Critical Reflection on Professional Practitioner Inquiry

Critical Reflection on Professional Practitioner Inquiry

Introduction

The process of learning about professional inquiry has been an interesting and informative one. Following on from Module 1, I felt more prepared to deal with the complexities of work-based learning and the feelings of uncertainty regarding clarity had significantly diminished primarily due to improved contact. However, the balancing of full time work and study continues to prove occasionally demanding.

Principles of Professional Inquiry

Exploring potential lines of inquiry and learning how to develop those lines has been challenging. Being interested in the relationship between strength and flexibility for some time, I knew this was an avenue I wanted to explore. However, choosing the capacity in which to do so has been a lengthy journey (Appendix 1). Following stilted interaction with my professional community, I was more informed about my initial ideas but still had no firm question in mind. I started to look at my capabilities and competencies to establish my current skill set (Appendix 2), leading me to analyse where I felt the current limitations of my students were and how an inquiry project that would influence my teaching could help them.

Finding literature to review when I was not fully decided on my specific area was difficult.

Due to limited resources and connections within the dance community in China and a language barrier, once I had decided on my topic, sourcing literature still proved challenging. However, valuable skills were gained, and I now intent utilise my time in the UK at the libraries resources of the RAD and ISTD.

Professional Ethics

My investigations highlighted a lack of governmental laws regulating dance teachers worldwide. Outside the qualification process there are no regulations, e.g. there is no dance equivalent to OFSTED. Codes of conduct are in place (Appendix 3), however there are no regulatory bodies to monitor adherence to these principles.

Although I would consider myself to have good ethics and morals, this process has allowed me to understand that ethics are dependent on the understanding of one's environment. I have found that ethics and morals widely vary due to many factors, most notably culture. What someone may find ethical and moral in the UK, doesn’t necessarily mean the same would apply in China, and vice versa (Appendix 4). This has been evident in my initial inquiry proposal. In addition Chinese laws are different to UK laws and establishing these has proved difficult. Working for a Chinese company I am not governed by UK law.

Tools of professional Inquiry

Understanding that I am using a qualitative approach has allowed me to identify and decide upon my required tools thus allowing me to further develop my skill set..

Following on from the interview method I used in reader 4 (Appendix 1), I decided to trial a face to face interview (Appendix 5). Whilst having its value and merits the transcription of the conversation was lengthy. In addition, but not directly related to this inquiry, I regularly use observation and reflection. This includes the use of video evidence and case notes within my role and find this incredibly useful for reflection and progress reflection both for myself and my students.

Conclusion

Despite the continued challenges and limitations related to studying from the PRC, I am in the fortunate position of working in an incredibly supportive environment from the school administration and the parents and do not underestimate the value in this, with regards to this project. Throughout this process I have established areas in which I can attempt to improve my interactions within my professional circle. Critically reflecting my chosen topic has given me a greater understanding of the subject area and an awareness of considerations for a professional inquiry. 

Task 6a - Informal Interview

Task 6a

Below is the transcript from an informal interview I conducted with the principle of my dance studio.  Following on from my previous engagement with my professional network (during reader 4) I found this to be a much more effective tool. Face to face conversation threads can be explored in real time as opposed to the stilted engagement in conversation email provides. I understand that this might not always be possible in my situation but should interviewing in person (or via skype/phone) be a possibility this is the avenue I would wish to take. 

Question 1.

Interviewer: What in your opinion, from your own observations are the restrictions in gaining extension devant, and what are the common faults?

Interviewee: Let me read it as well. Ok, What in your opinion, from your own observations are the restrictions in gaining extension devant? Errm, ok, restrictions in gaining extension devant, err, tight hamstrings, tight lower back, errm, misunderstanding of which muscle groups to be using, errm as in the, like we've discussed …

Interviewer: (Interruption) Use their quad, their over, their bottom.

