tag:blogger.com,1999:blog-27580590428662459872023-11-15T05:37:19.256-08:00Hopal Romans Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.comBlogger22125tag:blogger.com,1999:blog-2758059042866245987.post-26429696925317938042014-06-03T16:08:00.000-07:002014-06-03T16:08:17.156-07:00Post Presentation It feels really strange knowing that I have now technically finished the MAPP programme however whilst the rest feels good not having to edit, change, read a bit more and burn the midnight oil I am really looking forward to the next chapter in this research inquiry. What that looks like and when that happens will evolve but first I need to reflect and on another more practical level put the house and family back in order - literally!
Thanks to all those who attended the presentation yesterday - whilst it was un-nerving to present in such a way I felt such grattitude to those willing to listen and take an interest in what I had to share and say and support me with your smiles. It feels good!
Will keep blogging though as I feel I need it!
HopalAnonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com1tag:blogger.com,1999:blog-2758059042866245987.post-51354975949738216712014-03-23T02:13:00.001-07:002014-03-23T02:13:16.930-07:00Body and discourse Here's another post to share
http://www.goethe.de/kue/tut/tre/en9956955.htmAnonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com1tag:blogger.com,1999:blog-2758059042866245987.post-88135315237242388012014-03-23T02:08:00.000-07:002014-03-23T02:08:24.147-07:00Dancing and thinking.....Something to share for a Sunday morning.
I came across this as a direct result of reading Mary's blog and it got me thinking again about my thoughts around the subject of the body in Module 2. Its intersting how even thought I am in the research process where research reflecting back and capturing ideas takes me. Also reflecting on Adesola's blog again about starting, starting again and so on I wonder where I am in the triad of three...
Ideas for sunday which is making me think again and reflect....
http://www.goethe.de/kue/tut/tre/en8820849.htm
Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com0tag:blogger.com,1999:blog-2758059042866245987.post-58639651976698264262014-03-16T00:23:00.003-07:002014-03-16T00:23:51.898-07:00Workshop - working from the inside outI recently attended a CPD workshop a few weeks ago, which looked at contemporary dance styles for teachers of GCSE/BTEC/ A Level, dance in the modern dance styles of Graham and Limon. I had a particular interest in attending because I teach Horton a modern dance style developed at the time of Martha Graham and Jose Limon. The different being that Horton was developed on the west cost of America and the others on the east coast in what was considered the modern dance mecca at the time in the 1930s 40s, and 50s. Alvin Ailey studied and danced in Lester Horton’s company and after Lester Horton died in 1953, Ailey took and developed his legacy in the form of a company and choreographic works, which include Ailey’s signature piece “Revelations”. Revelations contains both influences of Graham and Horton technique. The technique is codified and forms part of the technical and choreographic training of dancers at the Ailey school and company. Doing this course was relevant as it links to my inquiry about modern dance technique and young people in the 21st century.
What was interesting was how the workshop facilitators talked about the movement principles of the techniques of Graham and Limon, which is not as dated as people might expect. A long time ago I was told that the Horton technique was considered out of date and old fashioned! This statement was in reference to a class I taught at a school and subsequent repertory that resulted. Whilst the comment was unhelpful the implication was that it wasn’t trendy enough and would not engage the school.
There was agreement that these modern dance styles are very relevant and can be utilized in the teaching of technique through performance. Susan Sentler and Nina Atkinson who led the workshop both shared and worked on some choreography from the repertoires of both Graham and Limon and it was revelatory and also affirming how as with most dance styles the choreography dictated the style and substance of the techniques. It got me thinking about Horton’s early works which if you look at it in historical context was appropriate for the time and to some looks a little dated but in looking closely at the movement concepts it was very much up to date and adaptable for today’s dancer. I could see the relevance of the technique both in terms of its form and function. Also really interesting was the use of somatic practice incorporated into the study exploration and experience of a modern dance technique to support the understanding teaching and learning of a codified modern dance style. Both Nina and Susan adopt this approach and to very good effect. We went back to basics and worked from the inside out.
I cam across a couple of clips of the restaging of one of Horton’s earlier pieces “The Beloved” (1948). The first I viewed as a performance reconstruction from a notated score and the other clip an embodied reconstruction from ex Horton dancer and company member Bella Lewitzky. Although choreographed by Horton she collaborated on this piece. Bella was his muse for the development of many of his choreographic works and also for the development of the technical form of Horton. What I loved when watching both pieces was the performance aspect and how as a teacher I could use sections of choreography as a study and focus on the movement principles in order to get my students to understand style and technique and develop different ways of learning and educating the body. Reflecting on the workshop made me realize how little relationship my students have with the past history of modern dance in order to understand where it came from and then inform the future. Not having this relationship or embodied knowledge sets up a big challenge for me teaching modern dance. However I felt inspired looking at it from purely a movement perspective which I hope with the right language encourage my students to compare, contrast and make links with movement in their own lives.
http://www.youtube.com/watch?v=NZZ8RP8cTcs
http://www.youtube.com/watch?v=sncN5sq0ONY
Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com0tag:blogger.com,1999:blog-2758059042866245987.post-72606495781817855232014-03-15T00:25:00.001-07:002014-03-15T00:25:45.606-07:00Some thoughts...In Skype meeting with Helen some time ago it was a great opportunity as always to catch up and still stay connected to a community of learners. The meeting gave me the chance to reignite the belief I had in my research inquiry and at the same time become grounded in my ideas for some type of theory and preferred methodology as a tool develop themes as they evolve. At the heart of this process I am at the centre and the approach I am taking is an ethnographic stance. In “Ethnography in the performing arts – a student guide” – (Dr Simone Krüger 2008) I have found an apt description, which encapsulates the type of methodology I am undertaking.
Definition:
<b>Ethnographic research</b>
qualitative research is located within the interpretive paradigm that generates knowledge from people’s shared understandings and negotiation within a historical and social context. The researcher is involved and subjective, that is, informed by his/her personal experience in interaction with the people studied. The goal of the interpretive paradigm is the comparison of results to similar or dissimilar processes and phenomena; and the development of workable and shared understandings regarding regularities in human behaviour in specific settings.
I was reminded when embarking on this process to review my module two work and reflect on the questions which begun this process. My question for the research from module 2 started as a hunch. By following my hunch and designing the question It’s interesting to see now where this hunch is taken me and what the many possibilities or implications are. From an ethnographic stance I am finding that as I dig deep I am not really finding answers se but essences or more questions. As I am discovering then ask a further question, what is written about all of this from the critical review perspective. Its almost as if I am on an archeological dig so deep that I need a theory to back me up so that I can use the theory to climb out of my dig and get some air! I am also finding that as I uncover yet more layers. Also despite the subjective nature of the research the thing I have begun to struggle with is separating my opinions from what I have found and interpreting what I see or experience. I suppose this will be the case for most undergoing a piece of academic research but I am reminded how important it is to interpret what is found and discovered and back it up with critical theory.
I really do believe that whatever the outcome of the research and more importantly the process it is not the end. In ethnography the time it takes to gather data and to do the field work is quite long to get a sample of ideas and findings. However for me I only have this term so I consider this the appetizer! I may see this experience as the beginning of something more longer term. As a novice researcher from an ethnographic stance I’ll still be learning as a life long student.
In my teaching mode I find that I am involved in the whole process of learning not only for the students I work with but for myself also and in this case find it incredibly difficult to step out of my scenario and look objectively. I was and am a part of the research. I am reminded by Dr Simone Krüger that in ethnographic research the purpose of this method is to “seek to answer questions without reference to trying to solve any problems”
Hopal
In Skype meeting with Helen some time ago it was a great opportunity as always to catch up and still stay connected to a community of learners. The meeting gave me the chance to reignite the belief I had in my research inquiry and at the same time become grounded in my ideas for some type of theory and preferred methodology as a tool develop themes as they evolve. At the heart of this process I am at the centre and the approach I am taking is an ethnographic stance. In
“Ethnography in the performing arts – a student guide” – (Dr Simone Krüger 2008) I have found an apt description, which encapsulates the type of methodology I am undertaking. Definition:
<b>Ethnographic research</b>
qualitative research is located within the interpretive paradigm that generates knowledge from people’s shared understandings and negotiation within a historical and social context. The researcher is involved and subjective, that is, informed by his/her personal experience in interaction with the people studied. The goal of the interpretive paradigm is the comparison of results to similar or dissimilar processes and phenomena; and the development of workable and shared understandings regarding regularities in human behaviour in specific settings.
I was reminded when embarking on this process to review my module two work and reflect on the questions which begun this process. My question for the research from module 2 started as a hunch. By following my hunch and designing the question It’s interesting to see now where this hunch is taken me and what the many possibilities or implications are. From an ethnographic stance I am finding that as I dig deep I am not really finding answers se but essences or more questions. As I am discovering then ask a further question, what is written about all of this from the critical review perspective. Its almost as if I am on an archeological dig so deep that I need a theory to back me up so that I can use the theory to climb out of my dig and get some air! I am also finding that as I uncover yet more layers. Also despite the subjective nature of the research the thing I have begun to struggle with is separating my opinions from what I have found and interpreting what I see or experience. I suppose this will be the case for most undergoing a piece of academic research but I am reminded how important it is to interpret what is found and discovered and back it up with critical theory.
I really do believe that whatever the outcome of the research and more importantly the process it is not the end. In ethnography the time it takes to gather data and to do the field work is quite long to get a sample of ideas and findings. However for me I only have this term so I consider this the appetizer! I may see this experience as the beginning of something more longer term. As a novice researcher from an ethnographic stance I’ll still be learning as a life long student.
In my teaching mode I find that I am involved in the whole process of learning not only for the students I work with but for myself also and in this case find it incredibly difficult to step out of my scenario and look objectively. I was and am a part of the research. I am reminded by Dr Simone Krüger that in ethnographic research the purpose of this method is to “seek to answer questions without reference to trying to solve any problems”
Hopal
Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com0tag:blogger.com,1999:blog-2758059042866245987.post-57703601689021911512014-02-28T18:05:00.001-08:002014-02-28T18:05:14.701-08:00I don't want to be noticed!First of all to my fellow MAPPers please accept my apologies in advance for Sunday as unfortunately I will not be at the Skype meeting. I will be attending a course all day. THis course came up which I really wanted to do but at the same time wanted to engage with you via dialogue and sharing.
