Informed consent

Informed consent will be my one of my initial concerns as regards to ensuring all ethical basis are covered. I will gather consent from all participants before they take any part in the inquiry. This will ensure they know and fully understand exactly what the inquiry involves, any potential risks and there exact involvement before they agree to take part.
I will use an Information Sheet to provide my potential participants with information about the inquiry. This will include such information as...

• My name, university & Inquiry concept.
• Why I would like the particular participant/school to be involved.
• Ensure they are aware that even if they agree to take part, they can change their mind at any time, without giving an explanation.
• Inform that the inquiry will primarily be observation based and what the observation will involve.
• Explanation on how the information will be used, stored and kept confidential.

 

 

 

 

 

 

Ethical Considerations

Safeguarding procedures, CRB, Codes of conduct all common place in an educational environment or in any environment involving children for that matter. 
Working with Children on a daily basis has given me a detailed insight into many ethical issues which have to be taken into consideration. As I am looking to base my inquiry within an Educational setting much of my research will take place in such an environment therefore there are many procedures which must be considered and be at the forefront of my inquiry including;

• Correct & current permissions - Permission must be granted from both parents and teachers to include any photographic evidence or comments involving particular children and all faces visible must be depicted. Names of Schools or Children/Teachers will not be referenced unless such permission has been granted and the correct referencing applied.
• Data collection - Any Data and relevant information collated will be kept and seen only by myself and used solely for the inquiry.
• CRB - A current Enhanced CRB must be to hand at all times when in an educational environment to ensure current government standards are upheld.
•  Professional conduct - To uphold professional standards at all times, ensuring work areas are safe and are a space of positive learning. Ensure particular schools behaviour strategies are enforced and maintained and my inquiry and research dose not disrupt students and their learning.
• Duty of care/ safeguarding - to ensure any behaviours, altercations or allegations I believe to be harmful towards a Child are reported to a safeguarding personal immediately.
• To enter my Inquiry with no prejudice or prejudgements as to ensure a fair and unbiased result.

The Importance of Dance within Education

Is there a need for dance within the national curriculum?

A question I believe needs a firm answer of YES!

Just today I had a discussion with a Deputy Head who observed one of my lessons with a year 4 class. She expressed how she could see how beneficial Dance could be in aiding coordination, which not only helps with balance and physical movement but it crosses over into other subjects aiding Handwriting and presentation skills. This is just one of many reason why Dance can play a key part in the development of  a chid through education.

I decided to look for study's or pieces of research on the relevance Of Dance within the Education system as I feel this could be a great way to include many of my questions under one inquiry topic. I stumbled across a piece published in 1992 by Lynnette Young Overby ERIC Clearinghouse on Teacher Education Washington DC (http://www.vtaide.com/png/ERIC/Dance-in-Ed.htm) The research displays current (1992) percentages of participation, curriculum objectives and identifies barriers towards dance the schools may face.

 

''Dance is usually taught as a part of the physical education curriculum. In a survey of 31 state departments of education, 89% of elementary school dance was taught by physical educators (DeBryn, 1988). Secondary dance programs have been described as "understaffed, underfinanced, and unapplauded" (Posey, 1988). A recent nationwide survey of secondary schools found (a) the majority of dance classes are taught in physical education departments, and (b) the styles of dance most frequently offered are aerobic (45%), folk (11%), ballet (9%), social (8%), and creative or ethnic (7%) (Pappalardo, 1990).

At least 15 states have developed dance curriculum guidelines, including California, Florida, Georgia, Idaho, Illinois, Indiana, Michigan, Minnesota, Ohio, North Carolina, North Dakota, South Carolina, Texas, Utah, and Wisconsin (Hilsendager, 1990). Except for North Carolina, however, no states have mandates that the guidelines be implemented (Gingrasso & Stinson, 1989).

Many of the curriculum guides contain specific content, goals, objectives, and limited measurable outcomes for such areas as:

* Dance techniques for social, modern, and ethnic dance;

* Aesthetic perception;

* Kinesthetic sense;

* Creative expression;

* Choreography

Dance elements can also be integrated into other subject areas, which may increase the likelihood of dance being included in the school curriculum (Burke-Walker, 1989). Hanna (1992) provides an example of a physics class in which principles of momentum, force, velocity, and energy are applied to dance to improve dance performance. Franke (1989) identifies connections between writing, tennis, and dance.''

 

Another study Dance Education in Elementary Schools by Liora Bresler, an assistant professor in curriculum instruction at the University of Illinois 1987 to 1990, demonstrates issues still very much relevant today as regards to the fears general teaching professionals have when it comes to teaching dance...lack of subject knowledge, resources and advice.

