how if you weren't able to see a practitioner you could achieve good results by yourself with the use of foam rollers, and various sized balls. The results were amazing for me, and I was keen to try this out on my students.


Many of my teachers have spoken about 'muscle length' over the years, and have passed my flexibility off as me just having short muscles. Indeed one of my past teachers had such limited flexibility she cannot work at 90 degrees, not that she has allowed this to hinder her career in anyway. I now believe that short muscles do not exist, instead the muscle is held in a contracted position by the brain. This may initially have been to protect the muscle from injury, but has now become habit. The key to flexibility is to undo these habits.


Since discovering all of the above I have incorporated a lot of the exercises from Yoga and Howell's Front Splits Fast programme into my classes. from Back in the UK we achieved some immediate results. Since being in China the results have not been so clear, however this could be down to the differences in anatomical make up. Even here, the differences between the flexibility of Asian and Western students is evident. I have many combinations, some students are flexible with no strength, some strong with no flexibility, some have both – what can I do for these students? Is there such a thing as too flexible?


Floor barre is something I have recently started using with the students in the hope of building strength with good results, and I look forward to having time to research this further.


Below are some additional ideas that I think about:

• What I can do to push the students further.
  
• How can I help them to break through the next barrier.
  
• What else do they need. Can I provide it, or do I need to source an additional coach or ask for help.
  
• What do they need individually.
  
• How can flexibility be improved. What if they are already very flexible?
  
• Does trigger point therapy work. How beneficial is massage, or self massage?
  
• How do strength and flexibility go together? Is there any use in one without the other.
  
• What are common faults of dancers? At what ages? How can these be fixed?
  
• Where are dancers weak? Is this a weakness across an age group? the world?  
  

Task 2d - Gaining understanding (third instalment of task)

Task 2d seemed huge to me and once I started writing I did not stop.  As a result I have made the decision to post the answers to the questions posed in the task in instalments in the hope they will be more manageable to all.  In each post I will specify the question(s) tackled.

Questions I will attempt to answer in this blog:

• What do you feel you don't understand?
  
  
• Who do you admire who does seem to understand it or who has found a way of making you understanding it interesting or beautiful or has asked the same questions as you?

I have previously blogged about various things I don't understand. Some additional things I don't understand, which could be possible further lines of inquiry related to my understanding, or lack of it are:

• Are turns luck or technique?
  
• Why doesn't your body always do what you want it to?
  
• Anatomy beyond the norm (the hip bone's connected to the...)
  
• How can you excel in one genre, and fail in another?
  
• Why some students just don't 'get it'

I was a late starter in the dance world taking up Modern and Tap at the age of 11 and Ballet and Jazz at 13. However this didn't stop me excelling as I had a wonderful teacher who gave me a secure foundation in dance.  Despite throughout my formative years and as a student being a strong all-rounder with equal results in all genres Ballet is a discipline I chose not to major in many years ago, and although qualified teach minimal lessons instead choosing the Tap and Jazz (Modern) route. As a genre Ballet continues to intrigue me as it is where I feel the greatest deficit in my general dance knowledge lays. I question both myself and my ability a lot. 


During last academic year I decided it would be beneficial for me to attend regular classes and lectures in all disciplines and in addition I took a Ballet course during the summer to try and deepen my knowledge of the subject. During this time I was fortunate enough to work with some great professionals and gained a lot of knowledge, but there is so much still to learn. Some teachers that standout from last years experience are:


Jayne Cooper. Jayne is a DDI/DDE coach and inactive examiner for the ISTD. She also holds her Fellowship with the ISTD, trained at Elmhurst and is currently a JA coach for The Royal Ballet School's Associate Programme. Jayne's knowledge on the teaching of ballet is incredible, she is a wonderful dancer and I could listen to her talk for hours. I undertook my DDE training with Jayne, and therefore spent a lot of time in lectures. Some of my favourite lectures with Jayne were:

• Turns are technique
  
• Hitting highlights
  
• Getting ready for pointe work
  
• Training outside of the syllabus
  
• Training turnout
  
  

I admire Jayne's confidence in her work, and the extent of her knowledge. She helped to highlight and fill some huge gaps in my knowledge.  Jayne's lessons were mentally exhausting, but incredibly rewarding. 