Interviewee: (Continued) … They'd rather use their quad, but that can only maximum get you to 90. It cant pull you over because its not an adductor. Errm, and then it also depended in the understanding, of what, of which muscle groups to be, where its coming from, develop devant if it’s in retire you’re engaging your quads to put it in the retire but its the understanding and the ability to then swap the muscle groups in order to then extend it devant.

Interviewer: Ok.

Interviewee: I haven’t finished (Laughs)

Interviewer: (Laughs)

Interviewee: And then, errm, also the, the understanding of, err, how, of the anatomy of the hip joint, as it hits a certain degree, they have to use a degree of turn out in order to continue gaining the extension up. Its just understanding.

Interviewer: Its just understanding? So do you think there is a errm, a direct relationship between flexibility and strength, in, within that situation for example have you errm, noticed any of your children are errm, strong but don't have the height of leg to give, or have the height but don't have the strength?

Interviewee: Yes, errm, most of our students are flexible but they have no strength because their muscles are overstretched and have never from a young age been trained to build up strength. But then we have other kids who are swimmers for example, who do have lots of muscle, you know some really tight quads errm, and they, their muscle is too tight to gain anything over 45 - 60. Errm, yeah.

Interviewer: (Whisper) Ill just check that recorded.

Question 2.

Interviewer: What in your opinion, for your, from your own observations, are the anatomical restrictions to an extension devant, and what are the variables of these?

Interviewee: Errm, anatomically, the construction of the hip joint, errm, there is a little extra bone on top of the, cant even think of what bone it is, thigh bone, errm, and if thats in the wrong angle, as in if its too far devant and its nor derriere enough, or even the angle that its slightly pulled in, its gonna automatically connect with the hip and therefore…

Interviewer: (Interruption) So, err, the, like, anterior, or whatever it is, like the way the pelvis tilts as well?

Interviewee: Yep, and err yeah, the, the alignment of the pelvis, the natural alignment of the pelvis, errm, but also the tightness in any lower back, if you've got a slight, if you've got a flat lower back you've have nothing, doesn't matter how hard you try. Errm, also if you're pelvis is tucked under naturally, you, and they, basically kids cant sit on their sitting bones, they have no extension devant.

Question 3.

Interviewer: Have you noticed any differences in strength or flexibility, between age, sex, body type or race.

Interviewee: Errm, ok, first one, the differences in age. Age, errm, generally when they are young, i mean if we are looking at ballet grades, grade 1, grade 2, they are, within our community, very, very flexible. Errm, but then i also think that that can coincide with race because we have got a lot of younger kids who are Asian genetically, they may have different passports but they are genetically Asian and they are flexible. But then, they are stretched at home on a regular basis, its just part of their goodnight/evening… 

Interviewer: (Interruption) What do you, what do you think, what do you think are the factors that make them more flexible than, than say westerners.

Interviewee: Errm, that it is part of a way of life here. Kids stretch everyday, its part of washing/cleaning and what have you. Errm, but also, i think that the fact that their achilles is so long that their, their, i find that the ligaments here, on an Asians, the ligaments and the tendons are much longer, but then, i mean look at our kids with errm, dislocation. We have a lot of kids who can dislocate their hips, dislocate their knees, because their ligaments, therefore…

Interviewer: (Interruption) Too, too loose?

Interviewee: (Continued) … yeah are too loose. Therefore to gain and extension devant, they’re actually slightly errm, dislocating, they pull it out of their hip socket slightly. Errm, whereas western children, the age. I mean some of our western kids even at a young age aren't as flexible as our asian children

Interviewer: So how do you, how do you think body type affects these things?

Interviewee: If you've got big hips, you're actually, it restricts you hugely, if you're pear shaped, you have, the, the, the, because you end up carrying so much extra weight around your hip joints, you cant, the, the, the, movement of the pelvis is automatically restricted. Errm, even if you're an apple, i think if you've got too much around your pelvis area or too much on your things, you, basically you cant move it.

Interviewer: And what about gender?

