Planning my inquiry questions and 'Creative cognition in choreography'

The greatest weakness I have in planning my inquiry at present is the plannig of the actual questions themselves.   I looked to literature to define exactly what I wanted to know from the creative 'process' of the choreographers I will interview.   I will combine a few resources to dfine my questions.   Included will be citation the neuroaethestics in dance study and the Calvo-Merino finding of the 'mirror' neurons and how long they proposed it took for mirror neurons to take action in watching dance.  I will also include questions on working with 'novice' dancers, and professionals and whether the interviewee has a different process for different groups.   These questions are inspired from my own experiences choroegraphing, and also upon reading 'thinking in action made visible in contemporary dance' as discussed in a previous blog.

I found this study 'Creative cognition in choroegraphy' by David Kirsh http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.258.5819&rep=rep1&type=pdf also gave me some valuable direction in the questions I will ask.

Kirsh explains different tools the choroegrapher in his study uses to implement creativity and prolong a creative process rather than accepting the first good idea.  He speaks of 'non-propositional embodied cognition'.   This is like using a metaphor to create an idea; utilising the senses or emotions. For example 'slither like a snake' - engaging imagery, or 'feel the ground like sand under your feet' engaging the sense of touch.

'Because our senses encode different aspects of the world each is informative, and contains bits of information the others do not. Hence each sensory system supports different priming pathways. Events that seem ‘natural’ or obvious in one sensory system may seem unnatural or completely unobvious in another. '

Kirsch describes another process as 'distributed creativity'.  This is the idea of dancers interacting to create movement.   My interpretation of this is dancers collaborating in ideas.   this could come from verbal discussion or in utilising other senses.   For example dancers reacting from one anothers touch, or imagery or emotion.

This study has helped me to define my inquiry questions and also helped me understand the intricate processes used to observe movement for quantitive research rather than qualitative.   Although I do not have the skills or time to instruct a ehtnograph sudy of movement to inform my observation, it is interesting to understand the process.

The merits and limitations of differing research tools (6B)

'Using several tools of inquiry to examine the same issue is called ‘triangulation’. This approach allows the comparison of data and the presentation of more cohesive and considered research findings in social research (Bell, 2005)'.

I propose that my inquiry will be a mix of research tools.   I will interview dance practitioners about their experiences and creative process working with mixed groups.  Meanwhile I will be keeping a journal on the insider research I will be experiencing as at the same time I will be commencing rehearsals with a group of mixed dancers for a show.  With this method I will be able to reflect on the experience and practicality of the interviewees, while also practicing some of their techniques in my own rehearsals.  Of course I must be careful to not cross the line of this practice in action turning into an experiment, so will act with circumspection;  analysing my own research journal must be as reflexive as possible.   Acknowledging my own biases is essential, as they will have become default in my own teaching method.

Interviews

I project to use a semi-structured interview process with my participants. This is for the descriptive nature of an interview, also descibed as qualitative research.  'Qualitative approaches are more explanatory and exploratory in nature, basing inquiries on elements like development, operations, or relative comparisons (Mason, 2002).

The process will be 'purposive' as the questions asked will be answerable by practitioners in the field of choreography / community dance.  Although I will start with a guide and ask all the participants the same questions,  I want the flexibility for participants to answer wholly;  if we get on to an interesting subject I want them to feel comfortable enough for their explanantions to be comrehensive.    Afterall the inquiry is a discovery for me and an invaluable opportunity to find out how other choreographers work.  However, in asking the same questions to everyone I will be enabled to compare similarities and differences.  Are there trends in how choreographers begin their creative process?   Are the patterns in the shortfalls of working with non dancers?  Or there patterns in the correlation between the scientifically 'proven' scenarios of learning dance that I will present to the practitioners, and their own experiences?

The downfalls of interviews are largely based on my own subjectivity.   I must be aware of my biases in the questions I ask.   For example terms such as 'professional' or 'novice', could create tension as not all practitioners will have the same definition for these terms.   The interview will be anonymous.  The reason for this is I wish to include some quotes I have found in my reading on neuroaesthetics and dance and see if their experiences are synonymous with the scientific findings.   Professionals may  not want to openly disagree with a research project, so I want them to feel free to answer honestly.

On researching further the implications of interviewing as my primary tool, I looked at the issue of power in the interview as discussed in 'Doing work based research' Costley, Elliott and Gibbs (2010). They quote 'Although the qualitative interview is often considered emancipatory, it is not without power issues. For instance, although friendship, trust and empathy may facilitate the interview, its main purpose may be to glean unguarded confidences. Wray-Bliss (2003)'.  