 

''Not only did teachers have no knowledge base in dance or dance education, there was a lack of resources to help them become more knowledgeable. There were few dance education resources. And there seemed to be no vision of what a dance curriculum could be. The general sympathy that some teachers shared for dance was hard to translate into curricular activities and lesson units. The task of curriculum development in dance is compounded by its lack both of tradition and of availability of materials. Formal materials are rare. Videotapes or books that support learning objectives in dance are not easily accessible to teachers. Unlike the disciplines of music and visual arts education where there are textbooks, detailed methods, and lists of objectives, dance has few resources for curriculum planning. In the schools I studied, when it came to evaluation of student dance work, teachers had no preparation and no expertise to make artistic judgments. In this vicious cycle, there are few programs and resources from which to draw, few job opportunities, few materials designed for experts, and few professional organizations. These problems interact with the lack of budget, time, and priorities within the schools, mutually shaping each other.''

 

When looking over study's and research I found few published within the last 10 years with specification on the importance of Dance within Education, I found many articles and opinion blogs on the subject but little factual research. I also felt many of the study's I did come across had been developed in the States as apposed to the UK ...I feel this could be a good direction to head my inquiry.

Sources of Literature part 1

When research different sources of literature which could possibly help develop and expand my initial inquiry thoughts my first port of call was to look at the syllabus first from a dance organisation  and secondly from a educational curriculum view as I though this could open up other possible though paths involving the syllabuses development over a number of years, interpretation and its effectiveness. Although I found a few general discussion forums/blogs etc. on the topic I couldn't find quite what I was looking for I therefore turned my attention to specific questions I had already developed to see if theses could lead me to a new line of thought of development. One of the questions that had popped up on a number of occasions during conversations with fellow teachers was the affect assessment and/or exams can have on a child...Are they a good indication of ability, how they affect a child's ability to progress, are they setting children up for a fall, or are they in fact they way in which we succeed? The article I found particularly interesting was not specific to Dance but around learning in general. I still feel it holds a great deal of substance and relevance me as I always look to educational styles of teaching to help develop my on styles and techniques. All teaching stems from a set goal in wanting the child to succeed. The article comments on the pressures of examinations and how ensuring confidence is installed in every child is key. 

The source was located from the Thinking inclusion  IQM Blog -  Inclusion Quality Mark Ltd (IQM) was established in the U.K in October 2004 with the objective of supporting both state and independent schools to become truly inclusive. The particular entry was posted by 'Chris' On June 1st 2014 http://www.inclusionmark.co.uk/blog/index.php/examination-or-assessment/
 
One particular point I found very relevant was a comment made on a child having the feeling of failure and feeling inferior. Undoubtable at some point or another there will be a child who lacks self confidence and self worth, as a teacher it is our responsibility to ensure this happens as little as possible. Within many teaching spaces words such as fail, lose, cant and failure are forbidden but is the fact that in place to learn we must fail in order to succeed? Is this not what a learning journey is all about? However the point of reinforce positive praise to motivate learning, not setting a child up to fail are also key elements a successful teacher must endeavour to achieve.
 
''In every classroom there is likely to be a group of children who feel inferior to their classmates, with some actively articulating their difficulty in learning. I can’t…. draw, dance, remember, calculate…I’m not as good as…..  Life is full of pitfalls and the ability to face these is often the real test. Schools should be places where learners can seek solutions with active guidance and support as needed. Is failing as good for the soul as some would make out? Or, on learning situations, should areas for development be the mantra?
 
Pass/fail; win/lose; good/bad; yes/no; success/failure; can/can’t.
 
If we allow regular, polarised usage of such words to colour and determine education, what is the subsequent impact on the learning journeys of young people?''
 
The above point emphasises why everyone teaches in a different way, although we many attempt to follow certain criteria and take on board advised teaching styles we all in fact find our own way and one which works for us and our children.

Although the article in the main is regarding Assessment and examination it touches on many different points as well which is why I really found it insightful and it gave my a whole new range of possible paths of enquiry. It lead me on to want to see if I could find an expert opinion on the role dance plays within the mainstream education system and how they themselves overcome some of the hurdles mentioned above.

 

'Here's the real reason you didnt get called to audition'

When researching different avenues of literature I stumbled across this fantastic article 'Here's the real reason your didn't get called to audition' written by Phil Willmott, published in the stage. Phill willmott is an award winning director, playwright and arts journalist. The article gives a fantastic insight into the process directors go through during a casting process and how at times it can literally come down to your CV's position in a pile and if luck is on your side!

Below is a particularly interesting extract and I have added the link if anyone would like to read further.