This morning when I dropped off my little ones at school I got chatting to one of the parents about usual stuff as you do. She knew that I teach part contemporary dance part-time and proceeded to tell me about a friend of her's whose daughter dances contemporary in an after school club setting locally - it turned out to be one of my students. Apparently this student is a lovely dancer who loves to move and wants to dance but there is a conunndrum she faces because she is very academic and as a result is being steered into choosing academic subjects for the start of her GCSE studies next year. Nevertheless she loves to dance and as a solution attends dance classes after school which is great as I feel that dance can only add and enhance more to her studies and will make good use of her mind in movement and the complexities and creative challenges dance will bring enhancing her studies. This reminds me of a friend of mine who did ballet all her life from a young age and never gave it up despite doing all academic subjects at school and at university where she studied chemistry and pharmacology and in her spare moments did class both in the local town where she found a class and when she came back home during holidays to London went to all of the usual places to keep up her ballet classes. Upon finishing and graduating from University went on to dance with a degree in her hand !!
It was heartening hearing from my parent friend that this student really loves dance - however one of the things I noticed with her along with others in my class is that along with her colleagues they all sometimes appeared closed off and shy when in class and it was hard to read body language at times especially when during exercises and tasks when I ask for feedback. The reaction sometimes is the folding of the arms indicating that they are guarding and protecting their bodies, being afraid of some of the material which was out of their comfort zone - but in some of the movement tasks they lit up. Another time when I showed them a DVD clip of a Horton Technique warm-up series there was stunned silence and a ripple of nervous laughter covering their faces with their hands to shield their embarrassment. I had thought "Oh my... I've really put them off now!.." My friend commented that she like her own teenage daughter does that in order not to be noticed and is at that stage where they feel so uncomfortable about their bodies- which struck me because I got a sense from some of the students in my class despite the myriad of challenges and excuses even getting them to class is that they love to dance because it makes them feel...
So.... my reflective question is that despite not wanting to be noticed and stick out from the crowd as different and blend into the status quo of other teenagers at school does the space I hold for them in the studio and during my session allow for them to 'feel' and in so doing not be noticed? or different? Does the space allow for that to happen? Does what I teach them despite being quite strange and new allow for them to explore movement that is different inviting them to be themselves or find themselves or their own language and interpretation in the movement? I find myself saying quite often that it is okay to get the movement wrong, that is how you learn and the space is safe for them not to feel the pressure of getting it right. For me the studio is a space where a process happens whatever the outcome and not worry about being watched, judged or seen to be different or noticed differently.
I suppose for this student and for others not wishing to be seen in their initial response in class is a mask to their real desire to feel and my job therefore is to hold that space solely for them<i></i> to feel and embody themselves through movement. It was strange but then I suppose I went through a similar phase of not wishing to be noticed but then I managed to get myself noticed on stage because it was there that I begun to 'feel'.....!
Have a great Skype meeting everyone.
Hopal
Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com1tag:blogger.com,1999:blog-2758059042866245987.post-76211464335399629292014-02-05T15:35:00.000-08:002014-02-05T15:35:48.868-08:00Pressing the re-set button Apologies to for all not being able to Skype with you all last Sunday. I had to attend some training that fits around my freelance teaching work, and therefore it was necessary to go. There was some really useful stuff to learn and also things to notice as a tutor which I attribute to where I am placed at this stage of my learning and research project. Its interesting to see how much my noticing called upon the styles and practices especially around engaging young people and their learning practice through the medium of dance. My research in a nutshell is going to look at how a modern dance training and practice that I had experience as a young person and dancer (which became the catalyst for my subsequent career in dance to date) is relevant to the life choices, experiences and aspirations of young people today. Is what I teach young people fit for purpose?
It was good to experience and absorb the type of learning on offer as it flagged up some questions about my own practice as a teacher and how I engage with my students when teaching. Whilst in the training session my thoughts turned towards fellow MAPPers pondering and reflecting on their journeys so far and how you all including myself begin to approach and start the next phase of our modules after concluding the previous ones with some much needed time to breath. For me I had to hit the re-start button. My journey stalled during the third module and I had to live with the impact of a decision to pause which, on reflection was a good move to refocus and galvanise, re-assess, re-read and in some cases not read at all to allow the flow of my thoughts to guide me to where I needed to be. It was a choppy and uncomfortable process admittedly and for a long while wondered whether I had the confidence and strength to re-boot and resume from the place where I stalled and overcome the notion of being left behind.
I begun to question my learning and revisit some areas of my AOLs back in Module 1 plus vulnerable moments that triggered old fears and patterns . Pausing was in hindsight a great idea. I noticed that my reading had changed too and that what I had planned in my critical review to support my research project no longer had currency and didn't feel right for what it is I want to find out. As is my pattern in most things when the going gets tough I have to walk away and come back to it with a new, different and open perspective. This happened recently with one piece of critical review which looked at my research from an Africanist standpoint especially around the area of philosophy particularly reflecting on the writings of the late Esiaba Irobi (2006)where he talked about the " philosophy of the body as a site of transendant discourses, and used to regulate thought and feeling and ideas of identity within their cultures.." Cultures in this context Irobi reffered to include cultures that traversed from the diaspora of Africa across to Brazil, Latin America, the caribbean, the USA and United Kingdom.
Attending and being present at the oral presentations in January of my cohort was a great way for me to re-set my thinking and feeling about my research project. It was a great opportunity for me to get to know and experience my fellow Mappers research and learn how they arrived at and tease out what it is they discovered. It was fascinating as links and references which they highlighted connected with me and gave me the much needed courage to re-set and revive.
I finish this post with a quote yet again from Esiaba Irobi which encapsulates my thoughts, feelings about my philosophical stance and much needed pause to refresh my thinking as I embark on Module 3:
"...I will highlight how the body itself, in African and African diasporic cultures, functions as a somatogenic instrument as well as a site of multiple discourses which absorbs and replays, like music recorded on vinyl, epistemologies of faith and power grooved into it by history. An Igbo proverb states that when we dance we express who we were, who we are, and who want to be. Time is compressed and telescoped telelogically to contain and express the past, the present and the future in one fluid kinaesthetic moment." Irobi, Esiaba (2006) <i>Philosophy of the Sea</i>
Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com4tag:blogger.com,1999:blog-2758059042866245987.post-84208529752003326532013-12-02T15:45:00.001-08:002013-12-02T15:45:10.090-08:00Pedagogy<br />
<br />
<a href="http://www.bing.com/videos/search?q=dance+technique+pedagogy&docid=4566809884690923&mid=F5DF73572FCF59EB8C24F5DF73572FCF59EB8C24&view=detail&FORM=VIRE4#">http://www.bing.com/videos/search?q=dance+technique+pedagogy&docid=4566809884690923&mid=F5DF73572FCF59EB8C24F5DF73572FCF59EB8C24&view=detail&FORM=VIRE4#</a><br />
<br />
I came across this really interesting discussion on Youtube about dance technique in a pedagogy which I wanted to share. In it it revealed some really interesting observations and thoughts that I have a lot in my head about the impact of pedagogy from a teaching context and given that I teach mainly young people the post raised some questions and observations about how as dancers some of us but not all find it difficult to ask questions and learn by watching only or if there is a conundrum when learning a phrase or movement, the reluctance to ask questions in order to understand the process. I have often found this as the case when teaching particularly contemporary technique to my students and on a few occasions I always make sure that I ask the students or design a phraseso that they feel relaxed and comfortable to ask or comment and not feel limited by what they say or observe for themselves in their own bodies and that any question yields an answer - it doesn't matter if it is right or wrong. By observing I get an insight through their questioning about how they learn and absorb movement. There have been times when this approach works, but not always and I wonder if this is dependent upon how a student is feeling at that moment and how present they are.<br />
<br />
From a pedagogical standpoint I was interested and still am as I re-learn, rediscover the move away from the 'how to do it and hope that I've got it ' in favour of the 'why? consider? feel? a body dialogue I guess. <br />
<br />
I thought this would be a good discussion to share! and welcome your comments. It might be familiar to most but I thought it interesting to open up a conversation and draw it from my mind. In the clip I liked the split between a dance performer and what they bring to class as an artist vs a dancer who just wishes to take class maintaining the physicality and technique of their bodies - both approaches in some ways different and relevant to the purpose of what they hope to achieve from the class.<br />
<br />
Enjoy!Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com0tag:blogger.com,1999:blog-2758059042866245987.post-82933099551790813092013-11-01T11:01:00.003-07:002013-11-01T11:01:45.699-07:00Those were the days....!!! <div class="MsoNormal">
A friend recently sent me a positing of the
Teacher and choreographer Milton Myers teaching a Horton Class. Milton is head of the contemporary dance
programme at Jacobs Pillow and also is one of the lead teachers at the Ailey
School where I trained. He also was the
former director of the Joyce Trisler Company and it was through his encouragement at the time nurtured my curiosity to try out for the company and learn the
repertoire whilst still studying. It was one of a number of formative
experiences. The experience of learning repertory with the company only served
to add to my portfolio of experiences and also explore my movement language to
try out something that was different, exhilarating and of course
challenging! The vocabulary and language of the form was quite different to that of the school (after all the school was a training house for emerging dancers) but in a company environment I could understand the Horton principles which went beyond the technique itself through its engagement with space, environment, and other influences that had movement be it a piece of art or sculpture, music and other soundscapes. I was hungry for it back
then. As a teacher he is really inspiring and when in class, you could feel him breathing with you when he taught the many combinations, and fortification studies of this style. I felt a nurturing, growing feeling/sensation and when he spoke to make corrections/comments/feedback my whole body listened. The feeling was incredible and still is as I watched when he taught. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Looking at the postings brought back so
many memories when I was a scholarship student at the Ailey School (the longing
and yearning to perform but importantly find out who I was as a person and
dancer – for me whilst the experience was life changing it acted as a road map
and tool to explore other things which helps me to define myself as a performer
and why it is/ was I wanted to move.<span style="mso-spacerun: yes;">
</span>This posting also reminded me of my earlier AOLs in the first unit of