I found this table (Costley, Elliott, Gibbs 2010) of significance of my awareness of the power of interviewing someone.   We must be aware not to exert conscious or unconscious power on the interviewee.   The problems that may occur for me from power imbalance could be that interviewees feel pressured to answer on their creative process which they infact wish to keep private.   Or, conversely they feel they have power over the interview as they come froma  place of authority.  there are many factors that could relate to a power imbalance; experience, age, stature. etc.

Table 4.2 
Key power dynamics and forms of relationship in research interviews 

The interviewer rules the interview 
The interview becomes a one-directional questioning event. The research often determines the time, place and topics, poses the questions, critically follows up the answers and then closes the conversation. 
The interview is a one-way dialogue 
The roles are clear, the interviewer asks the questions and the interviewee answers them. To challenge the authority of the interviewer in the process of the interview may even be considered impolite. 
The interview is an instrumental dialogue 
The interview is never intended to be a dialogue with the interviewee, but is clearly a means to an end for the interviewer. The interview is an instrument for providing the narratives and texts needed for research goals and interests. 

The interview may be a manipulative dialogue 
The interview may have a hidden agenda for the researcher, one that they do not wish the interviewees to know about, as they might frame their answers accordingly. 

The research interview may follow a more or less hidden agenda 
The interviewer may want to obtain information without the subject knowing what they are after. 

The interview as monopoly on interpretation 
Differing from true dialogue, where an interpretation can be developed through engagement with the purpose of fi n ding such an interpretation, interpretation in social research is usually the researchers’ privilege. They are the ones who assign to the research what the interviewee really meant and frame it in their own theoretical scheme. The power asymmetry may not be one-sided. 

Consider the following situations: 

Counter-control
 Interviewees may opt not to answer questions or to deflect them. They may seek to go beyond the proffered relationship and try to turn the interview into a counselling session, or they may even withdraw from the interview. The different counter-strategies depend on the context and the type of interview subject. 

Membership research 
The interview transcript and the interviewer’s interpretation can be given back to the interviewee for checking. However, there may be real issues directly related to the value of the interviewee’s interpretation in this approach. The interviewee might not accept any critical or sensitive interpretation and there may be issues of the interviewee’s competence to understand any theoretical issues which arose. Indeed, Kvale (2006) argues that few researchers let their subjects have the final say on the interpretation made and what goes into a report. 

Focus groups

Hypothetically, the success of my interview process is based in the reflexivity of my participants and of myself.   I need to be true to the aim of my inquiry, in exploring creative processes and the participants should answer with unbiased self reflection.   I believe that using a focus group is not practical for this.  Professionals in the same networks may feel uncomfortable explaining their work in front of peers and there is not the time to create an environment where individuals are comfortable enough to express themselves.  Also, on a literal level I will be interviewing people in other countries.
I appreciate however the benefits of a focus groups over interviews in different settings.  For example, given the time and skills to create a confidential setting a focus group could be beneficial for children. They may express themselves more easily discussing a topic with their peers rather than with an adult.  However, I feel that this approach borders more on a social experiment framework rather than a work based inquiry.

Surveys and questionnaires

Surveys and questionnaires are of course beneficial for quantitive research, whereby the content can be grouped into answers and compared numerically.   Although there are intricate graphs that can be used to compare qualitative answers in a quantitive way (by looking at patterns in answers etc.)  I feel that my methodology will be qualitative in it's entirety, as I hope to have more descriptive answers that I can analyse afterwards.

Observations

Prospectively, I will use the patterns that emerge from analysing choreographers creative process and implement them in my own work.  Therefore there will be a process of reflexivity in the observations I will make of my own rehearsals.  I found this guidance in 'Analysing qualitative research in psychology' helpful in determining how I will observe and analyse my own work. 'Procedures central to the grounded theory method such as constant comparison and the writing of memos promote a critical awareness of the role of the researcher and their cognitive processes. The recognition of one’s theoretical and disciplinary background should be attempted before undertaking data collection to ensure that the research agenda is open to new insights from the participants.'  (E. Lyons And A. Coyle, 2007).

In keeping an audio visual diary of the rehearsals I will subsequently be able to make notes to be analysed afterwards.   It is necessary to gain consent from the dancers in the rehearsals, but primarily I will not commenting on their behaviour, but how the influence to my process from the interviews thereafter made a difference to my own practice.  The generalisation of this is how my process will in turn change the choreographic piece and dancers experience.  As the observation will be in the natural setting of my own classes, but at a studio owned by someone else I will need permission from them as the gatekeeper.