'I was still left with 100 or so more people than I could practically audition, who all looked right and were qualified.
I’m not proud of what I did next
I looked over the list again (and again, and again) last week to weed out a few based on considered judgement but that was barely making a dent so I did something I’m not proud of. I prioritised submission from agents I know and trust and deselected those from agents I’d never heard of. I make sure there’s a contingent in my selection to see who haven’t got agents because on the fringe I want to give those people a chance.'
'I was still about 50 people over so – and this is horrible and unfair – I next cut every third person.
All this is to point out that selection really can be that cruel and arbitrary. I hope that’s some kind of comfort if you are wondering what’s wrong with your CV or picture.
You might not have got the job because you don’t look right or haven’t got appropriate experience. You might have an agent who doesn’t know the right people for that job, or just isn’t very good. But equally, it might just be that luck wasn’t on your side that day.'

http://www.thestage.co.uk/people/analysis-opinion/2014/11/real-reason-not-called-audition/

 

Social community - 'Special Interest Group'

My Social Community-
 
Teaching Professionals within the Arts.
 
TPA community
 
Please join and get involved I would be very grateful for any input!

4A Professional Inquiry introduction

Wow after a good few months of very little academia getting back into all the reading and blogging is going to be a challenge...but here goes!!!

Contemplating starting  my professional inquiry filled me with dread and fear...thankfully after looking over reader 4 I feel slightly more at ease, as expressed by Judi Marshall Inquiry develops and works hand in hand with self-reflective practice and practice in action.

'Inquiry involves intent, a sense of purpose. This may be held tacitly.

There may be multiple intents, in accord or discord. Often intents

unfold, shift, clarify or become more complex. Working with this aspect

of inquiry is vital to self reflective practice.'

'I state overtly that an issue, event, theme, dilemma or whatever is an inquiry for me.
This is a deliberate means to keep my questioning open and to help it develop.'

 

Both practices are also vital to Work based learning introducing the many similarity's between WBL and Inquiry. Work based learning uses the workplace as a learning environment, encouraging learning to develop through working and the practices which take place on a daily basis. Similarly an inquiry can evolve from questions, situations and thoughts created by or from our workplace proving the key role Self - reflective practice and practice in action play in both.

 

Professional inquiry requires in-depth knowledge and examination into the key skills required to be a successful professional in your chosen field, in my opinion this can not truly be known unless you are within the profession its self. There is only so much information we can learn from books and second hand learning, the real learning begins when we are engrossed within it, finding out for ourselves and evolving to become the best we can possibly be. This being said each and every person is different and learns differently as previously looked at during earlier readers however I do feel this is greatly relevant to professions with a practical nature. No longer can it just be relied upon to look good on paper, experience is needed every step of the way. This is now much more widely seen as the best place to learn 'on the job', Emphasizing the importance and relevance of Work Based Learning.

 

 WORK

EXPERIENCE

QUESTIONS/EVOLVEMENT/SITUATIONS

QUEST FOR ANSWERS/

INVESTIGATION/INQUIRY

 

'Bell 2005' Defines research as ''seeking through methodical processes to add to one's own body of knowledge and, hopefully, to that of others, by the discovery of non-trivial facts and insights''

'Add to ones body' is a key point in this quote, we need an initial 'body', thought or question, which we can create from experience to build upon with research. The two go hand in hand with both initial developing and final lines of inquiry. We use both as an investigative tool for abstract ideas as well as 'case studies' helping us to gain insight from other professionals and organisations within our practice. Books, Journals, Blogs and the internet can all aid the research process providing invaluable knowledge not necessarily attainable through self experience.

 

All the above play key roles in the development and success of professional inquiry's

 

Reflecting on Module one and initial learnings from Module two I have created a number of questions which I am hoping may spark a starting point towards my inquiry, the questions still cover quite a varied range of topics at this point as I want to ensure I gain as much knowledge  as possible and keep my options open.

I have asked several fellow professionals to fill in and comment on the questions below...

 

 How do you believe your personal energy and mood affects others/pupils during class?

What do you believe to be the most effective way for your Children/ adults to learn within a weekly or one off class setting?

Do you feel exams and performance situations relate to a child's progress and development within dance?

Do you see a difference between children who participate in exams and performance situations and those who do not?

In your opinion what teaching styles/strategies help to guarantee the retainment of Choreography/information and a child's learning.

When delivering a one day dance workshop in a school environment who should be the main disciplinarian...the main school teacher or the visiting facilitator? Why?

Do you think dance plays an important role in mainstream education?

What are your feelings on the Primary and Secondary dance curriculums, are there any ways in which you think dance could be developed within the curriculum?

I will post the completed questionnaire in due course.

 



 



Module One Final Thoughts

Three words to Describe my experience to date...(HARD!)
Knowledgeable, Frustrating, Exciting

I have been fascinated by the amount of knowledge I have been able to develop over the past 3 Months, I have to admit at times I have felt quite swamped and overwhelmed by the commitment and focus required to really understand theories and get to grips with different concepts, but that has not damped my desire to know more and keep on top of tasks.