the MA programme and it was amazing to see the distance travelled from A)
training at the school as a young dancer and pedagogy of experience and B) how
this experience formed a number of matrixes for me on my journey in dance and
the wider performing arts.<span style="mso-spacerun: yes;"> </span>It also
reaffirmed my love and desire to contribute back to the sector who saw in me potential and gave me opportunities to move.<span style="mso-spacerun: yes;"> </span>I suppose I never
really stood still, just changed directions and routes.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US">Reflecting back on the video and of my past
tapped into something quite deep and emotional and even now that I don’t
perform still feel a hunger.<span style="mso-spacerun: yes;"> </span>My love for
the Horton Technique and my desire to use it as a tool to transgress in
teaching is a way I hope to continue to<span style="mso-spacerun: yes;">
</span>shape my practice.<span style="mso-spacerun: yes;"> </span>There are
different perspectives and opinions to teaching this style of moving and the
challenge for me is to be open to the views and experiences of young people when teaching - for it is they that I am most in touch with from a teaching context –
their term of reference and engagement is so different to mine, particularly
when this style is not widely taught and unfamiliar to their lived
experiences.<span style="mso-spacerun: yes;"> </span>However, this is where
exploring this subject is exciting form me to journey on a different paradigm
shift as far as pedagogy is concerned. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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If interested check out the link - this is how it was for me back then but whilst it is not to everyone’s taste engaging in a modern codified technique. It was a tool and framework for me in which to emerge and transgress as a person, artist, teacher. It was and still is a language I love to speak freely with my body.</div>
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<span lang="EN-US"> </span><a href="http://www.impulstanz.com/videogallery/aid1210/">http://www.impulstanz.com/videogallery/aid1210/</a>
Milton Myers </div>
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<span lang="EN-US"><a href="http://dancemedia.com/v/2139">http://dancemedia.com/v/2139</a>
Horton Pedagogy workshop at the Alvin Ailey American Dance Centre, New york<o:p></o:p></span></div>
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<span lang="EN-US">Have a lovely weekend!</span></div>
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Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com2tag:blogger.com,1999:blog-2758059042866245987.post-58475807753096394552013-10-23T16:12:00.001-07:002013-10-23T16:12:43.704-07:00Dewey on the busesIn the past I have always mentioned and continue to value bus journeys. They always seem to flag up interesting conversations, observations, and quite unexpected encounters. Plus also it is a great time for me particularly if I have a long journey a time to read and reflect relatively uninterrupted. It is with this reflection or reading in mind that a book I am reading on Dewey was a segue into a conversation I had with a fellow passenger.<br />
<br />
On my way to work I pulled out a copy of Dewey and the Lessons of Art with the intention of reading a couple of pages when a woman opposite who noticed the front cover me asked if that was a Dewey book I was reading. I replied yes and she commented that she had just studied Dewey as part of a PhD she was currently doing which involved young children, education and the arts. She had a real interest in early years and her research was focused on children in the early years and I suppose when they finally make the transition into the education system. Her interest was in music. The conversation that unfolded between us revealed her passion for education and her belief that not enough reference and recognition was made as to the power of the arts to transform children's lives in school and especially at an early age. She said how important it was to start young with children and engage them in the arts in someway and contribute to their overall education and how much they appeared more engaged. I thought as she spoke about how Dewey talks about the value and experience of the arts to transform lives. I did ponder the question though particularly about engaging children very young and experiences - what of a person who does not engage with the arts until at a much older age when they go through life experiences, puberty twists and turns without engagement in the arts until much later does it mean that they miss out? I appreciate the value in engaging children at a young age because they are fresh, curious 100% creative and resourceful but as they grow up that creativity could be under threat of being diminished as they got older and fully involved in their environment, reasoning, multiple-layered and complex experiences. There are a raft of experiences that a young person goes through that require some form of expression and articulation and if it is not in the arts at an early stage then it might appear through another avenue of engagement or experience. <br />
<br />
The lady encountered on the bus is a parent and also a governor at a local primary school and was able to give an example where she complained that the school was so tightly focused on education devoid of the impact of the arts that any attempt to introduce/promote the arts was not met with enthusiasm until.... some funding was made available for a programme of arts activities and THEN a transformation happen Children were more engaged, more alert and curious, enjoyed learning!<br />
<br />
In that encounter I reflected on my journey and couldn't help recalling my early experiences of the arts in school namely dance. I enjoyed all of the other forms of art i.e. drama, visual art, singing and for me they were not separate but formed a whole picture of my engagement with the world and my immediate environment around me. Its interesting how our experiences lead to decisions and choices and the legacy of which for me my journey unfolded into encounters with dance and music education and here I am now. I was very lucky at both primary and secondary school to have those experiences because without them who knows where I would be now! <br />
<br />
John Dewey also made another appearance at a meeting the previous week when I attended a meeting of Community Adult Learning providers. It turns out that one of the providers studied English at university and came across Dewey whom she loved. It was evident that Dewey had an impact on her lived experiences and choices and she said that his writings had an influential and positive effect on her life in education and learning - she wished she had more time from within her job to re-read his books.<br />
<br />
Back to the bus as we continued to share our experiences of what the arts meant for us and our lived experiences it caused me to pause... and feel... what was this experience all about? The physicality of that experience happened but it was the space in between that experience which caused the pause for thought... what was the essence? I began to reflect on our shared enthusiasm, common purposes and directly how my journey led me to this bus journey experience. What came to mind much later was when finally managing to pick up the book and read Philip W. Jackson says:<br />
<br />
" The distinction between experiences connected with the arts and those connected with life in general is by no means absolute. This too is a crucial part of Dewey's message. The arts, he insists are not the sole source of aesthetic pleasure. They are not the only repository of the holistic and the unified. Nor are they the only place to go when we are looking for a sense of satisfaction and fulfilment. Any job well done yields rewards akin to those associated with the production or appreciation of art. Instead of being unique in experiential terms, what the arts offer are but refinements of qualities to be found in ordinary experience...." (LW10, 52-52) , p.6<br />
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I love bus journeys!!<br />
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Ref:<br />
Jackson, Philip W, (1998) <i>John Dewey and the Lessons of Art</i>Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com1tag:blogger.com,1999:blog-2758059042866245987.post-31805181703353892442013-10-18T14:04:00.005-07:002013-10-18T14:04:49.480-07:00Thoughts on Observations<div class="MsoNormal">
<span lang="EN-US">I had a really interesting and surprisingly
productive day at one of my other roles as a freelance Education Development
Manager for an organization called Independance.<span style="mso-spacerun: yes;"> </span>Part of the remit of the job was to look
after and run the community adult learning provision as part of<span style="mso-spacerun: yes;"> </span>a contractual agreement to deliver adult
learning in Lambeth. At Independence we deliver an inclusive <span style="mso-spacerun: yes;"> </span>adult disability programme for adults with
learning difficulties (b.diverse), a fitness programme <span style="mso-spacerun: yes;"> </span>(Freez) designed for adults to engage in a
dance programme to increase their skills and flexibility in a fun and
accessible way through the medium of Street Dance, and finally a Lindy Hop
programme, more of a social dance programme purely for fun, meeting people
developing confidence and generally having a good time whilst learning how to
do the ‘Fall-off-the Log” or Shorty George!.<span style="mso-spacerun: yes;"> </span></span></div>
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<span lang="EN-US">Independence is also a part of a cohort of other providers who deliver
adult learning across the borough and are all very different in profile,
content delivery, to Independence who is the only arts deliverer in this
case.<span style="mso-spacerun: yes;"> </span>As a provider of this service
there is a requirement to attend various training workshops, of which this one
today was relevant. <span style="mso-spacerun: yes;"> </span>The training was
entitled “Observation of Teaching, Learning and Assessment” and as a member of
the providers network there are termly observations of teaching, learning
practice focusing on the learners who are the end users essentially. It was
aimed at helping us to improve how we observe and what to look for and identify
what good teaching is/was.<span style="mso-spacerun: yes;"> </span>A comment was
made that when observing it was down to a matter of personal <span style="mso-spacerun: yes;"> </span>interpretation and it was therefore important
to standardize observations in terms of the types of language used to make
rational judgements.<span style="mso-spacerun: yes;"> </span>One thing
particularly Lambeth Learning noticed was that the observation reports were
almost always descriptive and didn’t always provide enough evidence to make an
assessment against what was being observed.<span style="mso-spacerun: yes;">
</span>For instance instead of saying that something was ‘good’ then why?<span style="mso-spacerun: yes;"> </span>I admit that as a dance teacher I often get
really nervous when anybody watches how I teach.<span style="mso-spacerun: yes;"> I almost always fear the worst. </span>I usually clam up and notice the pitch and
tone of my voice changes due to nerves and in the commentary that goes on in
the back of my mind I ask <span style="mso-spacerun: yes;"> </span>whether I am doing
good, or ‘I’m <span style="mso-spacerun: yes;"> </span>bad teacher and will be
found out and judged harshly!!!’ or people who observe me couldn’t have come at
a more worst time for me as I am feeling so off today! All sorts of thoughts
racing in my mind.<o:p></o:p></span></div>
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<span lang="EN-US">That aside what was interesting <span style="mso-spacerun: yes;"> </span>in the workshop today was the learning
outcomes for me to become more confident when completing observations as a
co-provider observing practice of other adult learning providers in the
borough; to be able to make clear judgments against a common inspection
framework which Adult Learning has to adhere to satisfy Skills Funding Agency
criteria; and to understand for myself what the procedures are for observations
and how this leads to improvements in practice.<span style="mso-spacerun: yes;">
</span>This was the flip side and role change for me from that as a dance tutor
to now learn how to become an observer of teaching and learning practice – work
based learning at its most practical and hands on.<span style="mso-spacerun: yes;"> </span>So I was scared on both fronts as teacher and
observer and felt like I had a split personality and I begun to understand how
it was for anyone sitting in and observing a lesson and the procedure you have
to go through to observe a lesson. This was such a departure from me because
before when I used to observe classes as part of my professional development as
a teacher I usually had a template to work from in terms of what to look for in
a class but it was usually quite informal and intuitive which is still the case.