'Analysing Qualitative Data in Psychology' Evanthia Lyons And Adrian Coyle. 2007 Sage Publications Ltd

'Doing work based research' Costley, Elliott and Gibbs 2010.  Sage Publications

Reader 6, Module 2.  Middlesex university 2014

Talking about Ethics through Dance. DV8 Physical Theatre | Can We Talk About This? : Ann Cryer

DV8 are one of my favourite companies for their intrepid portrayal of 'sensitive' or uncomfortable issues.  'Can we talk about this?' represents the power we have communicating through movement.   An example of ethical issues portrayed in dance, rather than about it.

5C: Understanding Ethics and ethical connotations of the inquiry

Ethics; personal, professional and universal.   What are the ethical connotations of planning my inquiry?

Planning my interview for dance practitioners poses many normative questions.  

"What is a professional dancer?"  Can I use 'professional' as a term as many practitioners would pose the question, are we only a professional if we are trained / paid?  This is a term I used freely when explaining my plan with Adesola, and as a choreographer and researcher herself she pointed out the difficulties I would face using this expression.

"The problematic positioning of dance as a sub-discipline in physical education or theater." As eloquently described by Doug Risner in 'Equity in Dance Education where are we now?' (2006), I often feel that the general opinion of dance is that it is given less credibility as an art than for example drama or fine art.   For example, when I was growing up drama was offered throughout secondary education as a core subject, but we had dance as a sub sector of PE taught one term a year. 

However the interesting normative question that comes from this topic is "is dance as important in education as academic subjects?"  For an answer to this we must look closely at the individual to know if dance is important to their learning.  in the respect I am looking at the problem from a virtue ethics stand point.   Looking at the character not the action, and understanding why something is important for that individual.  

However, if we pose the question 'is dance as important as maths in mainstream education?'  from a view on consequentialism, it is not.  As we live in a World where to succeed to a degree academically is important for career and financial options later on.   So for the greatest good to the greatest number, maths is more important.

In terms of equality in dance I often feel that the ugly truth in my current work is that dance is elitist.   In my classes only the students that can afford it financially can come.  Meaning that I am not surrounded my a culturally diverse mix of studnets.

'As a collective, we have contributed to our own marginalization. That is, we have allowed ourselves (overworked and under-funded), to sequester ourselves in the comfort of our own studios and programs, finding great challenge and reward in the fulfilling and meaningful isolation of teaching students' (Risner, D. 2006) I agree with this point to a degree.  Teaching, in the context of standing at the front of the studio and teaching knuts and bolts of dance is isolating, and in some respects lacking creatively.  However, what Risner fails to include is that there is more to dance 'teaching' than this.  More exciting is a process of artistic interpretation of dancers ideas for a piece and incorporating the people into the creation.   I have found, albeit with my small experience of choreography, that this process is in fact the opposite of isolating.

I intend to interview choreographers of community dance as they work with a broader range people from different backgrounds and with different experiences.   I would like to find out whether this has changed their creative process.   I would like to work more with mixed groups of dancers, particularly older people as their would be a wealth of life experience to drive the emotion motive behind a piece.

In my own inquiry I will be interviewing dance practitioners and choreographers on  their creative process.  Particularly how they work with mixed groups, how they come up with a concept and how they hold rehearsals with people who may have never danced before.   In writing on my findings I will use synonyms or not identify the interviewee.  Although some may be happy to give consent, I want the choreographers to give honest opinions on some quotes I will prepare from my research.  Due to professional acquaintance they may not give an honest answer if they believe their name will be stated in the interview.  I must also make sure that they can contact myself or the university if they wish to withdraw form the inquiry at any point.

  

 

Bio:

Risner, D. 2006 'Equity in dance where are we now?' Journal of dance education 2006

Middlesex university 2014, Reader 5 Module 2 BaPP (Arts)

Module skype session 18/11

Interesting skype session today with Adesola, Jessica and Jodi.  We had a general chat on where everyone is on their planning and understanding this module.  We spoke about the fuzzy period of confusion mid module.  I pointed out that I feel i have spent alot of time looking at my area of interest and the corresponding literature and coming through a process of understanding that my SIG needs to now change special interest!  I feel behind as the process of finding and understanding my literature reviews has taking so long.  That being said it has been the most engaging part of the course so far.  I always think Adesola can some up something I don't always express very clearly, but she reminded me that the process of learning in the course shouldn't be thought of in steps, and that if I come into the 'Ethics' section from a literary viewpoint it is a good way to start.   The sections are like buildings blocks interlinked rather than a series of separate steps.