Module one topics give a great basis and introduction to really get the creative juices flowing, investigating web 2 based (task 1) concepts has opened my eyes to the vast array of programmes and how dependant on them our society has become. It has also given me the tools to delve deeper, looking at  human processes whilst using such programs and how this can develop key networks and connections (task 3). Thinkers such as Bourdieu, 1984 discuss how our thoughts and opinions are so heavily influenced by a 'social dominant' in a way we have lost some ability to think for ourselves and  in some situations devise our opinions on what others believe to be correct which coincides with other theorists such as Crotty, M 2005 who states we rely on the larger social processes to develop Networks, which includes our ability to influence and construct new thoughts and knowledge giving us the chance to reinvent 'reality' by individuals acting on their interpretations and knowledge.

Task 2 has made me realise how relevant the process of Reflection is to me and how I use it every single day without acknowledgement. Writing a reflective journal base on several different frameworks (Reid 1994, Jenny Moon, Williams & Cowley 2004) has been really useful in turning experiences into resources, I have been able to look back on previous days events learning, developing and improving from them. Through this process I have found questions and topics developing which I am intrigued to look into in more depth including;

• the significance of a disciplinarian and who takes on this role in certain situations?  
•   Which teaching styles and theories have the most success when applied in my practice, showing both development and may increase the children's learning?
• Children's ability to retain information/ choreography... any possible theories or styles which can encourage this to a better level?

I look forward to taking advantage of Module Two to develop these thoughts further  and see if they could be possible topics for my Personal Inquiry.

Ethical Considerations

Ethical Considerations of information spread through the Media need to be consider in all aspects.

• How accurate is the information?
• How reliable is the source?
• Has the Culture of sensationalising news and gossip become damaging?
• Should we be all more prudent and await a more fuller understanding of facts?  

Two cases which prove the above...

Lord McAlpine deformation case with Twitter and Facebook 2012. 
www.newstatesman.com/business/2012/11/lord-mcalpine-twitter-and-libel-law-facts
Individuals responded to an accidental leak of his name on Television, linking him to Paedophilia. He was quick to refute and proved innocent.  Damages where paid not only by the original leaked source but also by Facebook and Twitter uses who commented and joined in erroneously.

Ian Watkins (H from steps)  2014 www.bbc.co.uk/newsbeat/25144580
Steps singer Ian Watkins consulted Lawyers after his picture was wrongly published on E! Online in an article about convicted paedophile Lostprophets frontman Ian Watkins.

Both wrongly accused and branded due to incorrect sources of information.

3B Theories relating to Networking

There are various theories of how networks succeed which is discussed in two examples that I identify with, those of Connectivism (Siemens G 2004) and Social Constructionalism (Crotty, M 2005).

Connectivism
Referred to as a learning theory for a digital age, the theory seeks to explain complex learning in a rapidly changing social digital world. It states that learning occurs through connections within networks. The model uses the concept of a network with nodes and connections to define learning. Learners recognize and interpret patterns and are influenced by the diversity of networks, strength of ties and their context. Transfer occurs by connecting to and adding nodes and growing personal networks.  According to George Siemens (2004), "Connectivism is the integration of principles explored by chaos, network, and complexity and self-organization theories. Learning is a process that occurs within nebulous environments of shifting core elements – not entirely under the control of the individual. Learning (defined as actionable knowledge) can reside outside of ourselves (within an organization or a database), is focused on connecting specialized information sets, and the connections that enable us to learn more are more important than our current state of knowing. Connectivism is driven by the understanding that decisions are based on rapidly altering foundations. New information is continually being acquired. The ability to draw distinctions between important and unimportant information is vital. The ability to recognize when new information alters the landscape based on decisions made yesterday is also critical."

 Siemens and Downes have experimented with Open Courses and both stress the importance of more open education.

Siemen's Principles of connectivism:

• Learning and knowledge rests in diversity of opinions.
• Learning is a process of connecting specialized nodes or information sources.
• Learning may reside in non-human appliances.
• Capacity to know more is more critical than what is currently known
• Nurturing and maintaining connections is needed to facilitate continual learning.
• Ability to see connections between fields, ideas, and concepts is a core skill.
• Currency (accurate, up-to-date knowledge) is the intent of all connectivist learning activities.
• Decision-making is itself a learning process. Choosing what to learn and the meaning of incoming information is seen through the lens of a shifting reality. While there is a right answer now, it may be wrong tomorrow due to alterations in the information climate affecting the decision.

I find many of the above principles of the Connectivism theory relate directly to me personally. Even with regards to this course which relies on discussion through blogs, and the use of digital learning to inform my opinions and expand my knowledge. The digital age has opened a whole new concept to learn and develop, no longer do we solely rely on the opinions and comments of one individual, we now have a vast ever expanding supply of sources to view and supplement our knowledge, processing the information as we see fit.
The principle of nurturing and maintaining connections is also extremely current and relatable, developing knowledge in specific areas relies heavily on  the ability and opportunity to ask questions and cast opinions. In order to continually do this connections must by maintained and constantly reviewed. As with a growing flower, with continual care and attention it will flourish and grown, but without, it will wilt and die.