However for me the learning was in how to make judgments based on a criteria
for gathering evidence of teaching and learner engagement and what was (in a
later open discussion) hard to always quantify and evidence as examples of good
practice – what makes a good teacher? In other words the intangible stuff and
qualities of what makes an inspirational teacher, an encouraging teacher, a
dynamic teacher, an engaging teacher? How do you evidence this? <span style="mso-spacerun: yes;"> </span>As I find in adult education and I suppose in
education in general is the acronym JEDI <span style="mso-spacerun: yes;"> </span>(Judgement, Evidence,Development, Impact) I am
guessing this term comes<span style="mso-spacerun: yes;"> </span>from OFSTED
where when an observer asks when observing a teacher/session leader what is the
<b style="mso-bidi-font-weight: normal;">judgment</b> made against the criteria
being observed that shows the <b style="mso-bidi-font-weight: normal;">evidenc</b>e
and <b style="mso-bidi-font-weight: normal;">development</b> (progression) that has an <b style="mso-bidi-font-weight: normal;">impac</b>t on the learner? So for me in my
dance teacher role what judgment defines how well, effective <span style="mso-spacerun: yes;"> </span>teacher I am with my learning methods that
draw out the training and engagement of learners, what is the evidence (is it
through the setting of differentiated tasks, is it the way I promote, encourage
and embraces an inclusive ethos in the room, is it the way I situate my
learners in the space) how is this progressed and developed and did my learners
achieve something did it have an impact?<span style="mso-spacerun: yes;">
</span>I know its not new to me as I think about it all the time but it was in
the delivery of the session today that had a completely different context and
perspective from which I had not experienced of looked at before.<span style="mso-spacerun: yes;"> </span>It also made me reflect and think back to my
earlier teachers particularly at school when I engaged in contemporary dance
and how as teachers they inspired and motivated me to keep on going,
encouraging, noticing, believing, coaching me to learn new steps, charge me
with choreography they knew I could do and throw down the gauntlet technically to
improve my learning and development physically.<span style="mso-spacerun: yes;"> </span>I
suppose for my module 3 research these are the qualities I hope to notice, hone and
improve for myself and at the heart of the research observe and notice how I
teach and make judgments by constantly reflecting, reviewing and questioning improving the
quality of my teaching and ultimately evolve good practice as I see it from my
perspective. <o:p></o:p></span></div>
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Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com1tag:blogger.com,1999:blog-2758059042866245987.post-36580056143578017782013-10-12T17:47:00.001-07:002013-10-12T17:47:52.522-07:00Students taking the lead with me at the centre?<br />
I do a lot of thinking on the bus which is the only place where thoughts musings, observations of people and life take place and unfold. I often wonder what a passengers journey or story is as to why they take a particular bus towards their destination. On this occasion I noticed about 4 students get on the bus in school uniform. It was a mid-morning. I imagined that they were probably year 10 students. After walking past me to get their seats in the back I noticed they were not all wearing the same uniform so assumed that for a couple of them they attended different schools and on this occasion got together for an event which was evident in visitor lanyards they were wearing around their necks.<br />
<br />
From the body language they all knew each other. They begun a conversation which pricked my ears. In a nutshell they were talking about running for candidacy at their schools for relevant school bodies/societies/councils I guess. They were talking about the formalities of articulating their ideas, procedures for electing to be a candidate and time commitment to take on the responsibility and seriousness the job entailed representing the views of their fellow students. They were very articulate and it was refreshing hearing what they had to say. I pondered the question: were they naturally gifted communicators and listeners? what was their motivation and interest in becoming active citizens and reps for their schools? did they like politics? were they coached and guided in public speaking and expressing their views? who were their teachers and particularly those teachers/tutors who, identifying their gift/talent to 'run for office' might have suggested they embark on this path? were there incentives for doing this? will one or two of them go into politics one day and might I see them on telly? which political party I wonder? One particular student stood out who spoke assertively and confidently about cultural diversity and how government policies that influence his life living in a culturally diverse society are in his opinion sometimes dictated by a middle class who has no understanding or relationship to his own experiences as a young person....it was profound! He also talked about his relationship with different types of students at schools and his preferences for older students particularly 6th formers (years 12s and 13s) because he felt that he could have a better debate about issues that really mattered and concerned young people. He talked about perceptions people had of him by the way he spoke and looked which went against people's (well within his student community) a stereotype of a young black male. His comment was "I can't change the way I speak- people were entitled to their opinion but this is who I am" As for the younger years, he felt that they didn't engage or take things seriously and were in his opinion not clued up to things except when it mattered to them to get or have 'things'. This point was interesting because it brought into mind my classes when I teach particularly for the younger year 7s and 8s who are given dance incentives which are very generous but says their teacher they have to attend my class after school - interesting as attendance has been low but there is an expectation that their teacher will continue to give them 'things' and further incentives. Back to this young person. He said that a lot of these younger groups asked him to change and fix them. His response was that it was not his job to change them - he couldn't do it. If a student wanted to change then they would have to do it themselves, he can help them but not change them. I was completely blown away! What also intensified my listening was when he talked about his school and how lucky he was to be there because it was a top performing school with outstanding ofsted ratings, high exam pass rates but he identified a flaw in the system in which he felt the reason why students got competitively top academic grades were due to the fact that students were expected to learn the facts by rote in order to pass the exams. Some students, he continued did not have the understanding of what to do with the facts or apply them. Learning for him was about knowing what to do with the information/knowledge you have gained and not just learn the facts. In other words learning is not just about acquiring facts but how to relate it to real life situations, how to make it relevant in their lives as a skill or something that can translate into other areas of their lives. I was so blown away and to add to this light- headed experience I had to get off the next stop and go on towards my destination.Why have I posted this? well it made me really think about me and my role as a teacher and how what I teach is not just a series of steps and sequences. The learning is to observe and ask them to apply and find different methods and ways of expression that is fit for their purpose in this 21st century and making what I do bespoke to their needs and embrace another way of learning - taking the facts and detail away from the mind and applying it to their dancing bodies. Also what/where will they go with this in their educational career? Will this physical experience engender a different pathway a different way of knowing? <br />
<br />
From an ethnographic method of research and also from the non-positivist stance in me sharpens my focus even more when I am out in the field gathering data as to the knowledge and understanding of young people's dance experiences through movement. Its not about the learning of the steps (even though it is very relevant in terms of sequencing knowledge and understanding) but its also about learning and understanding not always found books and on Youtube. As the research gets under way it raises more and more questions. I am beginning to wonder whether I will ever arrive at a conclusion but thats okay! The student as a dancing body sharing a lived experience - discuss????.Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com1tag:blogger.com,1999:blog-2758059042866245987.post-73098426173018439902013-10-12T01:40:00.000-07:002013-10-12T01:40:12.304-07:00Making a Difference?After teaching a class of which there were only 3 students in total out of 19 from the previous week I got into a conversation with the dance teacher who is usually present during class at the school (a extra-curricular class) where I teach to reflect on the lack of presence of the students in class that day. Needless to say I didn't feel great about it and got into an old pattern of thinking that their lack of presence was attributed to my class and its content and style or perhaps it might have been too hard. Or another old pattern was "well here we go again! as an after school club they are not required to attend. Pulling my bootstraps up I thought well... for those who stayed I will give them a really meaningful experience and pay attention to particular issues/themes they would like to focus on. In the end the class was great and it gave me an opportunity to observe the two who stayed (the 3rd student was so unwell that it would not have benefited him to stay - he clearly needed to be in bed, but at least he turned up!) I know that a bug was going around the school which not only affected a couple of the performing arts teachers but it seems to have affected the vast majority of students who should have turned up for class? Surely 17 of them could not have been struck by this deadly bug! I wondered whether for the younger students mostly year 7 whether dance was that important to them and as it was only a club didn't take it too seriously despite promises that they would attend. I also know that for some of the older students in my class year 13s there is a lot of pressure on them at the moment to commit to and finish assignments related to their performance arts course which meant staying behind after school for subjects closely related to their course. <br />
<br />
The group I am teaching this term are ranging in ages from 11 to 19 years (years 7, a couple of year 8s, a handful of year 10s, years 12 and 13) - its quite broad and is reflected in the type of class I teach which although I want to teach a more Horton based class have to differentiate massively and theme it in such as way through a piece I am setting that is more all encompassing, all inclusive and not specifically stylistic in the Horton sense).<br />
<br />
Reflecting back to the conversation with the dance teacher, she told me that for a cluster of the year 13 students she has charged them with attending open days at colleges, universities and conservatoires to look at what they would like to do and focus on in terms of further study at higher education level or an alternative possibly. Some of the year 13s were a little unsure what to study at university level and felt a little pressurised by other areas of the curriculum subjects they studied plus parental pressures. Dance for some seemed to be of a lower priority that is until it all changed after attending some university open days. All agreed that they wanted to study dance at a either university or conservatoire level and it was interesting that each university had a different characteristic that favoured their choice of dance at a higher level. The teacher reported that they had a light-bulb moment! They wanted to study dance. One thing they fed back which was a resounding yes, was that they needed to get back to my classes! I was heartened and also humbled because in previous times last year in particularly and a little bit this term those very students who made that statement didn't come to my classes! So the pressure is on for me to make a difference in their learning experiences and hope that I can draw out their potential to meet their own personal needs and aspirations and marry that to the type of university they wish to attend to further their dance training and career. One girl in particular has always attended my classes and I was really impressed by her hunger, openness and physical development intelligently in her body and also by the way she moved. She recently attended the summer school at Laban over the summer and boy did I see a change in her, in her approach to moving, her intelligence the way she modelled a way of moving that had nuances of what I had taught her throughout last year, but also physically her body was a blank canvas ready to take on degree of intense dance training that will have a positive impact in her career. It made me wonder despite the ups and downs of low attendance at my classes whether what I teach and in terms of a modern dance technique albeit it an adapted form make a difference and was preparation tool for them to choose their dance pathway. It made me think of my own paths and choices and how my training and more intensively when I trained in Horton how much of a tool and conduit it became for my dance career path and the types of dance companies and choreographers I worked with in the past. <br />