Amanda Frescura. Amanda has lectured in anatomy and physiology, is qualified to teach Pilates and Ballet (L.I.S.T.D) with the ISTD and trained at The Royal Ballet. Lessons with Amanda were more practical based than Jayne's lessons and we were given a many corrections to take on board and maintain. I found Amanda's lessons difficult yet took away a lot of knowledge from these classes which I use everyday in my own practice. Amanda explained that there were just certain things my limited facility (which I think I have developed through lack of use over the years) in Ballet wouldn't let me do, and ballet at Advanced level was always going to be a struggle. She pulled me up on a lot of faults I had developed over the years and helped to enhance my knowledge of:

• Execution of movement
  
• Vocabulary
  
• Kinaesthetic awareness/proprioception
  
• Co-ordination of ports de bras

I think I have professional respect for Amanda, rather than admiration. She has achieved a lot, and very well. Personally, Amanda did not inspire me to dance or reignite my love for Ballet, instead giving me valuable additional tools and skills to transfer into my everyday teaching practice.


Kathy Plaster allowed me to dance, without judgement, and I have always said she could teach me to count peas and I would enjoy it. I love everything about her lessons. I felt that my personal development as a dancer was best when I was with Kathy. She allowed me to put into practice, without fear, what I had learned in other classes. Kathy has also been my main mentor in my advanced dance and higher level teaching qualifications in Modern and Tap, both genres in which I have excelled. There are so many reasons why I admire Kathy:

• She is my oracle
  
• She has given her life to her school/college
  
• She is a great teacher
  
• She has extensive knowledge on dance
  
• She believes in people

Whilst studying I discovered that my anatomical knowledge is lacking, past the basics required for the job. I was desperate to find reasons as to why I was no longer able to execute my ballet in the way I previously had as a student. One obvious answer is maybe I was never as good as I thought I was. Whilst trying to improve my turnout and general hip mobility and flexibility I had a conversation with a friend, who happens to be a personal trainer, about the bone on the inside of my thigh between my groin and my inner thigh and how I was was stopping me getting any further in the box splits. There is, of course, no bone there. I just have what we as dancers would call tight muscles. Between Lisa Howell and Adrian Pell I have gained a greater understanding of both anatomy and flexibility and how knowledge, correct training, massage and yoga can fix pretty much anything. I find this all fascinating and would love to look into this further, along with how different countries look at the training of strength and flexibly within the industry (not Ballet specifically), how they help their dancers to achieve in this area, what is proven to work and how strength and flexibility go hand in hand.


Something I have particularly struggled with in my training as a Ballet teacher is asking the pianist for specific music. Having been fortunate enough to have a pianist during both my initial and further training and having worked with a pianist for many years in the early stages of my career I am good with the classroom management of using a pianist, and am able to sing what I require whilst marking it through so the pianist understands. Having studied both the flute and piano in my youth, and having an A level in music I also understand time signatures but am unable to ask for, say, a Polonaise, and count it. However this experience was not as broad as the teaching qualification required and this aspect was setting me back in my training – I needed to be able to state the specific rhythm I wanted.


During the Ballet course this summer we were fortunate enough to have the opportunity to work with a very experienced ballet pianist. Kate (I am currently unsure of her surname) was fantastic in her explanations, and was able to provide immediate examples of how a particular rhythm sounded. She understood dance far more than I understood music and immediately knew whether something would work on a certain rhythm. This really was an unmeasurable experience.


In my experience there are also things you once understood but loose along the way. The importance of posture is something that I have always known and always taught and referenced in class. However during my Licentiate examination the examiner said to me “that child will never get an 'A' with posture like that” I was devastated as the examiner had no idea how far this child had come in a year, or how hard she had worked. The girl in question has a very difficult body and had done so well to get to where she was. This made me think about whether I had worked hard enough on posture in general over the years? Did I fully understand its value to movement? I thought I did. It is interesting that the school I am currently working at talks almost non-stop about posture. Am I noticing this because of the criticism? Or is higher emphasis placed on it here? It is certainly something I took on board.


I often struggle understand why a child can't achieve something which I might consider basic at that level. I have enough experience to know what is and is not achievable for an age group and to have a variety of ways to help different learners. I also know my students well enough to understand their limitations and capabilities. But sometimes you have a child who just can't get something. There are also times when things just look strange and I can't work out why, or think of a way to correct them.


I once read on twitter, under the @LaineTheatreArt hashtag #BabsQuotes with reference to Barbra Evans F.I.S.T.D “I don't know why but you just look weird, sort it out” And thought to myself, I don't know how many times I have thought this whilst teaching. Barbra Evans is an incredibly well respected teacher at one of the UKs leading dance colleges. She is also holds the Fellowship qualification (highest teaching qualification available) with the ISTD. I obviously don't know if this quote is factual and have never met the lady, but it makes me feel so much better that a teacher at this level working with some of the most talented students in the UK doesn't know what to do on occasion and allows me to understand and accept that I don't need to have all the answers.

Task 2d – Ethical Code of Practice (second instalment of task)

Task 2d seemed huge to me and once I started writing I did not stop.  As a result I have made the decision to post the answers to the questions posed in the task in instalments in the hope they will be more manageable to all.  In each post I will specify the question(s) tackled.