Social Constructionalisum

The theory examines a human beings developed understanding of the world, it indicates that our understanding is progressed not separately within the individual, but in coordination and interaction with other human beings, through resources such as social networking.
The theory explores the ways individuals and groups participate in the construction of their social reality, looking at how we create traditions and norms through creating viral sensations. The ability to reinvent 'reality' by individuals acting on their interpretations and knowledge. Along with our capability to decide for ourselves on how we construct meaning we have the opportunity and possibility to change and shift thoughts and knowledge itself.
The theory clearly identifies the importance of the larger social processes and links in  closely with my blog on the power of the internet in my first tasks.

3A/ 3C Range & value of my current Networks/ Sources of information

Networking is a vital element within many career choices, the ability to interact and build contacts with people within your industry can be the key to building a successful and extensive career.

Being a successful Dance performer and teacher can rely heavily on reputation and getting you face known, be it by recommendations, networked online contacts, friends or even social acquaintances.

Recommendations/ Word of mouth.

In my teaching recommendations are vital to ensure I am continually in work. As a freelance performer and teacher, being self motivated and having the ability to 'drum up business' for myself is essential. Much of my work is based within Schools so being able to be in constant communication with the Headteacher is really important. When i first started out with my own business and began to find my feet i would question the head teachers to ask how they came across and would decide to employ different providers, perhaps by email, a phone call or flyers? At almost every case their response would be for them to receive a recommendation from a fellow Headteacher I therefore ensure I take advantage of head teacher networking meets and ask current employers to recommend myself as a way to get my name and work out there and known.

Social Networking i.e. Twitter & Facebook

Social network to most is a vital way of life, the ability to be in constant communication with the world at a touch of a button. Auditions can be posted as late as hours before they take place, location changes, cancellations and most importantly the ability to network with fellow practitioners in your profession. So much of the Dance and Performance world is now spread and built online, with many individuals taking full advantage of the ability to speak to near strangers to further themselves. I found that at many auditions it wasn't necessarily 'what you know' but more 'who you know' which to me just emphasized how important it was to be known within your industry. Getting to know Choreography & Casting Directors before auditions, being in communications with present cast members, finding out as much information as possible about the audition/job and what in particular they would be looking for. All of which can be done through the use of both Twitter, Facebook and other similar Web 2.0 based program's. In a sense not even 'who you know' but 'who knows you!' 

Virtual communities 

A virtual community is a community of people sharing common interests, ideas, and feelings over the Internet or other collaborative networks. Communities such as LinkedIn provide a professional platform for people to openly discuss topics with can In turn lead to many opportunities and 'opening of doors' which might otherwise be closed. One particular community I find incredibly useful to start and create conversation & communication are the BAPP blogs which provide a space to post thoughts and work to a closed community enrolled on the same course encouraging comments and feedback from fellow students and lecturers.

Websites/ Web 1.0 programmes

Websites such as Dance Cast, Spotlight & Dancerspro can be incredibly useful to Dancers such as myself as a way to advertise yourself and begin communications with potential agents and future employers. Each website enables Casting Directors & agents a platform to view online CV's, Head shots & Showreels whilst also giving the performer the opportunity to apply for auditions and jobs. They also provide a way to 'stay in the loop' within the industry and to keep connections open through Websites such as The Stage. 

Dance class/ Social engagements 

A good old knees up or night out on the Town can be the perfect place for networking! The relaxed, fun & social atmosphere can almost guarantee you will find yourself picking up a conversation with a complete stranger, for some reason many of my conversation seem to begin in the ladies loo...Glamorous I know! Many 'artists' tend to head to the same known night spots where you will be immersed by like minded people throughout the evening, random conversations discussing current Performance jobs, up and coming auditions seem to just flow naturally, which in many cases can provide incredibly useful information and give you a new 'contact' within the industry. 

Dance classes & studios again provide a huge platform for networking and picking up new contacts, a great place to mingle and collaborate with other industry professionals who can inform, educate and advise. The information which can be seen plaster across studio walls can be on its own brilliant in finding advertised auditions, workshops and classes.

I must admit when I first thought about Networking Tools my immediate thought was to think about Internet technologies, but when I really began to reflect and think about all the ways in which I Network the concept became so much more. I do believe however a way to possibly improve my personal Networks & contacts could be to take more advantage of the Web 2.0 based program's and virtual communities as I feel these do offer a constant stream of Networking possibilities 24/7.