<br />
I hope that for those students who after attending open days come back to my classes so that we can all walk on that journey in readiness for the next chapter of their dance careers. I also hope that the 'bug' that afflicted so may has gone so that I get my other students back and I hope that I really can make a difference. Incidentally I had one student who finished year 13 last year, accepted a place studying dance at a university but due to personal circumstances has deferred for a year. She has asked permission from her dance teacher at school if she can attend after school classes and particularly mine! Her aim is to do as many classes as possible in this gap or deferred year to keep in shape and in readiness for when she starts her studies. It was humbling how she talked about my classes and what it did for her previously.<br />
<br />Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com1tag:blogger.com,1999:blog-2758059042866245987.post-53246795631386634392013-05-06T09:33:00.000-07:002013-05-06T09:33:51.854-07:00Where I am now is not where I started!<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">In the midst of developing and designing my research inquiry I realised that I have been holding on to some old assumptions through fear and rigidity and a sense that I was pretty sure about (or so I thought) and knew what I wanted to find out. <span style="mso-spacerun: yes;"> </span>One of a number of assumptions was the idea that my idea could drop neatly into a template and come out the other end with the answer having the right formula and <span style="mso-spacerun: yes;"> </span>process of data collection methods and theoretical stances would become a synergistic blend.<span style="mso-spacerun: yes;"> </span>This has not been my experience and where I am now is learning how to let go and give myself permission to look at what it is I wish to know with a different frame of reference or paradigm shift and not worry myself too much into the ground of what I will discover.<span style="mso-spacerun: yes;"> </span>I suppose I had a fear that what I may end up discovering is not perhaps what I had intended and how would I deal with that? By sticking closely to my pre-conceived template and feeding it with the right data methods I thought would bring me back on track to my knowing in research terms - I now realise that there is no right or wrong way to approach my investigation.<span style="mso-spacerun: yes;"> </span>Perhaps I was visiting an old fear of not doing this inquiry correctly and used to an earlier model of following an acceptable template that exists or not as I am finding out.<span style="mso-spacerun: yes;"> </span>After all I am at the heart of the research and where I am now is in a place of acceptance of the change process that I will embark upon as I design the inquiry and be okay with where I end up!<o:p></o:p></span></span></div>
Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com1tag:blogger.com,1999:blog-2758059042866245987.post-66737503573701536802013-04-11T15:57:00.000-07:002013-04-11T15:57:01.826-07:00Task 1 - Katherine Dunham and Jennifer Muller<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">I wanted to focus my task on Katherine Dunham and touch on the work of Jennifer Muller who are two quite different choreographers/teachers <span style="mso-spacerun: yes;"> </span>and dance pioneers distinct but complementary in their approaches<span style="mso-spacerun: yes;"> </span>to dance from the standpoint a non-positivist . <span style="mso-spacerun: yes;"> </span>One perspective came from and transgressed positivist negative thinking and stereotype to evolve<span style="mso-spacerun: yes;"> </span>a legacy philosophy and methodology that resonates with my cultural background and history and the other a different approach that rejects limited-historical positivism<span style="mso-spacerun: yes;"> </span>by not becoming beholden to the past in favour of the here and now<span style="mso-spacerun: yes;"> </span>grounded in the recognition of difference. The coming together of these two different and complementary worlds characterises me and my ever evolving thinking and experiences around the idea of non-positivism. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;">Katherine Dunham</span></u></b><span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"> was an artist and visionary and was one of the first modern dancers to blend ballet, modern and folk forms and present it to the concert stage.<span style="mso-spacerun: yes;"> </span>However her path to the concert stage was marred by strong positivist and racist thinking of the 1930s but like other black dancers of her generation in the 1930s she used a variety of ideals and formats to<span style="mso-spacerun: yes;"> </span>present and perform their work, ultimately getting the recognition she deserved and evolving a black modern dance aesthetic.<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">Black dancers in the 1930’s and 40s could not study modern dance or ballet.<span style="mso-spacerun: yes;"> </span>There was a negative stereotype that black dancers and their bodies and any dances they performed was limited to Vaudeville and popular dance shows and musicals in films and any attempt to enter the realms of ballet and modern dance training would as the myth suggested black dancers would lose their natural spontaneity and naturalness as a dancer.<span style="mso-spacerun: yes;"> </span>However the Harlem Renaissance created an aesthetic manifesto that would change that view and act as a blueprint for black artists.<span style="mso-spacerun: yes;"> </span>Black dancers were not viewed in the mainstream and always seen as ethnic dancers whose performances were ‘barbaric, exotic and wild’.<span style="mso-spacerun: yes;"> </span>It is interesting to note that at the same time modern white dance pioneers such as Ruth St Denis who was inspired by and performed material with strong ethnic dance influences, were treated as modern dance icons and not referred to as ethnic dancers.<span style="mso-spacerun: yes;"> </span>It is within this backdrop that Katherine Dunham and other dance contemporaries <span style="mso-spacerun: yes;"> </span>performed the same material but unlike their white counterparts were treated differently within a positivist framework.<span style="mso-spacerun: yes;"> </span>To break down these barriers and create and define a black modern dance aesthetic Katherine Dunham through her work, teachings and research opened the doors and entered the mainstream of modern dance.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">Between the years 1937 – 1945 Katherine faced a conundrum whereby black concert dancers who staged themes of an Africanist nature were considered by white critics as ‘natural performers’ rather that as ‘creative artists’ and if black dancers staged works of a Eurocentric nature and bias they were chided or their work considered ‘derivative’ rather than as ‘original artists’.<span style="mso-spacerun: yes;"> </span>However for white modern dancers when making work referencing dances from another race namely black they were applauded as an accepted convention in modern dance of the 1930s or as Susan Manning (2001) describe “Metaphorical Minstrelsy”.<span style="mso-spacerun: yes;"> </span>The critic John Martin applauded Katherine Dunham’s reliance on the rich heritage of Negro dance but disparaged the integration of ballet into her inter-cultural movement vocabulary.<span style="mso-spacerun: yes;"> </span>America in that time could not make the connection to or understand the form and function of her dances she staged and represented the diaspora of African people across the globe and specifically in north and South America and the Caribbean. <o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">Katherine was a unique individual who contributed to the arts, was an anthropologist, choreographer, dancer and educator and humanist.<span style="mso-spacerun: yes;"> </span>With an interest in dance at a young age plus an interest in books and subject material about people and how they lived their cultural lives led her to studying for a degree in Anthropology. Whilst there she continued to study dance and was trained in ballet but was also interested to know about how people of Africa moved.<span style="mso-spacerun: yes;"> </span>She received a travelling Fellowship in 1936 to research and study dance in the West Indies.<span style="mso-spacerun: yes;"> </span>When asked what kind of research she had in mind: <o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">“She stood up in her tights and first did some movements of the type that were being taught in most schools ‘pretty steps and turns’ (Biemiller 1969 p88)....” She then demonstrated in African dance [what] she had choreographed earlier, that’s what I’m after.<span style="mso-spacerun: yes;"> </span>I want to find out why Africans dance, how they started,<span style="mso-spacerun: yes;"> </span>and what this kind of dancing does to people, the life they lead” Biemiller, (1969, p89) <o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">Theories that developed through her travels, documentation of dances of people from African descent in the Caribbean eventually led to the creation of what is now called the Dunham Technique. The technique is both physical and emotional and was as the result of Katherine’s years of observing, studying, assimilating, creating, understanding and living.<span style="mso-spacerun: yes;"> </span>Three theoretical models were evolved to create the technique and used as training and teaching model for her students and company.<span style="mso-spacerun: yes;"> </span>The three models are<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">1.</span><span style="font: 7pt 'Times New Roman';"> </span></span></span><span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">Form and Function<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">2.</span><span style="font: 7pt 'Times New Roman';"> </span></span></span><span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">Intercultural communication<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">3.</span><span style="font: 7pt 'Times New Roman';"> </span></span></span><span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">Socialisation through the arts<o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;">Form and function</span></b><span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"> – allowed for the understanding of the specifics of dance movement and why.<span style="mso-spacerun: yes;"> </span>She incorporated the principles of time, space, and dynamics and how the dance related to the overall cultural pattern of a dance and its particular relevance <o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;">Intercultural communication</span></b><span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;">. The technique allowed a person to understand a culture or many cultures through dance, and Katherine found that an understanding of different cultures takes place when one is immersed in the culture.<span style="mso-spacerun: yes;"> </span>Through experiencing other ways of living, especially through the dances, knowledge is acquired<o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;">Socialisation through the arts</span></b><span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;">. This model was a tool for training people not only as artists but as communicators. Albirda Rose writes: “Dunham believes that if given the opportunity a student can and will learn important information about him/herself through the art forms of his or her particular culture”<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">The above models formed what Dunham described as a ‘System’.<span style="mso-spacerun: yes;"> </span>This system allows students the opportunity to <span style="mso-spacerun: yes;"> </span>experience a way of life not only through the physical technical attributes of the technique itself but to set itself up as a framework for self-exploration and reflection.<o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;">Jennifer Muller’s</span></u></b><span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"> work and philosophy was influenced by a large variety of instructors, cultural and political environments and philosophy that inspired the development of her work and also technique.<span style="mso-spacerun: yes;"> </span>She went to the Julliard School where she studied Ballet and Modern dance with at modern dance pioneers of Pearl Lang, Anthony Tudor, and José Limón who she was eventually invited to join the company. She was also inspired by Anna Sokolow and took classes with Merce Cunningham.<span style="mso-spacerun: yes;"> </span>She is rooted in Eastern philosophy for its ebb and flow and <span style="mso-spacerun: yes;"> </span>energy – a lifeforce and is separate from a western perspective of philosophy.