Relativity
M.C Escher

We also spoke about the ethics forms and consent forms.  As i plan on interviewing choreographers about their creative process working with beginner and professional dancers we broached the subject of what is a professional or a novice dancer.    This is one of the problems I will encounter as many choreographers may have a different views on the words used.   This comes into ethics and not asking a biased question and I will bare it in mind while planning my questions.

Professional Network Code of Conduct and Ethical considerations

I started by researching the code of professional standard and practice as outlined by the imperial society of teachers of dancing.  Although I don't teach ISTD here in Dubai I am a qualified teacher under their association, so I often use their framework as a guidline for my own syllabus.   There are a few rules outlined that made me question how I can ethically conduct my inquiry.

'Unless legally obliged to disclose, keep confidential information obtained in the course of professional work and never use the same for personal advantage'.  This sentence encompasses a very broad area.  If for example I comment on a students behaviour or learning for the benefit of this course I am in fact using this information for personal advantage.   This is somewhat of a grey area, for example I know ISTD teachers who often post videos of studnets on social media as promotional material for their school.   What are your views?  I personally steer clear of videos or pictures of child students online but do use material from adult classes with their consent.    In my inquiry I will gain knowledge from professional practitioners rather than going down the route of using students as case studies.

'Each student has an agreed written set of objectives which are assessed on a regular basis, both orally and in writing with a view to developing each student’s potential.'  I was surprised to see this as part of one of the guidelines.   I have never written a set of objectives for a student.   I guess this comes down to the fact that no school I have worked in has enforced it.   Perhaps this is due to time and management but also because the ISTD does not have the means to ensure it is adhered to.   I strongly agree that students respond to clear objectives and this rule reminds me more of an academic setting.   I think if all dance schools adopted this practice it would add credibility to the industry, for say parents who are unfamiliar with dance teaching.   It may be effective for children as they are used to written objectives in a classroom setting.  

On the other hand I disagree with this idea in my classes as I want studnets to develop creatively; creating their own dance repertoire and choreography and enjoying dance as an art not a series of motions to be learnt.  How can you define this as a series of objectives to be tick boxed?

In my workplace, the studio I choreograph and teach at, we are lacking a clear code of conduct.   I have experienced confrontation where a non-teacher wanted to post a promotional video of a class without consent.  Of course I made sure this didn't happen.   It made me think that although, as arts professionals we may fidn this common sense, not everyone is aware of it.  

As I live in Dubai, I researched the Law on posting media of someone else without their consent on the internet and was surprised at the findings.  The Federal Decree-Law no. (5) of 2012 states that to take, save or post a photo of any person without their consent could lead to deportation and heavy fines.

http://www.wipo.int/wipolex/en/text.jsp?file_id=316909

'Article 21 

Shall be punished by imprisonment of a period of at least six months and a fine not less than one hundred and fifty thousand dirhams and not in excess of five hundred thousand dirhams or either of these two penalties whoever uses a computer network or and electronic information system or any information technology means for the invasion of privacy of another person in other than the cases allowed by the law and by any of the following ways: 

1- Eavesdropping, interception, recording, transferring, transmitting or disclosure of conversations or communications, or audio or visual materials. 

2- Photographing others or creating, transferring, disclosing, copying or saving electronic photos. 

3- Publishing news, electronic photos or photographs, scenes, comments, statements or information even if true and correct'.  

Links:

http://www.thenational.ae/uae/tough-uae-social-media-law-could-see-expats-deported-for-saving-someones-photo

http://www.istd.org/site-search/?keywords=Code+of+Professional+Conduct+and+Practice+for+Teachers+of+Dance

Embodied Concepts of Neurobiology in Dance/Movement Therapy Practice (4D)

"It is clear that consciousness cannot be severed from the body, but is itself an integration of the functioning of the mind and body" K. Homann, 2010 (pg.95)

When looking for further literature to guide my inquiry I wanted to find a study that encompasses my interest in what happens neurologically when we dance, watch dance and feel movement within and around us.   Furthermore, how this can help people and inform my work teaching and choreographing with mixed groups of dancers.  

This article by Kalila B. Homann published for the American Dance Therapy Association, entails many of the same themes as the previous 2 literature pieces I have reviewed but also helped me to understand the benefits of this knowledge; how I could directly use some of the themes to develop my professional skills.