2D Inquiry Questions

Along my BAPP Journey to date many exercises have made me consider different aspects and questions that I would have perhaps overlook in the past.
I feel these questions and topics could possibly be explored leading somewhere toward my later inquiry, but as yet I have so many that I am nowhere near ready to decide on one single topic or question.
A few questions & statements I have been asking myself and reflecting on are listed below.. I would really appreciate any of your thoughts...

Who should be the main disciplinarian during a one off workshop, the main school teacher or a visiting teacher?

The effects of my personal energy and mood on others during a workshop.

Which teaching styles and theories have the most success when applied in my practice, showing both development and may increase the children's learning?

Children's ability to retain information/ choreography... any possible theories or styles which can encourage this to a better level.

How pressure in performance can relate to a child's progression...sink or swim!

2C Reflective theories

Each and everyone one of us use reflection on a daily basis without even contemplating it. A natural process in which we are able to learn from experience, extend our understanding and to learn something ‘new’.

Learning from experience is a way we are able to turn information and learning into knowledge Work based learning programs (WBL) such as the BAPP rely heavily on such methods, as experience in a specific area is expected as a way to gain sufficient knowledge for the course.
Boud et al 1995 refers to needing 'tools' in order to turn learning into knowledge many thinkers feel reflection and reflective practice are key tools within the process.
Using such tools within my personal journey on the BAPP course helps me to find alternative ways to look at my experiences, in order to extend my own understanding beyond its present capacity, learn something ‘new’ and question personal and others experiences in relation to learning.

The first stage of learning is to be able to identify something is missing in order to gain knowledge to find and experience the new learning. Mcfee describes this by using an example based on the concept of the word 'Bachelor'. 
A way in which I was able to understand in more depth this concept was to reflect on a personal experience relating to colours. When looking at a towel which I presumed would be commonly seen as blue I found that my friend comment on the fact it was green. My first reaction was to question whether I was correct in my knowledge and perception, or the difference between us was our interpretation of the colour. In order to find and solve the misunderstanding between us I first had to learn what we both understood as Blue or Green ie a blue sky, a blue sea, the green grass, a green traffic light. But in my reflection I found myself again asking how we can be sure what each of us is seeing and interpreting? Part of what we know and understand is based on what we have understood and adopted from people who are around us frequently. An extreme example of this would be the film the Truman Show where he is conditioned into thinking that his whole world is with in a fixed environment and daily routine as this is all his has been taught and learned from birth. Therefore he has not had the tools to enable him to reflect and question his knowledge and to identify anything missing. We all to a certain degree except what is around us for what it is, the degree to which we question anything depends on individuals and there inquizitivness and need to know more.  
Going back to my original example I quickly realise that my friends family refer to that colour as Green and that is where her interpretation stems from. Whilst me and my friends have always looked upon it as Blue. 
In general we all go as individuals for the most commonly perceived view and acceptance of things around us, up to the point where someone questions it, we then need to make an evaluated decision on what the 'consensus' is. Sometimes to be comfortable in or minds we may just except this. 
In the case of the colour we could actually refer to an internationaly excepted standard suchas the Pantone which would say definitively what that colour was. As long as both I and my friend agree we are both looking at the same colour we can then interperate it individually as we wish. 

Within my role as a dance teacher my ability to understand individuals ways to learn and process information is essential, in order to be confident in this I need to ensure i am able to identify different ways and aspects of learning. Both Kolb and Gardner refer to this in their thinking, with Kolbs learning cycle & Gardners multiple intelligences.
I have discovered that the point in which i enter the 'learning cycle' can alter depending on what learning I am doing. Reflective observation and active experimentation are key processes to begin for my personal learning, I find to initially get myself started I rely on examples and viewing other people's opinions as inspiration to create my own ideas, however at some points I simply use 'trial and error' (active experimentation) as a way to get my ideas out and down on paper before editing for a final piece. 
As a child my Brother was extremely academic, flying high through school always performing well in exam situations and gaining fantastic grades at both GCSE & ALevel. For me it was slightly different, I hated exams and never thought myself to be an academic, I always classed myself as the 'Creative' one. My parents would constantly comment on how this didn't make me any less 'bright' for perhaps not getting an 'A' in Maths but that I shone in the subjects that required more practical elements. I never really thought about this until looking through the reader and reflecting which actually made me realise that infact my parents where completely correct in what they were saying and the fact was that the way in which I processed and learnt form information was completely different to that of my Brother. 
Children can be very vulnerable during times of learning and if they feel the information is not perhaps delivered in a way they can understand and relate, this can in some instances stunt their learning rather then insure its growth. In this respect Garderners concept of multiple intelligences or VAK can be incredibly useful. His research change the way we think of a 'traditional learner' and enabled us to uderstand that people can be 'intelligent' in a number of different ways. With regards to my teaching this can help me to identify the best way to communicate and get the best from my children in both a class and individual basis, ensuring each child can reach their potential though learning in the way which comes easiest and most natural to them. 