<span style="mso-spacerun: yes;"> </span>This philosophy underpinned a lot of her technique and she had a humanistic and strong recognition of difference and acceptance plus a need for making a working environment harmonious.<span style="mso-spacerun: yes;"> </span>Dance for Muller is a language and form of communication and presents works on stage that doesn’t represent historical characters preferring to work with individuals of the present.<span style="mso-spacerun: yes;"> </span>The body she says is something that through its energy is permanently connected to the environment.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">The conceptual basis of the Muller Technique is founded on three fundamental principles:<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">1.</span><span style="font: 7pt 'Times New Roman';"> </span></span></span><span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">Working with the flow of energy<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">2.</span><span style="font: 7pt 'Times New Roman';"> </span></span></span><span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">The power of imagination <o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: Calibri;">3.</span><span style="font: 7pt 'Times New Roman';"> </span></span></span><span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">Knowledge of the body’s physical structure<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">Her technique has an individual approach and designed to help dancers train with less tension and a desire that dancers are able to embody human emotions and movement.<span style="mso-spacerun: yes;"> </span>Her approach lends itself to a broader application by others who are studying other techniques and for performance.<span style="mso-spacerun: yes;"> </span>There are 7 approaches she uses and employs which are applicable to other forms of dance but the one which struck a chord with me was the imparting of fundamental social values, <span style="mso-spacerun: yes;"> </span>for example acknowledging the individual and respecting others thus enabling dancers to learn and grow in a supportive, motivated environment. This characterises the general atmosphere of a Muller technique class and can definitely draw parallels with Katherine Dunham’s ‘System’ and methodology. <o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">For both Katherine and Jennifer I got a <span style="mso-spacerun: yes;"> </span>sense of <span style="mso-spacerun: yes;"> </span>the power of <span style="mso-spacerun: yes;"> </span>embodying movement through ‘sensing’ and use of energy efficiently creating <span style="mso-spacerun: yes;"> </span>experiences <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>giving meaning a social significance <span style="mso-spacerun: yes;"> </span>to their work and themes that recognises difference, celebration of equality. The life force or energy of Jennifer Muller’s approach easily translates to Katherine’s staging <span style="mso-spacerun: yes;"> </span>of Africanist dance movement which although historical has a currency that is ever present and where critics talked about<span style="mso-spacerun: yes;"> </span>her work having a ‘constant element’ or ‘reason for being’.<span style="mso-spacerun: yes;"> </span>For me this constant and reason for being <span style="mso-spacerun: yes;"> </span>is an energy, an ebb and flow expressed through the body and movement.<span style="mso-spacerun: yes;"> </span>For me also it is endless possibility. <o:p></o:p></span></span></div>
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<span style="font-size: large;"><span style="color: #365f91;"><span style="font-family: Cambria;">Bibliography<w:sdtpr></w:sdtpr></span></span></span></h1>
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<span style="font-family: Calibri;">Clarke, V, Johnson S, <em>Kaiso! Writings by and about Katherine Dunham<w:sdtpr></w:sdtpr></em></span></div>
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<span style="font-family: Calibri;">Diehl I, Lampert F, 2010, <em>Dance Techniques 2010 Tanzplan, Germany</em></span></div>
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<span style="font-family: Calibri;">Osumare, Halifu, 1989 <em>A National Dialogue Black Choreographers<span style="mso-spacerun: yes;"> </span>Moving towards the 21<sup>st</sup> Century</em></span></div>
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<span style="font-family: Calibri;">Rose, Albirda, 1990 <em>Dunham Technique “A way of Life”</em></span></div>
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Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com0tag:blogger.com,1999:blog-2758059042866245987.post-63652853930709473412013-03-28T18:22:00.000-07:002013-03-28T18:22:01.397-07:00A Pause for thought....<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">A Pause for thought ...about aesthetics</span></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">I was reading today about the work of the founder of Urban Bush Women – Jawole Willa Jo Zolla and her processes<span style="mso-spacerun: yes;"> </span>for <span style="mso-spacerun: yes;"> </span>how she creates <span style="mso-spacerun: yes;"> </span>work and the many influences that led her to evolve her aesthetic and how it informs her work.<span style="mso-spacerun: yes;"> </span>It was a self study which charted her background, training, cultural influences that eventually evolved a process of self reflection collaborations with the aim of making dance theatre that is impactful and be a catalyst for social change.<span style="mso-spacerun: yes;"> </span>It was interesting reading because in the back of my mind I was asking where on the spectrum or continuum was there a positivist or non-positivist stance – there was a fluidity that moved from one to the other.<span style="mso-spacerun: yes;"> </span>There were so many influences which involved, live music and the jazz improvisational aesthetic in modern dance, personal histories and narrative, theatre. <span style="mso-spacerun: yes;"> </span>She studied with Kei Takei and begun to understand the necessity for training people to move naturally.<span style="mso-spacerun: yes;"> </span>She said that some people were natural dancers but that many good dancers had to be trained to find natural movement impulses <span style="mso-spacerun: yes;"> </span>– a kind of embodiment of experiences of natural the impulses and knowledge of the body to express and perform. <span style="mso-spacerun: yes;"> </span>I was intrigued by her interest of Folk Art as a visual medium that informed her process and how life experiences were expressed through that medium mostly by African American folk from an older generation who begin to use this visual medium the majority of cases for the first time when they are 60 years and over even though experiences in this visual medium meant that they were not formally trained. For Jawole, the training was in the histories and stories of their lives which were rich, dense and impactful and came through powerfully in their work. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Their experiences embodied the work and she drew on those experiences.<span style="mso-spacerun: yes;"> </span>When working with dancers, Jawole <span style="mso-spacerun: yes;"> </span>worked with older dancers over 30 years old which in her opinion was<span style="mso-spacerun: yes;"> </span>a prime time for performing and with the theory of embodied experiences brought interesting nuances to their performances.<o:p></o:p></span></span></div>
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<span style="font-family: Calibri;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Two thoughts come to mind as I reflect on Jawole Willa and the evolution of her processes: the recognition of the body as a site for knowledge in other words the corporal body </span><span style="mso-bidi-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman';">which acts as site of embodied knowledge.<span style="mso-spacerun: yes;"> </span>I came across a paper about information modalities which acknowledges the use of corporeality as a form of information literacy with equal weight to a cognitive perspective whereby the mind was the key recipient of information and found an interesting parallel to dance and movement and the process of learning through the body by the use of corporeality as outlined by </span><span style="background: white; color: black;">Dr Annemaree Lloyd</span> (2010)</span></div>
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<span style="mso-bidi-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman';"><span style="font-family: Calibri;">In respect to information literacy practice, corporeality is the source of embodied and situated knowledges, which cannot be expressly articulated through the written word, but is grounded in the physical actions and nuances of members who participate in the practices of a particular social site. <o:p></o:p></span></span></div>
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<span style="mso-bidi-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman';"><span style="font-family: Calibri;">Bodies make information and the meaning that we make of information visible, and therefore make a 'shared understanding of the world possible' (</span></span><a href="http://informationr.net/ir/15-3/colis7/colis704.html#jr05"><span style="color: blue; mso-bidi-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman';"><span style="font-family: Calibri;">Rambusch and Ziemke 2005</span></span></a><span style="mso-bidi-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman';"><span style="font-family: Calibri;">: 1807). The materiality of practice is inscribed on our bodies, revealing our association with place, our identity, and our practical understandings. In turn bodies are accessed and <i>read</i> as information sources by co-participants who actively interrogate the bodies of others in practice in order gain access to embodied knowledge. Through our bodies we are able to demonstrate our practical knowledge and nuanced understanding which enable the communities to which we connect, to recognize our alignment and commitment. <o:p></o:p></span></span></div>
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<span style="mso-bidi-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman';"><span style="font-family: Calibri;">Lloyd, A. (2010). "Corporeality and practice theory: exploring emerging research agendas for information literacy" <i>Information Research</i>, <b>15</b>(3) colis794. [Available at <a href="http://informationr.net/ir/15-3/colis7/colis704.html">http://InformationR.net/ir/15-3/colis7/colis704.html</a>]</span></span></div>
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<span style="mso-bidi-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman';"><span style="font-family: Calibri;">I had an aha moment when I thought about <span style="mso-spacerun: yes;"> </span>her process of folk art and how it was used to draw out movement material through the canvas of life as expressed by elderly African American folk and how they allowed their bodies through training and experiences in life to offer <span style="mso-spacerun: yes;"> </span>access to memory and knowledge.<span style="mso-spacerun: yes;"> </span>It also points me into the direction of Merleau-Ponty who talked about sensing and perception and the emphasis of the body as a primary site of knowing the world.<span style="mso-spacerun: yes;"> </span>I was also interested in Jawole’s use of older dancers to perform her work who I assume would have <span style="mso-spacerun: yes;"> </span>had a bank of life experiences that would contribute to her work.<span style="mso-spacerun: yes;"> </span>It got me thinking about young people and their experiences when learning and performing – even though young some young people I have come into contact with may have had an intense bank of experiences in their embodied lives to draw on albeit in a shorter time frame which would be just as valid as that of an older dancer.<span style="mso-spacerun: yes;"> </span>I don’t doubt the journey that they are on but I would look at the quality of experience and how it enriches their lives which can be just as powerful and if I am a good teacher/ mentor could offer to bring that out if they would allow me to.<span style="mso-spacerun: yes;"> </span>Would the work of Urban Bush Women therefore be alien to the experiences and understanding of young people? Would they not understand because being young they would not have a connection to her work?<span style="mso-spacerun: yes;"> </span>- just a thought.<span style="mso-spacerun: yes;"> </span>Mind you as I reflect this article about Jawole Willa was written some time ago and it would be good to see how much has changed and evolved. This also goes into the ethical aesthetic and contacts Jawole makes with her dancers with embodied experiences and also that of the audience who would view her work. A lot of the work is a collective embodied experience and therefore from a contractual stance.<span style="mso-spacerun: yes;"> </span>I wonder whether Jawola Willa <span style="mso-spacerun: yes;"> </span>like in Adesola’s PhD extract about Twyla Tharp entered a contract of code of aesthetic ethics with her audience as spectator and her role <span style="mso-spacerun: yes;"> </span>as artist and practical researcher when presenting her work. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>As a collaborative process a lot of the decision making process in Urban Bush Women is determined by the people it will affect.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com0tag:blogger.com,1999:blog-2758059042866245987.post-17678996561978046952013-03-21T03:21:00.000-07:002013-03-21T03:21:17.424-07:00Fluctuations and Ethics<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">I had an eventful week a couple of weeks ago which threw up<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>issues to reflect and ask 1) what am I going to investigate in this module 2 inquiry 2) looking at ethical dilemmas resulting from my very eventful and thought provoking week and lastly 3) the variability of my work pattern and how it might affect my ultimate research project if permission is granted.<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">I’ve been fluctuating between the lines of inquiry I am interested in pursuing and trying to find meaning.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Its interesting how with the ideas I perceive <span style="mso-spacerun: yes;"> </span>in my mind are clear until I test them and realise how much I need to return back to the drawing board and start again.<span style="mso-spacerun: yes;"> </span>What challenges my ideas has been influenced by outside considerations that I had not anticipated and also when reading a range and variety of texts and I have come into contact with. I suppose that is what this journey is all about to test ideas and not fix them as yet.<span style="mso-spacerun: yes;"> </span>I suppose I am illustrating a non-positivist stance in that my reality is not entirely fixed at this point but I do have a broad outline of what it is I would like to investigate.<span style="mso-spacerun: yes;"> </span>Perhaps also I am hung up on the level of detail needed.<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">I am still interested in investigating a codified system of dance (Horton) seen through the lens of an embodied experience – and this has been constant for me in what it is I wish to create – that is fixed in a way but how it ends up will be determined by the type of framework I create. <span style="mso-spacerun: yes;"> </span>However I have been faced with whether through creating this inquiry would it be relevant to what it is I want to find out ( do I know the answer already?) where do I intend to go with it? and who will this investigation ultimately serve or benefit?<span style="mso-spacerun: yes;"> </span>As I reflect on this Alan’s blog from last week about remembering versus experience made me reflect back to my past training experiences in New York at the Ailey school to ask myself whether my experiences were constructed experiences when training in the formative time of my career and was it fit for purpose. What do I remember going through the rigorous training and how it resonated with my body, my identity physically, mentally, culturally – my sense of self.<span style="mso-spacerun: yes;"> </span>Did I only remember the good parts and blot out the negative experiences?<span style="mso-spacerun: yes;"> </span>Do I remember anything I constructed in those experiences? Well in my mind yes but fuzzy – however my body remembers the training which became part of my DNA.<span style="mso-spacerun: yes;"> </span>I say that because after having my last child many <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>years after leaving Ailey and my body was not quite back to peak <span style="mso-spacerun: yes;"> </span>dancer mode I took a Horton class and was petrified that I would not remember a thing or whether I would cope: the warm up series and fortifications.<span style="mso-spacerun: yes;"> </span>I need not have worried.<span style="mso-spacerun: yes;"> </span>My body knowledge took over and it was as though I hadn’t left the Ailey school at all. The experiences came flooding back – as if my body said ‘where... have you been for so long!?’ So an embodiment was present and occurred but my inquiry would be to look at the root of that and go through a process of physical analysis of remembering how I remembered.<span style="mso-spacerun: yes;"> </span>The codification of the exercises and movement studies of Horton are very structured and anatomical but within that there was a freedom and in body memory terms of allowing and trusting my body’s memory to learn and absorb and understand.<span style="mso-spacerun: yes;"> </span>With this body memory I want to get back to the source of it and by doing so make it adaptable and palatable for young people to learn and benefit from the beauty of the form. As it stands I do not teach it in its purest form simply because some of my students who do not have a large movement vocabulary would find it a huge challenge, so I have to adapt it to their preferred learning style and from there when there is sufficient body knowledge – offer more challenging studies. By constructing these experiences I in essence am creating them.<span style="mso-spacerun: yes;"> </span>Although I still can’t remember who coined the phrase “you are who/what you think about....” I still draw comfort from it when I hear and express it. <span style="mso-spacerun: yes;"> </span>So in essence I am constructing my reality and experiences based on my own belief system – which is okay.<span style="mso-spacerun: yes;"> </span>The legacy of that belief has resulted in a vocabulary of dance ideas, experiences and remembering. <o:p></o:p></span></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="font-family: Calibri;">So, in finding what my sense of self is and quest for defining this inquiry I am paused by the assumption that what is right for me might not be right for my research subjects – in this case the young people I teach.<span style="mso-spacerun: yes;"> </span>This leads to an ethical issue of whether what I am excited about and want to do in research terms would be fit for purpose and relevant to/for them.<span style="mso-spacerun: yes;"> </span>Do they care after all and if so how do I frame any lines of inquiry, questions, dialogues, pilots or observational studies that would ensure their buy-in to take part in my research. How do I create research tools when faced with some young people with a host of issues which might challenge the integrity of the research?<span style="mso-spacerun: yes;"> </span>The simple answer is find another group but for me it is not so easy due the freelance nature of my work which sometimes result in a longer term relationship during an academic year ( may be asked back next academic year or not) or in a lot of cases covering other teachers classes.<span style="mso-spacerun: yes;"> </span>This scenario might affect the research methods I use and not give enough depth to the inquiry possibly. I am facing a dilemma of how to phrase the types of questions or what my research tools will be to frame this inquiry especially when I have to factor in and peel off layers of social and environmental concerns.<span style="mso-spacerun: yes;"> </span>Perhaps this is the beauty of the challenge to investigate and see what happens and during the process make the inquiry bespoke to them as subjects and hope that they are in a state of readiness to subscribe to and take part in the inquiry.<span style="mso-spacerun: yes;"> </span>A friend recently advised in response to my dilemma that they(young people) are on a journey of which they must travel and go through a range of situations <span style="mso-spacerun: yes;"> </span>and emotions some of them more life changing than others and that my entry into their lives as their teacher at the crossroads with my inquiry is part of their journey and mine of developing experiences, learning and memory.<span style="mso-spacerun: yes;"> </span>A code of ethics spring to mind by creating a structure or set of guidelines that will protect me as the researcher and my responses to the range of challenges that the project might throw up as well as the ethical considerations of the young people involved. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="font-family: Calibri;"><span style="mso-spacerun: yes;"> </span>Another consideration around the ethics issue and codes of conduct has come to mind.<span style="mso-spacerun: yes;"> </span>As a freelancer my work is dependant on funding which at times is erratic, sometimes last minute , and also dependant on the school’s scheduling. <span style="mso-spacerun: yes;"> </span>Plus I am not always in the same school or organisational setting for long periods of time as it might be a one-off covering role.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>It places me in a slightly vulnerable position as far as drawing up a personal code of practice for my <span style="mso-spacerun: yes;"> </span>nquiry and who do I present it to. <span style="mso-spacerun: yes;"> </span>Do I present it to all of the schools I come into contact with? Or my main employer which in this case is the RAD as a freelance tutor.<span style="mso-spacerun: yes;"> </span>My only worry is that as my employer they may have the right to change the focus of my inquiry if they have some issue with it – I have to check it out.<span style="mso-spacerun: yes;"> </span>I do take comfort <span style="mso-spacerun: yes;"> </span>in what <span style="mso-spacerun: yes;"> </span>Judith Bell (2010) in “Doing Your Research Project” (5<sup>th</sup> edition) advises <span style="mso-spacerun: yes;"> </span>that as long as I have done as much as I can do to satisfy myself that my inquiry is done and conducted in<span style="mso-spacerun: yes;"> </span>a way that complies with my own ethical principles, <span style="mso-spacerun: yes;"> </span>a bespoke approach can be adopted.<span style="mso-spacerun: yes;"> </span>She describes a postgraduate student who worked as a teacher in a school and did a piece of in-house research in the school where he taught.<span style="mso-spacerun: yes;"> </span>His approach was a bespoke personal code of practice which made clear the conditions and practices to ensure his own and the school’s integrity of the research. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>I am sure that it was not without its problems but as a framework it is something worth exploring and food for thought.<span style="mso-spacerun: yes;"> </span>I think I’ll bake a cake now!<o:p></o:p></span></span></div>
Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com1tag:blogger.com,1999:blog-2758059042866245987.post-36973804933541335022013-03-04T03:14:00.001-08:002013-03-04T03:14:22.366-08:00I need a little time to think it over...!<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: Calibri;">I wanted to respond to Helen’s blog and post but for some reason (probably my techno phobic fear of technology) I couldn’t respond to the posting – everytime I hit ‘publish’ or 'reply' a message popped up refusing to let me publish – I must be doing something wrong - <span style="mso-spacerun: yes;"> </span>so instead I am via my page replying and making it public. </span></div>
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<span style="font-family: Calibri;">Thanks for the posting Helen about time and opportunity to share.<span style="mso-spacerun: yes;"> </span>It is timely and very interesting because for the last few weeks I have been consumed by, and pre-occupied, with time and my perceived lack of it and by my own admission have been a spectator recently due to my understanding of how to manage my time- <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>the challenges and issues and pressures that it throws up (life, teaching, etc) and how I have managed to deal with it. I have been feeling a little paralyzed by time and I agree that I am responsible for how I manage and shape my experiences in time - now from that spectator stance I am entering a phase where I wish to move through this paralysis and by reflecting and in the context of this current module (2) how I react to the world as I see and experience it.<span style="mso-spacerun: yes;"> </span>As I read your blog and comments it <span style="mso-spacerun: yes;"> </span>threw up the notion of whether<span style="mso-spacerun: yes;"> </span>time for me is too linear or not and that it is simply there and any measure to denote <span style="mso-spacerun: yes;"> </span>time is when we see <span style="mso-spacerun: yes;"> </span>change be it physically ( as we grow and evolve) , cognitively, emotionally, cyclical. I’ve tended to rush and panic that I have a small window of opportunity to affect change or not enough time, be it the simplest of things <span style="mso-spacerun: yes;"> </span>or find myself trying to catch up with other notions of time (e.g. rushing to get the bus, listening to regular news bulletins on the radio,<span style="mso-spacerun: yes;"> </span>making sure that the children have done their homework, or making sure that the students in my class understand or learn a routine or exercise on time before we can all collectively move on to the next dance routine in a small window of time. I've been reflecting on this for a little while and as soon as I get to a point where I wish to affect some kind of change in time, something happens which challenges my concept and ability to engage and get stuck in time.<span style="mso-spacerun: yes;"> </span>Also I have by reading all of the lively discussions both on the blogs and LinkedIn postings I have been trying to find a time entry to enter the debate.<span style="mso-spacerun: yes;"> </span>What has been stopping me is a paralysis of time because I feel that I will have needed to have reflected on it for some time so that I can articulate a sensible response from an embodiment perspective.<span style="mso-spacerun: yes;"> </span>In terms of where I stand in all of this I feel that in earlier years I have had influences which have been formative and shaping of my learning journey but now am entering a phase where whereby I have the responsibility to change and affect change and the time is mine to make it happen without waiting for the permissions or approvals of others.</span></div>
Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com5tag:blogger.com,1999:blog-2758059042866245987.post-49480489431446458162013-02-08T05:03:00.000-08:002013-02-08T05:03:33.796-08:00Friday Musings<span style="font-family: Calibri;">
<span style="font-family: Times New Roman;">Hello to all my fellow MAPPers and hurrah to the Module Ones who finally made it! It was a shame that I wasn't able to meet you all in person at the induction last week - I love the feeling of being embodied, present and connected to people on the course and would have enjoyed very much <span style="mso-spacerun: yes;"> </span>the flow of discussions. However this is a good forum and its great to read some of the musings of those of us who are about to embark on Module Two. I have been musing and reflecting on the hand book too which was great and I am glad that I have done so (still a little bit to finish reading the handbook as I'm taking my time to digest it). I admit that before Module Two I wanted to have a sneak preview online but forced myself not too because a) I would have freaked myself out with the amount of work to do and b) I wanted to wait for the hardcopy that I could carry with me in my bag and read at intervals c) I didn't want to preempt the research tools and body of work to do around it with a project idea already developed that would not fit. </span><br />
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<span style="font-family: Times New Roman;">I realise now after reading the handbook that I hade some preconceived notions and ideas for how to proceed with module two but have been stalled which is a good thing and my thoughts and feelings now have changed around how to approach it. In a way by having a ready made research project idea would have limited effect of the outcome for my idea and my thoughts now are asking myself what it is I would really like to delve into – what is my real inquiry especially with this new epistemology of experience highlighted in the handbook and my own understanding and interpretation of it all.</span><br />
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<span style="font-family: Times New Roman;">Admittedly I took some deep breaths and found myself commenting whilst reading that for every new idea and theory around ‘dualism’, ‘moneism’ and the different bodies of knowledge and experiences etc I read I would need to delve even further to establish a personal standpoint. What the handbook presented was a very thin layer of an otherwise dense and multifaceted area of research to explore. In some ways I embrace it but without feeling overwhelmed!<span style="mso-spacerun: yes;"> </span>For me to think about this new approach would be to look at the research ideas as there are lots of different approaches and ways of seeing and knowing much in the same way as looking at a coin say for example a 50 pence piece but viewing it from different sides.<span style="mso-spacerun: yes;"> </span>The coin is still pretty much the same but from the viewpoint of many different sides that make up a 50p piece.</span><br />
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<span style="font-family: Times, "Times New Roman", serif;">Well I had better crack on with the reading! Have a good Friday!</span></div>
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Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com0tag:blogger.com,1999:blog-2758059042866245987.post-31759715945527434492012-11-10T04:18:00.003-08:002012-11-10T04:18:56.934-08:00Draft RoL titlesI woke up this moring feeling a lot of tension physically despite having a reasonable amount of sleep last night. I was really flat and bad-tempered. The feelings were a sense of feeling 'lack' and and not being able to move forward in a more positive light. To change that feeling I had to have a change in perspective to unblock this feeling so did some stretching. I felt a lot blockage in energy terms and I wanted a way to release physically to clear my head and dispel the negative chatter about feeling so tense and hopeless. Underneath the surface there was a lot to express but didn't know how. I needed to develop my vocabulary in physical as wel as writing terms and understand!.<br />
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Thinking about and writing my first draft RoL is by my own definition painful and extremely uncomfortable. I've been feeling quite blocked about it in my head and surprisingly (or not) in my body physically. A sort of resistance to change or stage fright to commit to paper my thoughts and words about areas of learning in my life that has led me to make choices and has meaning. I think it is about learning a new vocabluary from dancing to writing which I am struggling with and how to critically assess it. I read a short while ago Adesola's blog about 'drafts' posted months ago (March 2012) where she said that the process of writing is learning and she relates it to learning a new dance sequence and what our minds and body goes through in the actual process of learning a new step: putting the steps in some kind of logical sequence so that we know how to process the new information: how you organise the steps (in your mind and how to translate it in movement terms) and for me who learns kineaesthetically how my muscle memorises steps and where I am in the space create signposts or triggers for learning something new in my body. If the vocabulary is unfamilier I try to find a new way of understanding this new dance language in terms of what the sequence actually is and seeing if there is another angel to approach learning it (i.e. do I look at the whole phrase and or do I look at a particular detail or is the accompanying music/rhythmn a factor in learning for me?). I also found out that I get afraid of doing the step 'wrong' and if by doing it wrong I have failed. By contrast when I teach my young students a new exercise or dance sequence I always tell them there is no right or wrong way, its all about learning! So the question to myself is why can't I apply that mantra to myself?<br />
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Anyway back to the draft titles. Despite the painful and uncomfortable feeling of attempting to write, I've been collating evidence to support the claim and found an old box of evidence (books, documents etc). The more I read the more I felt queasey, and the more I uncovered about myself and how I learn, the more I am frightened or amazed but how to write it all down! There was also the quesion about now that I have the information to hand what do I focs on - it really felt like peeling an onion - layers and layers but what layer to focus on? I've also been writing some notes as a way to find a beginning and organise what to focus on. The notes were unconnected and depicted the mess of my mind what it was trying to process. On a recent bus journey into town to do some errands I had this rumble of thoughts in my mind and whilst the rhytymn of the bus drew my attention away from the jumble of my mind a thought popped into my head and asked the question "Apart from the experiences of the past to document and describe your learning experience...what was the process of learning for you? what are you trying to say? what did you learn? what is the question asking of you?' I decided when I got back home later to write at length whatever came into my mind and the writing became a series of streams of consciousness whether connected or not around the topic I wish to write. It was good because for a start I am beginning to organise and clear out the rubble and what's left hopefully will answer the question. Hopefully the draft title will evolve more fully. That's the stage I'm at and later I will revisit what I wrote and organise it. The bottom line for me is my fear of writing and the act of writing and learning a new vocabulary or style will help me to address my fear. By facing my fear and going through the uncomfortable feeling I hope will give me courage to write some more. It made me also think about teaching - in order to be a good teacher I have to go through a process of some bad teaching to find out and learn from the experiences to eventually become competent and good at what I do. Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com7tag:blogger.com,1999:blog-2758059042866245987.post-81271883196175236072012-10-23T03:35:00.000-07:002012-10-23T03:35:36.858-07:00RoL and developing areas of learningFor the last few days I've been mulling over the Review of Learning handbook and also the introductory handbook that accompanies it. Lots of things have been flying in and out of my head as to how I'm going to navigate this and importantly apply MA critical thinking skills. There are so many areas to cover in the handbook that I panicked myself unnecessarily . For many years I've viewed my life as one long Bachelor of Arts degree in Life through a plethora of experiences but have I actually learnt anything through experiences and choices I've made? Have I moved on or stayed the same? I'm sure I have but how to capture them and make meaning through writing and analysing. With these thoughts in mind I've been trying to unlock my review and learning and ask what that really means for me. Is it about looking at a small area of my life and finding out the learning and knowledge potential gained and how it has impacted on me now and how deeper should I then go? I always had this slight fear of going in too deep in case I find something that I didn't like about myself or otherwise and can't come back - a bit like jumping off a cliff - there's no other choice but to go down - fall deeper from a great height of experience and get to the heart of what it is I want to find out. My learning is something like and investigation by detection following a line of enquiry solving a <span style="background-color: white;"><span style="color: black;">mystery -</span></span> to get to the truth? of me?<br />
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For the areas of development and identifying the titles emanating from my CV I realised that in order for me to understand more clearly how to investigate and look more closely I draw on an area I like to do which engages a sense of learning and investigation particularly if some concepts are a little complex to understand. The area for me is cooking. For me there is something about experimenting and playing with different textures of food, smells, flavours, tastes that when combined helps me understand how to learn something and engage my sense of learning. Cooking for me like dancing creates a meaningful experience I like to combine flavours and textures and cooking processes see what change has occurred, or how a raw ingredient changes its meaning and purpose! It might not mean much to other fellow MAPPers but my aha! moment is looking at each of my area of learning from my CV and in each area analise the ingredients, cook it and see what has occurred or in the case of a stew I made last week, reduce it down and see what's left!Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com4tag:blogger.com,1999:blog-2758059042866245987.post-39551197915222882482012-10-06T16:02:00.001-07:002012-10-06T16:04:19.923-07:00My First Blog and thoughts about my Induction day Finally posting my first thoughts on this post. Navigating my way around this new way of learning, reflecting and writing is dragging me finally into the 21st Century! <br />
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It was really good to meet up with staff and the new cohort for the first year of the MAPP programme. I liked the interaction very much as it was relaxed and informative and the debates coming out of our diverse experiences to date yet common themes emerging gave me a really good sense of what's to come. How I am going to navigate this learning journey I honestly don't know. I imagine that I have a good idea but I am sure it will be challenged on all fronts and perhaps change along the way. <br />
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As a first exercise to get blogging it was certainly a journey for me to set this up and I think I'll get there in the end! I am quite intimitated by technology and jokingly would rather communicate via pigeon or in person! I am always amazed that I have to consult my son on all things technological and especially when it involves the use of a computer and all things social media via the web. As a parent I was and still am his educator for many years and now he is my educator especially in this technologically fast paced environment. I think he'll be proud of me especially since I didn't have to call him for a tutorial of how to set this up! May the learning begin!<br />
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Anonymoushttp://www.blogger.com/profile/09415466835484112968noreply@blogger.com1