The article focuses on 3 areas dance can impact  humans well-being; in our rest and arousal, our emotional regulation and our conscious and  pre-conscious memory.  The research explained in the writing was based on Dance Movement therapy interventions in clinical practice, Porges Polyvagal theory, and research into memory and how dance can make a difference on how we store implicit and explicit memory.

Homann explains the effect of DMT on rest and arousal, which posed some interesting questions I will consider incorporating into my inquiry.  Our Caudal base is the neural network that regulates sensory functioning and our emotional state.  In the caudal base there is the vagus nerve.   Porges theory is that this nerve regulates our rest, arousal and self-healing behaviours and therefore is active during therapy, in this case DMT.  

Scientists such as Porges, Ledoux and Stern found that humans learn optimally when there feel both stimulated and soothed.  'stress or fear will limit cortical functioning (Porges, 2004, 2009a). This concurs with Ledoux’s findings (1998) on fear and brain functioning. The body increases its adrenaline and cortisol production when one is anxious and tense, reducing blood flow to the frontal lobes of the brain. When we are afraid, we have less access to our thoughts.' (pg.82)

This posed the question why have so many teachers and choreographers that I have worked with put students under such pressure to achieve or remember?  It is proven as an ineffective emotional state for learning.  I am tacitly aware to maintain a relaxed studio atmosphere, but I'm sure any professional can emphathise with the panic when students don't know their repertoire 2 weeks before a show!  If the method I use in my inquiry is to interview choreographers who work with mixed groups one of my questions could be surrounding do they maintain a relaxed learning environment when working to a schedule?  Or do they use some pressure to create results from their dancers?

The following theme is the effect of dance or somantic processes on our emotional regulation.  'Movement can engage physiological processes related to emotion and make them potentially more available to the conscious mind. Feeling states can be identified through the individual’s conscious tracking of the body’s experience.' (pg 95).   
Dance can allow us to embody strong emotions such as anger or fear, and allow us to then make these sometimes subconscious feelings available for verbal processing.   

Dance movement therapy is also of great significance when a person is perhaps verbally impaired. When the person feels there are in a safe enough environment with the DMT this can allow them to process experiences stored in our implicit memory, and express themselves somantically.   

It struck me that as teachers and choreographers we have a great responsibility over our dancers emotions.   We talk about a movement 'speaking to us'.  When we feel something through dance that is inexplicable.   However, scientifically we are tapping into past experiences and emotions.   Pert (1997) describes how we are connected body and mind at a molecular level,   'the term mobile brain is an apt description of the psychosomatic network through which intelligent information travels from one system to another. Every one of the zones, or systems of the network—the neural, the hormonal, the gastrointestinal, and the immune is set up to communicate with one another'.

These neurological studies have helped me define questions I will incorporate when interviewing professional choreographers for my inquiry.   I will try to incorporate a proven theory such as Porges theory of optimal learning depending on a relaxed and stimulating environment.   It will be beneficial to my growth as a professional to find out whether they agree or disagree due to professional experience, and any case studies they may have to back their ideas up.

Ethics in my professional community (5A)

Here is a diagram to show the factors I imagine that define decisions in different settings.   What is apparent to me is that all areas personal, societal, organisational and professional decisions are interlinked.   We are defined by our upbringing, social norms and expectations, law, culture and past experience in every aspect of decision making.

I have lived in a few different countries and traveled through dancing and I find that the different views and opinions I am exposed to colours my personal ethics.

For example, I think of my previous view of arranged marriages.    If you had asked me when I was 16 I would have told you how unfair I thought it was.   How could a parent think they could make that decision for a child?   However, we grow in our ideas and understanding and after actually living in countries where this is the norm I have better knowledge of the reality of arranged marriages.   I don't think I am well informed enough to say whether it is 'right' or 'wrong' but I understand the benefits of this practice and why cultures implement it.

Although there will always be a universal 'good' and 'bad' the more I see, the more I think there is only weakness and insecurities that cause people to make wrong decisions.

In my work there are many ethical and moral problems I have to be aware of.   For example, I teach children so there are the obvious ethical implications of protecting child safety.  This can be online, by not making photos videos etc without parent consent and making sure this is not publicly visible online for promotional purposes without the parents signing a disclaimer.  