A major part of my work involves choreography, developing and adapting pieces
depending on individual needs. When devising choreography I rely heavily on methods such as reflection-in-action as theorised by Donald Schön (1987) to ensure a hands on approach to correcting and editing my work. Schon introduced the idea of reflection-in-action, and reflection-on- action the theory states that Reflection can happen both while you are in the middle of it or reflection can happen looking back on it. Referring back to the comparison between myself and my Brother, who I class to be more of an 'academic' as a-posed to myself would be a prime example of both types of reflection in practice. On a daily basis I head into a new school with little information as regards to ability of classed and individuals bar their age, the process of reflection -in- action is one i use frequently. If I find the children are finding certain steps difficult or the choreography perhaps hasn't developed as I would have hoped, I'm able to identify this and change parts as we go along to create the desired effect within the time allocated. Whereas My brother tends to use the concept of 'Reflection -on- action taking his time to reflect on previously written works to go back and develop at a later date after rereading & analysing from a new perspective. 
Dewey also makes this temporal distinction, looking at how the time/situation impacts on how you engage with new ideas, 'present' or 'future' being two distinct and different ways to engage with experience. (Jackson,1998;Dewey, 1934)

It has been a very interesting process looking at how relevant many of the theories are to me personally and how I rely heavily on many for my work  on a day to day basis. It had also given me food for thought regarding my possible inquiry questions .

Task 2B Journal writing experience

What is reflection?

“Learning from experience” 

(Spalding, 1998) 

“Thoughtful deliberation” 

(Tickle, 1994) 

“systematic, critical and creative thinking about action with the intention of understanding its roots and processes” (Fish and Twinn,1997) 

In this task we were asked to refer to the Reid & Moon framework, however after reading the reader and looking though the Library and researching I struggled to find a specific framework outline. My research lead me to finding ''Reflective practice Reid (1994)'' and ''A Framework for Reflective writing- Source Jenny Moon University of Exeter'' I have used both of these plus other journal/log frameworks as a benchmark including ''Reflective learning log (Jane Williams & Pam Cowley, Mid Devon Working Group Approved DMT Sept 2004)''

What was the event?

Todays event was a South American/ carnival themed workshop where the children were expected to take part in learning a short routine which would be performed to the rest of the school at the end of the day. Sessions were 40 minutes with class sizes of between 25 to 35 students aged from reception to year 6 (4 to 11)

What was I expecting to learn (if appropriate)?

At every workshop I intend to look and develop my own teaching style to insure I keep a fresh approach and maintain high standards in each  respective school I visit. taking into account different types of school needs including ethnic , religious and cultural considerations. I look to find the most effective and fun method for the children to learn as in my opinion fun is vitally important in a learning environment .

What have I learned?

Positives -  Children in the main were fully engaged, with few becoming distracted. Some children excelled as the style is quite free and energetic, However a few did required a
 little extra guidance therefore I continually tried to paint a picture in their minds to remind them of the Party atmosphere which is present at a carnival this encouraged those that struggled to relax and  were able achieve the aim.
Negatives- I find generally that behaviour seems to deteriorate towards the end of the day, especially with the younger ones, this was definately apparent today. This came to light partly because its an energetic lively kind of dance therefore they get very giddy and excited which can sometimes lead to children becoming a little chatty and distracted. Although there was nothing particularly major behaviour wise it only takes  1 or 2 youngsters to have an affect on the dynamics of a whole class. There was one class however where this was apparent...my final class of the day, where I found myself constantly picking a few individuals up for lack of concentration & being rather chatty.   It cases such as this I try to 'nip it in the bud' so to speak, however this does bring me to thinking is this really my responsibility if members of staff are present in the sessions?! 

What is significant about this learning for me?

I became rather frustrated today as I felt I had to keep reminding specific children in one particular class to be quiet or stop chatting on several occasions, again this leaves me questioning whether this is what I am there to do. I recognise that I have to keep a good hold and control of the classes I teach or else the learning will suffer, however my main purpose is to teach Dance not to impose discipline which should already be set in place especially when class teachers and support are present. Although I have no problem imposing discipline and control, I feel my main purpose is to deliver a fun, exciting  creative workshop, mainly given to the children as a reward which I don't want to make negative with constant references to discipline by myself.

How does this learning link to the competencies for my job?

I believe that the lesson preparation and my understanding of the dance and what I hoped to achieve is clear and reasonable. I need to be able to adapt quickly as there is a vast array of abilities even within the specific year group from school to school.
My competencies were confirmed to me in a number of areas including knowledge of dance, ability to communicate, to encourage the children in their quest to learn and in maintaining discipline amongst other competencies.

How will this learning change my practice?