Interviewee: Boys are automatically tighter, especially in the groin area.

Interviewer: Why do you think that is?

Interviewee: Errm, but i, i think it comes down to genetics again. Like, i, i mean, the two boys we have it’s nothing to do with their lower back, because A’s back…

Interviewer: (Interruption) Back is great!

Interviewee: (Continued) … it’s amazing. His devant line sucks because he's got no hamstrings. Errm, but then it also could come down to the extra training that the boys do. For example, A’s in the gym, he runs a lot and i think that in doing that…

Interviewer: (Interruption) Tightening.

Interviewee: (Continued) … he's tightening up his hamstrings and his calfs. And that is hindering his extension devant. He's still got a fantastic arabesque for a boy, because he's got a great back. So i think that when you come to sex it is about the genetic differences. I mean our as females our pelvis is much more malleable than the boys, but i think its also the extra training, like we said he's running and everything is tightening up on him.

Interviewer: So have you found anything about…

(General conversation ends questioning).

Question 5.

Interviewer: How does the genre, genre ratio, and amount of hours affect your observations?

Interviewee: Say again?

Interviewer: How does the genre, genre ratio, and amount of hours affect your observations?

Interviewee: Ok, so, errm, lets go with genre first. Errm, i, you can tell the difference hugely, look at our school, i mean I'm not even looking at tap because there is no real extension to one in tap. Errm, but between basic child who will just do ballet, compared to a child who will just do jazz, errm, clearly the training that they are doing in jazz and the high intensity training, like kicks on the floor etc. and the fact they are throwing their legs with, with control but with much more attack. Errm, encourages the flexibility far more than Grande Battement deviant at the barre, where we don’t lay on the floor, and, so they can, up, the gravity is doing their posture so they can wham. They generally start for example grade 1. You don't encourage them to do anything above 45, and then suddenly within like 5 years you expect to up hit it. Whereas in Jazz when they are little, you've got them on the floor and you're encouraging them…

Interviewer: (Interruption) Yep

Interviewee: (Continued) … immediately to get their leg as high as possible. Errm, so i think like, basic jazz students versus that, thats the, Ballet is not encouraging anytime of extension devant, if anything it is hindering it because it is building up muscles to stop it…

Interviewer: (Interruption) And muscles in the wrong place as well…

Interviewee: (Interruption) Yep

Interviewer: (Continued) … by working at 45 degrees.

Interviewee: …exactly. Errm, and then we, it, but, you compare that to a child who does both Ballet and Jazz, i think if they are doing twice a week ballet, for example, once a week jazz, errm…

Interviewer: (Interruption) They are able to cross discipline?

Interviewee: They are but the teachers needs to do it for them.

Interviewer: Yeah, They, they, they cant make the connection…

Interviewee: (Interruption) Yeah.

Interviewer: (Continued) … you have to make the connection.

Interviewee: Yeah, errm, but i think definitely that those kids who do more jazz. Errm, so like the, the ratio is higher on the jazz side. For example C who does Troop, Jazz Combo, Jazz, versus her grade 4 ballet and once a week into foundation, so, she's literally doing more jazz than she is ballet, is far more, the high intensity …

Interviewer: (Interruption) Yep 

Interviewee: (Continued) … and the cardio vascular, like keeping up the stamina…

Interviewer: (Interruption) Yep

Interviewee: (Continued) … in order to maintain leg height, is far more productive than, like, 2 grade 4 classes a week and one into foundation class a week. 

Interviewer: So you feel that Jazz actually better allows a child to gain flexibility and strength.

Interviewee: Yep.

Interviewer: In terms of holding a position in …

Interviewee: (Interruption) Yeah definitely, definitely.

Interviewer: (Continued) … devant?

Question 6 - 7 - 8

Interviewer: How many dancers do you interact with on a regular basis and for how many contact hours?

Interviewee: 220 kids, 7 days a week. Errm, how many contact hours? It depends. Like i teach around 50 hours a week.