Also other issues such as not putting myself in a compromised position where a child could say I did something that was an invasion of their privacy.  I think we have to be so careful that what a child says when they go home and speak about class that cannot be misconstrued as misconduct.   I spoke to a colleague and she said she accidentally walked into a 3 year old who was stood behind her, and knocked her with her arm.   The child went home and said she had hit her in the face.   Luckily the parent understood that there was probably more to the story and this was simplified 3 year old speak but I remember it now.  

More complicated are issues when I feel I am compromised between employer expectations and personal ethics.   I feel, and it is like conscience, that I have a responsibility to teach and a responsibility to ensure the good of the majority of a class.   If there is one destructive child, distracting the group it is my job to utilise disciplinary measures so that everyone else can learn.   However, I have had experiences where I have lost ballet students for this and I felt under pressure by my employer to maybe compromise my idea of what I right in the dance studio so that they all have a fun time and keep paying for classes.   I understand the view of a dance studio as a business but it is also a place of education.   I think it is about getting the correct balance between education and fun.

Talking with professional associates; change of plans and relating literature back to practice (4C)

Over the past week I have gained some clarity on how I can relate the research I have conducted back to my work, and how I can use this inquiry to best inform my practice.   I am still very interested in the cognitive workings while we dance and what happens with memory.  Of course I am interested in how this can relate to children learning dance as I am a dance teacher.  Furthermore, I want to know more about the research that has been carried out in what happens neurologically when professional or novice dancers are involved  in creating a dance piece as I have spoken about in my literary reviews.   However, dance science is a huge subject and I feel that I can only begin to scratch the surface of understanding so far.   It will be an area of interest for as long as I work in this industry, and probably forever!

Through various conversations I have developed an idea of the inquiry that will really help me understand the processes I am absorbed in at present.     At the studios I work for we are at present developing a showcase.   I have a mixed group of novice and professional dancers and I am choreographing a contemporary dance piece.   I have choreographed previously but this is only the second time I have had a mixed group.   Over the past couple of weeks I have discussed with the owners of the studio I work at a few questions I wanted their opinions on.   Firstly, why we run the courses?  What was their approach choreographing a mixed group?  What is their creative process?

What I found interesting was that from experience my colleague said that we run the courses at 8 weeks because he has found that beginners can show a notable improvement and learn sequences by memory.   I found this interesting as it relates back to the Calvo-Marino experiment that proves non-dancers can begin to process watching and learning dance in the same way an expert dancer would after 6 weeks of rehearsals.   It is exciting when you can see the correlation between science and practice!

With my colleagues and also Paula, I discussed the creative process of choreography and dance as an art form.    With my beginner dancers I started rehearsal by teaching steps.  Very soon after I had began one of the dancers asked me "what is your idea behind this piece?  what do you imagine?".   It struck me that I had began with the basics of teaching dance, but actually the reason that these beginners are involved in creating piece and especially in contemporary is because they crave the art form.   I felt almost ignorant to have started like that with them and not from a discussion on the creativity behind it.   We had an interesting discussion on how I saw the piece and the characters we would portray and they had a lot of ideas that then changed my 'vision' of the choreography.

What I think would really help me to develop as a choreographer and teacher would be to look at other choreographers artistic processes....  what inspires them?  How do they begin to teach choreography?  Have they ever worked with a mixed or youth group before?   Would their process change depending on the dancers?

The performance courses and choreographic projects are ongoing into next year so I would love to conduct some interviews and research of choreographers throughout history and see how this knowledge could improve how I work with my groups.

Thinking in action: thought made visible in contemporary dance (4D)

Referring back to module one, I have found that an underlying theme of particular interest for me is the theory of reflection in action.   In module one I looked at Donald Schon's theory and how it related to me while teaching; how that knowledge enabled me to change my own process in the moment.   I found that being aware of reflection IN action made my teaching more adjustable.  I was less afraid to change my plan in the moment to cater for the class I was teaching.

With this in mind, I was keen to find any research that has been carried out involving thinking in action in dance.   For me it was evident that the two subjects should go hand in hand as we respond and reflect in the same moment as learning a choreography, as is expected from professional dancers.

I looked at 'Thinking in action: Thought made visible in contemporary dance' by Catherine Stevens and Shirley McKechnie found here:  
http://link.springer.com/article/10.1007%2Fs10339-005-0014-x#/page-1

The study discusses the areas of knowledge we engage while learning and watching dance.   In this study Stevens and McKechnie argue that we engage procedural and declarative knowledge as well as expressive nuance and feeling while dancing.   To understand what this means for us we must at first understand the terms.   Procedural knowledge is described as 'implicit, unconsicious'.  Like running or swimming we learn it and once it is learnt it is more resistant to change.   Declarative knowledge is more like learning a sequence, like a movement vocabulary.   This knowledge is argued to be quicker to be acquired.   I agree with this as I find beginner students learn quickest when learning a sequence over a period of time.   Like a movement repertoire.  Finally what makes dance stand alone from other movement activities is the implication of 'expressive nuance'.   What feeling drives the emotion, and what makes dance an art.