I will continue to have a range of options available at my fingertips for future lessons within both choreographic aspects and warm up/game sections. 
 

What were my feelings about what happened?

I was worried about treading on other people's toes with respect to reacting to pupils behaviour. There were two members of staff in the room during the specific session and they did not seem to take the initiative to clamp down on persistent disruptions to ensure it did not escalate. I felt that had I been in their position I would have intervened.  I need to perhaps question my standards and whether they are too high

What were the feelings of others involved?

I believe that my work was valued and received well, many were very impressed with the amount and variety of material presented in such a short space of time. Very impressed with how the children retained the choregraphy for the performance and danced with enjoyment. The performance was good the children seemed to enjoy the performance themselves.

What evidence do you have?

Positive feedback, A sense that both the school and I achieved what we set out to do. Formal feedback reports are a part of the post delivery process and a written feedback is provided. The official feedback document has yet to be seen.

1D continued...

Below will hopefully be a Link to Flickr showing images including headshots & Work resources (1st attempt at using Flickr!).
As mentioned in previous blogs I have found it very difficult to source permissions for the use of photos due to work circumstances - as to finish the task I decided to post pictures of resources which I use during my workshops, unfortunately not as interesting as I would have hoped this task would be.
Enjoy!



http://www.flickr.com/photos/bapp_newell/

Task 1D 2D images

Now this task serves me with a few problems...
A main part of my Job is working within Primary Schools across the country deliver Dance based workshops, this obviously offers up some ethical issues when it comes to being able to take and use photos. As I am only in a school for a day or two at a time, to get permission from all parents, as I don't necessarily have a 'bond' or a 'trusted relationship' with the school (although I would like to think I establish this before I leave) would be quite difficult. I therefore am rethinking my initial approach to this task...watch this space!!!

Task 1B

As you may have gathered from my previous post I am completely new to
some aspects of web 2.0 based platforms, not through ignorance or being
a technophobe, but purely out of choice. I find it rather bizarre to
think about complete strangers being able to see pictures, posts and
personal information and even impersonate people...MTV's Catfish.
Leaving details open to ‘the public’ also exposes you to possible fraud
and ‘phishing’ etc.
I know you will all say 'what about privacy settings, only accept
people you know’, but I really do question how safe these so called
privacy settings are and how sure can you be that you are in fact
talking to the person you believe to be???

However the ability to be able to communicate with the rest of the
world at a click is utterly fascinating to me and as such I can
completely value program's such as Facebook for leading the way in
‘real time’, providing international conversation and even giving many
countries where communication is somewhat censored, a voice. Equally
there is the possibility of misrepresentation of the news, information
and current affairs as a real and apparent activity by political
organisations. The current evidence of ‘viral’ posts can demonstrate
the power of any one individual that can quickly lead to a national
uproar! Typical examples include the sensation of 'Gangnam style' which was the first video to reach a billion views on you tube, the individual who put a neighbour’s cat in a wheelie bin or indeed the dance activities of sheep with LED
lights attached to them, all provided remarkable results and gained
massive attention!

Many times whilst working I have found myself questioning the
authenticity and accuracy of information and research. For me it is
vital that the information  I share and pass on to my students is
correct and accurate, this has lead me to improving and widening my
information sources and digging a little deeper to insure the
information I am delivering is correct.

So many people can also utilise resources online to assist them in
learning or clarifying aspects they may have been trying to learn,
especially where they may be hesitant in standing out in a class to say
that they ‘don’t understand’. People without access to schools,
colleges or other learning resources due to where they live or not able
to afford to formal study, need not be excluded from education or
keeping up to date. It is a really wonderful resource and learning
tool.

The concept of using Web 2.0 for professional networking purposes,
expanding ones knowledge & resources is brilliant. Within my teaching I
rely heavily on the ability to have information at my fingertips, you
tube gives me the ability to experience new & original music,
inspirational choreography from across the world and the chance to
comment and ask questions to fellow professionals and practitioners.

Just a few initial thoughts and opinions, I look forward to re-reading the information to go into more depth and expand!

So it begins!!!

Welcome to my first ever blog!!!

Im completely new to this blogging malarkey so please 4give mistakes, which I'm sure there will be many!!!

Ok here goes... 
Who am I!?! What a question...
I'm Nicola, a trained professional dancer from Nottingham! My training consisted of a year in Leeds and 3 years in Cambridge (amazing city with unbelievable memories!) I'm currently teaching dance and creative workshops across the country - love my job :D 

So why have I chosen to do the BAPP course.... Well my initial main aim was to complete my degree in order to go on to do a PGCE in order to complete my teaching qualifications, however from browsing over current student blogs and looking through the course information I'm excited to find out about all the other opportunities the course may lead to...exciting times! 

I hope you find my blog of interest and would really appreciate any comments or tips you may have that could help in my quest to complete the course!!!