Interviewer: And what is your background?

Interviewee: Errm, I'm trained as a Ballet teacher. I did Jazz up to Advanced One as it’s now known. Tap. Im a RAD Ballet Teacher, licensee and BA Hon’s Degree.

Interviewer: And you did that at the RAD?

Interviewee: Yup, at the RAD full time.

Interviewer: And how long have you been practising?

Interviewee: Errm, i started teaching assisting when i was 16. Errm, and then i studied teaching individual classes when i was 17, turning 18, and im 29 now so…

Interviewer: And how long have you been practising in a similar environment to your current situation?

Interviewee: 8 years…… 8 years.

Continuation of Task 4 B/C

Having spoken with a large proportion of my sig, and following a conversation with Alan this week I feel closer to achieving the question that I want.  My current working idea is:

Exploring flexibility and strength of a dancer with particular reference to Asian and Western physiques and implications for dance teaching.

And any thoughts on this would be gratefully received. 

Initially I suggested looking at 'nature versus nurture' within this question as I have a variety of students some of whom are of Asian descent, some western and some of Asian origin but with western upbringings and therefore the nature versus nurture idea appealed to me as I considered it to be relevant to my current situation with my question posed as:

To what extent does nature versus nurture apply to the flexibility and strength of a dancer with particular reference to Asian and Western physiques.

Alan noted that using "nature versus nurture" sets up a dichotomy and also suggested I add an applied aspect and suggested"Implications for dance teaching"

I feel that this question has links to my previous first and second question. And below is a quick brainstorm of my thoughts:

Task 5b

What is a Code of Practice?

Below are three documents relating to ethics within my profession and my current role:

ISTD Code of Conduct

RAD Code of Profession Practice

Dance Studio Employee Code of Conduct

Having read the above policies and reflected on my personal ideas of professional ethics in task 5a I discovered my thinking is in line with what is required. I neglected to use the word 'confidentiality' in task 5a, however to me that along with many other points is part of professionalism. Other than that, I found very little that I had not thought about, the policies just expressed things in a different (and longer!) way.

As a dance teacher outside of Voc. School you are often the sole professional in charge of your students with little outside management or support despite your setting - for example the Principal also often holds a full teaching role. As a result of this, combined with my personality, I have found the above policies are natural practices for me however I do appreciate not everyone in society does have the same morals, ethics, or beliefs.

Two things that I don't think I touched upon, as I considered it a prerequisite for any job are:

• To be dressed appropriately - something which interestingly has made dance headlines this week.  

• Not to attend work under the influence of alcohol of drugs, or to smoke on the premises.  

I have asked my further professional circle for any documents they may have regarding the statutory ethical practices in China, however I do not envisage there being any differences

Task 4B/C, Question 7

What are the issues around working within a foreign environment: Even when there is no language barrier, is language still a problem and do cultural differences have an effect on this?  

Teacher 1

You should know this better than anyone now you're in Beijing!!!

Teacher 2
No response

Teacher 3
Obviously iv had no experience of this but yes I think that a language barrier could cause big problems when trying to tell students how u want something to look or feel. Demonstration helps a great deal but I feel u need to understand your teacher

Teacher 4
Yes. For a Chinese to travel and train in an non-vocational school in UK may struggle with the lack of discipline. The Chinese parents may struggle with the red tape which hinders many teachers being the teacher they want to be. (This is a massive general point I have just made. I am simply generalising and know that there are many good schools in the UK. There are more fodder schools than product schools though.)

I think if both parties communicate in English, Language can still be a problem as phrases, or sarcasm can be misinterpreted. Mannerisms can be mis-understood.... even simple things like swearing in the UK are different words to the USA. You also have to be aware of the religious differences surrounding you and how this could be irritated by simply playing the wrong music or giving out Christmas candy in December.