The article reflects on 2 studies:  one with a youth group of non dancers and one a professional dance company over a period of rehearsals.  The observation concludes that the creative process was much the same with both groups.  It also refers to the research I have previously mentioned from Calvo-Marino (2004) on the MRI neurological research of non dancers and the time taken to create mirror-neutrons enabling learning from watching dance.  These mirror neurons can be created from ongoing rehearsals and are produced in a matter of weeks.

This is an exciting area for me as presently I have just started a process of rehearsals with inexperienced and professional dancers working on the same piece.   I have 8 weeks to create a 3 minute piece with students of mixed ability and knowledge and also some professional dancers.    I will look for a way to record their experience of learning.  Of course I do not have the knowledge or resources to see what happens neurologically but it would informative to speak to them and see at what point they feel that they can 'dance' the piece and are no longer following the steps from me.  Does feeling and expressive nuance come naturally from the movement or does it need a feeling or emotion given behind it?

Neuroaesthetics and Dance (4D)

The more I look into what I really want to find out about dance in education, the more I realise what I am really interested in is what happens cognitively when we dance or watch dance.  In particular I am thinking about how this knowledge of how the brain learns complex actions could help us to be better informed when teaching dance or indeed teaching academic subjects.   Perhaps there is a way to link dance to teaching maths for example which could help students better absorb knowledge.

On the Athens website I found this essay titled 'Neauroaesthetics and beyond; new horizons on applying the science of the brain to the art of dance' (E S Cross, L F Tacini, 2011).

http://link.springer.com/article/10.1007%2Fs11097-010-9190-y

It has helped me to feel one step closer to asking the questions I really want to know:  Why do we enjoy dance?  Are some people unresponsive to dance?  If so, is this an unchanging neurological trait or are there other factors that determine it? How can dance enable long term memory?

Through measuring blood flow, electric and magnetic fields in the brain neuroscientists can track how we 'integrate physical and perceptual experience to learn new movement... components of this network of brain regions work together to process action, information, both during action perception and during action execution' (for comprehensive reviews, see Grafton et al. 2009; Rizzolatti et al. 2009).

The article goes on to explain that we use the same neurological patterns  while watching dance as performing it.   Experienced dancers had more activity watching dance. This observation is explained in one study conducted on monkeys.  'The same neurons that fired when monkeys performed a specific action (e.g., grasping a raisin) also fired when the monkey watched another monkey or a researcher execute the same action (e.g., Rizzolatti et al. 1996a). Subsequent research revealed that these particular neurons do indeed respond preferentially to actions that are either observed or performed, which led researchers to name them "mirror" neurons. 'Not surprisingly, professional dancers had more neurological activity of these 'mirror' neurons watching dance.  

However, what I found profound is that in the study conducted by Calvo-Marino and (published in Cerebral Cortex Oxford journals), it only took non-dancers 6 weeks of dance rehearsals to engage these pathways in the same way while watching dance as performing it.  Cross refers to this study 'Action observation and acquired motor skills: and fMRI study with expert dancers' that can be found here http://discovery.ucl.ac.uk/3041/1/1243.pdf.

This proves our ability to learn movement patterns through watching dance.  

The Calvo – Merino project was conducted with specifically capoeira dancer, ballerinas and non-dancers.   I am involved in contemporary dance and I wonder whether this process of learning through action-observation is achievable in the same time-scale.   The reason for this is that ballet and capoeira have, in my experience, a clearer movement vocabulary.  The ‘repertoire’ is learnt as procedural knowledge much like running or swimming.   Contemporary is a lot wider in vocabulary so this could affect the time it takes dancers to produce mirror neurons while watching it.   In relation to my inquiry, i would like to ask the question, how long does it take novice dancers to be able to get to a point where they can atch dance and 'see' themselves perform it as an experienced dancer would.

Further questions could also be, can this ability to effectively reflect in-action and on-action through dance be transferred to learning something else? For example if we engage these pathways, can we connect a feeling or a fact to a movement?