In the section below I have looked at the questions referring to my Ethical Code of Practice.

According to www.businessdictionary.com an ethical code of practice is “A written set of guidelines issued by an organisation to its workers and management to help them conduct their actions in accordance with its primary values and ethical standards” However for the purposes of the BAPP we are talking about the personal reflection of ones own Professional Practice.

The questions I am going to attempt to answer in this blog are:

• Do you see practice that makes you question your ethical code of practice or your personal sense of relatively appropriate behaviour?

• To what extent are disciplinary responses different to that you might expect more generally in society?

• How do you decide on the appropriate ethical response in a given situation?

Gone are the days, in my experience, that the Ballet mistress throws items across the room or hits someone with a stick. However dance remains a discipline as well as an art and a classroom requires rules and boundaries. The practice of dance and its teaching have always been very hands on despite the level you are working at. I believe there to be a distinct difference between discipline and physical contact with the fusion and confusion of both being categorically unethical in any situation. That is not to say that discipline does not rule in a dance studio environment, that there is no physical contact or that they are not used concurrently, but that it should not be used as, and is not, one and the same thing.

Whilst undertaking work at other schools, I have in the past seen behaviour that I might consider detrimental to businesses, although not necessarily questionable towards the children. Having noted this behaviour and its potential perception by others, I've passed comment privately to the principal for them to deal with as they see fit. For example, people smoking in view of the entrance to the studio, the body language of staff sitting around in public areas and the tone in which colleagues are over heard addressing each other, and at times, the subject or content of their conversations.

As a business owner in the UK I had very clear policies on behaviour and discipline for both staff and students and in addition ensured every parent signed an enrolment form before their child joined the school. This form contained a section regarding expectations and personal contact ensuring everyone was clear about the practice of the latter and the reasons behind why it was not just necessary but essential in the studio environment. I personally have never had any situations arising from physical contact with a student, but I know of teachers who have, and it has affected their confidence. Physical content within dance is a necessity.

Within my classroom, in the speed of the moment but very definitely not in the heat of the moment I often move children around by their arm if they are in the wrong place, turn them by their head if they are facing the wrong direction (I have been told that 'you must not move a student by their bun' or similar is in the RAD code of conduct), give them a gentle push in the direction that I wish them to travel in if they are not moving fast enough/travelling enough or physically save them from the path of danger by various means, but I do not consider this ethically questionable. In these instances the children can see in my body language, facial expressions and if I am talking can hear my tone. Usually this will happen if they have not fully understood a vocal instruction or physical demonstration. They know there is no malice in what I am doing, Would I do most of this to someone in the street? No. I'd have no need. They are not under my direction or creative control and their safety is not my responsibility.

As a 'student' partaking in CPD courses I would fully expect to be poked and prodded and maybe even lightly slapped by the director of that course, in an appropriate situation. That is not to say I believe it to be ethically correct but it is accepted and it would never occur to me to complain or question it. I put my trust in my tutors the way others put their trust in me.

The major difference that springs to mind regarding discipline within the dance world and the outside work is the almost constant negative comments regarding someone's work, regardless of the level at which they are studying/performing. Students and professionals alike are often told that what they are doing is not good enough with one of the main reasons being because dance uses muscle memory meaning it is important to learn and execute correctly: time spent now is time saved later! I have been on both the receiving and giving end of this (sometimes hard, sometimes heartbreaking) criticism. This includes the need to comment on, for example, the aesthetics and employment of someones muscles, their subjects expression and the quality of their work. Students often see this as being 'told off' or 'picked on' and they would almost certainly consider it to be them being disciplined by authority as opposed to perceiving it as needing to be more disciplined within themselves and their own approach to their practice. One of my teachers always used to say “Practice doesn't make perfect, it makes permanent...Learn it once, learn it right”

As a member of an awarding body I am bound by their 'Code of Conduct'. Obviously this is down to interpretation but I believe myself to be a fair, honest and trustworthy person with good principles which I integrate into every aspect of my life. The ISTD's fundamental principles are:

• Integrity
• Objectivity
• Competency

I don't think I consciously consider the principles of the ISTD's Code of Conduct when responding to a situation; instead responding the way I believe best at the time based on the knowledge I have of the current situation and my previous knowledge and responses.

Reflecting on my general practice both within and outside my classroom; I have admitted for many years that my expectations of both the children and myself are high. At times I can be overly hard on my students and classes aren't always 'fun', although usually enjoyable. I don't consider 'fun' to be an important element of training past the initial stages of gaining a child's interest. I am quite 'old school' in the conduct of my lessons, if you questioned my students I think (or hope) they would say I am strict yet fair. I believe it works: The students keep returning, I continue to get results and the parents are all 'on side'. Everyone understands that everything I do is for the students development.