BAPP Student
With regards to question 7 as long as you can count to 8 in that specific language you should be able to teach dance anywhere!! (joking) My good friend teaches in France regularly and never seems to have a problem and he doesn't know the language. I think confidence and preparation are key factors in teaching in various different cultures. Have you experienced difficulties before?

Task 4B/C Question 6

6: What are the benefits of the different schools of training used across the world and what are the results?  Is one producing a more rounded dancer than the others?

Teacher 1

Different training in what styles?  

Ballet - Russian training, Italian/french, british, danish, American - all worth looking at.

British from Ashton - British style, very precise technique, developed slowly through careful training.

Whereas Russian - teach tricks and turns etc first and technique develops with the trick.  Little children do things very early.

Danish - Bournonville influence - strong male dancer, elevation.

Some schools not so exam based.  More competitive within training.  Some pulled out because of their physique and developed in a career from young age.

Teacher 2
No response

Teacher 3
I think that all depends on the student themselves, obviously if u train 5/6 days a week your gonna be better and achieve more therefore increasing standards of the school

Teacher 4
I think it depends on the student and their needs. I think this related to your first question on generic weaknesses and really connects with genetics. Americans create very athletic dancers, however, with a body type that has the wrong musicle fibres this type of training is lost. The americans work very well with Asian body type!!
Russians, personally, create very weak dancers who have fabulous pyrotechnics but no quality of movement or true line. They are over stretched and have no control in their movements- leg lowerings, hight of jumps.

Feedback from Tutor 

...This one is far harder to answer:

 What are the benefits of the different schools of training used across the world and what are the results?  Is one producing a more rounded dancer than the others?

This is far harder to answer because the question sets out a some difficult preconceptions: that there is such a thing as a ‘more rounded dancer’ ... that a ‘more rounded dancer’ is better than some other type of dancer, that schools of training are the only thing to effect this … etc. This question implies strongly that there is a correlation between cause (schooling) and effect (result = rounded or non-rounded dancer). This is a difficult question to answer because it is laden with preconceptions that get in the way.

This type of question could be better tackled by thinking in terms of where the insights lay, e.g.:

What qualities do established professional contemporary dance practitioners attribute specifically to their training, experiential and other factors?

This type of question does not imply that ‘specific type of training = rounded dancers (as something of value) rather seeks to understand how different qualities of their experiences and how the dancers feel this links to their capabilities.

Task 4 B/C Question 5

What effect would the implementation of an examination system and/or participation in the competition circuit have on the studio?

Teacher 1

For - Implementation of an examination system to a certain degree would standardise the teaching methods and what is being taught throughout the school, would give a fixed aim to the class, targets to aim towards, ensures that all teachers are following a tried and tested route and that children achieve recognised accredited qualifications.

Against - You would need to ensure that teachers use syllabus well and as a means to an end and that not the entire lesson revolves around it otherwise fun and creative side could be lost.

For - competition circuit could help to higher standards, motivate and challenge children to reach higher levels, promote name of school, develope teamship within school.  Competitions can be good for building confidence and getting used to dealing with winning/losing.  BUT as they do in schools could in some children have bad effect which is why they no longer have placings on sports day etc.

Against - Could be costly, would not necessarily involve all students causing unrest and favouritism/discrimination issues within school.

Teacher 2
No Response


Teacher 3
Personally I think it's makes the kids work harder knowing that they are achieving a grade/exam or medal. Makes them see that hard work pays off... Also, nowadays they take certificates in to school assembly's so that's an incentive too. I only enter a few kids in to the festival so maybe schools who enter loads may notice a difference in people being bitchy or spiteful

Teacher 4

• Seeing the standard of dance outside of your own studio can either encourage a change of work ethic and inspire children to commit harder, or quit all together.
• To have outsiders praise and acknowledge the students through exams or competitions helps the children with pride and self satisfaction. It allows teachers to gauge where students truly are levelled.
• When working in smaller communities where good dance is not as easily accessible as say London, competitions and exams can help encourage students to focus and be inspired to aim higher.