During a dance class due to the fast pace of the class, often I am reflecting in action with my response. If the situation is between two students and I have not seen what has happened I always enquire as to the circumstances, outcome usually being both parties apologising and everyone moving on swiftly so as not to dwell and maintain the pace of the class.

When speaking with parents outside of the classroom decisions are not necessarily as immediate as within the class given that we are usually one on one, I have more time to think about their concerns and I am able (time permitting) to structure my response, however I would consider this to be somewhere between reflecting in action and reflecting on action.

In an event that has not been brought to my attention during class (or I have not had time to deal with the parents concern at class) and instead has the situation has been brought to my attention in email format I am able to think more critically about the situation and reflect upon the facts I have been presented with allowing me to reflect on action. I personally feel I a give a better response to most situations outside of the classroom (good or bad) via email as I have had time to think the situation through from all angles before replying or offering suggestions.

One of the biggest difficulties, in my opinion, for any teacher is dealing with students that they just don't like, or that have been problematic for some time. For me, these children have been few and far between over the years but there have definitely been some memorable ones. I personally have never (knowingly) let on that I do not like a child. Conversely it is important that favourites are not shown – we all have personalities we are drawn too, dancers whose styles we like, students who just have the right body or students that are good but it remains important to ensure that each child feels valued and safe within the classroom environment. Valued and safe is not to be confused with unchallenged in any aspect.

For me, the greater questions here are: To what extent do expectations/standards differ within dance to those which might be demanded generally in society. How are these expectations perceived and met by those upon which they are imposed e.g Teachers, Students, Parents etc. And what are the ethical considerations surrounding these issues. 

Task 2d - General thoughts and themes so far (First instalment of task)

Task 2d seemed huge to me and once I started writing I did not stop.  As a result I have made the decision to post the answers to the questions posed in the task in instalments in the hope they will be more manageable to all.  In each post I will specify the question(s) tackled.

• What questions do you have?

The questions below have been formed by my thoughts during the last quarter, and many have been highlighted by my diary entries, some have already been answered, some are works in progress or on going questions and others are ideas I would like to pursue.  I arrived at these questions by using a series of 'spider diagrams' or 'mind maps': 

My General Approach

• Am I too hard on the kids/myself and are my expectations too great?
  
• Do I give enough/too much verbal instruction?
  
• Do I demonstrate enough/too much?
• Do I deal well with unexpected situations? How often do these arise?
• Am I prepared enough? How could I further prepare?
  
• Is my subject knowledge great enough? What CPD could I do?
  
• Is my knowledge of what is going on outside of my classroom i.e school policies, venue policies, show information good enough?

Music

• How did I go about choosing music for shows/class?  Is there a difference? What are my sources?
• Should I listened more carefully to the music I chose to be sure there are no count anomalies, inappropriate lyrics or other potential problems?
• With specific regard to show music, should I have made final edits before starting the choreography?
  
• Are there courses on Apps - for example Garage Band? Is my knowledge great enough on this area?

Choreography

• How did I choose the music? How have I chosen music previously?
  
• Where do ideas come from?
  
• Is it okay to watch YouTube etc to get ideas?
  
• What if your ideas don't work? - How late is too late to start again?

The Studio

• New venue: is it the right place for me?
  
• New ventures: am I brave enough?
  
• Communication: is it going to be a problem? 

Working life balance

• How much work am I doing outside of the classroom unrelated to my classes? eg, meetings, dinners, visits.
  
• How much work am I doing outside of the classroom related to my classes? eg choreography, music editing, planning.
  
• How is one effecting the other?
  
• How much additional time am I giving to the studio outside of the above? eg going in on my days off, taking on extra lessons.
• How much time do I spend trying to figure out ways of working technology? e.g. how to change the design on my blog, how to use 'tempo slow', which is the best device to use for which task.

Things I would like to introduce to the studio

• Current schedule: Re-jigging the timetable to add additional classes for the children e.g strengthening. Push children forward. Get children off the waiting list.
  
• Examination system: Can I get an examination system over here? Approach the ISTD
  
• How/Why would an examination system be beneficial?
  
• Where can I take the Jazz programme for competitions - Look into Asian competitions and their requirements
  
• When would all of this be feasible?

General questions

• Why are foreign students more flexible than those in the UK?
  
• What training systems are in place in other countries?
  
• What are they producing that the UK isn't?
  
• What is the UK producing that they aren't.
  
• What differences have I noticed between the Asian and Western dancer?
  
• Could I arrange a trip to America this summer to train/watch some classes there?
  
• Training: What CPD do I want to undertake this year/What qualifications do I want to work for? Is this honestly feasible?
  
• What summer schools should I send the students on? What is right for them?
• When will I stop feeling like I'm going to get found out?