 

4A: Questions relating to my practice

Just as choreography is far more than assembling steps, scholarly research is far more than collecting and assembling data. Like dance making, research is a purposeful, creative, interpretive, and intuitive process that is often circuitous and improvisational. The quintessential element of both choreography and research is discovery - we enter without knowing, in order to discover what we need to know to lead us to what there is to know. The skills that we know so well as choreographers are also the skills that we use as researchers'

Hanstein, P. ‘Balancing the Systematic and the Serendipitous' (1999, p.23)

This week I have given a lot of thought into the most prevalent questions I want to ask in relation to my practice, and dance in education in general.  The more time I gave to the task the more sources I read which were directly relevant to my work.   I see the inquiry as a brilliant opportunity to answer a question that will help me progress as a professional, and this in turn has enabled me to give thought to where I want my career to progress too! 

I found Penelope Hanstein's collation between choreography and research very helpful in understanding what we mean by research.  Eraut describes knowledge as clusters of meaning, under the subtitles of 'procedural', 'propositional', 'practical', 'tacit' and 'know-how'.   While choreographing I use tacit knowledge and know how to perform the steps, but I always draw inspiration from watching others dance / other choreographies as well as responding to the group I will be teaching to and their capabilities.   Through this process I engage propositional, practical and procedural knowledge.

Prospective areas fro further inquiry:

One question I would like to explore came from this blog post by Paula and the resulting discussion I had with Lynn Terry.  
 http://paulanottingham.blogspot.ae/2015/10/bbc-article-on-eroding-memory-yes-i.html?showComment=1444550772656#c4789231190377953247

The article proving eroding memory as a result on our dependence on technology made me think of a few further questions.  

Is our reliance on technology in schools an argument for / against arts in education?

Does dance training have an effect on memory in children?

What is the main reason parents of my students see dance as beneficial?  

Have parents given thought to 'digital amnesia' and the relationship their child has with technology?

Have experienced dance practitioners / teachers seen a difference in attention span in children since the technological revolution we have experienced  in schools?

Does a knowledge of performing arts / acting have a positive effect on teaching if studied during (academic) teacher training?

What are your views on these areas?  Have you heard of any research that is related to any of the questions?   Perhaps you have discussed some of the areas with other arts professionals?   I'd love to hear your thoughts.

 

  

Asking a question we DON'T KNOW THE ANSWER TO! Tuesday Skype session

I skyped this Tuesday with Sophie, Kayleigh, Adesola and Paula.  

We spoke about our main concerns and current areas of interest in the course and it emphasised for me the clarity that we can gain upon vocalising your thoughts.   I struggle sometimes to express myself clearly, and actually find it easier to write my thoughts down.  So it's good practice to speak to a group.  I really benefitted this week from hearing other peoples opinions.

My main focus was to discuss the concern that I have that I'm still unsure the area I want to base my inquiry on.   Time ticks away so quickly on the course I felt I should have my question planned out already.   What I took from the chat was that for now I don't need to worry I don't know what I'm going to answer.   Adesola made the point that through research we can then find the aspect of a topic that is personal to us.   For example, Sophie and Kayleigh and I spoke about web 2.0; how reading the theories behind connectivity and networking helped us gain insight into assessing our online 'profiles' and being an intelligent user. 

However the most significant question I took from the chat was that I have the opportunity in the course to ask a question I do not know the answer too, and the freedom to ask something that will benefit me in future in my career.   I think in every day life we ask questions assuming an answer, or just for confirmation that we are right. 

A genuine question truly seeks an answer, as a pseudo question expects no answer, cannot be answered, or has an answer that is already know to the person asking the question." P, Hanstein, (1999, p. 27) 
I have found many extracts from Penelope Hanstein's 'From Idea to Research Proposal Balancing the Systematic and Serendipitous. Researching Dance Evolving Modes of Inquiry' relevant and helpful in providing clarity on some theories around research.  I will use this literature as a resources throughout my enquiry.

 It is daunting setting about a task you don't know the end result of.   I am going to research further areas of dance in education with the knowledge that perhaps this inquiry may not become personal to me until the very end of module 3.  Or perhaps, the inquiry will continue for the rest of my career!  Either way I have faith that through actively learning and staying connected with other people in the course I decide on the best area for inquiry for me.

Bio:
Hanstein, Penelope (1999) From Idea to Research Proposal Balancing the Systematic and Serendipitous. Researching Dance Evolving Modes of Inquiry, Fraleigh, Sondra Horton and Hanstein, Penelope (eds) Pittsburgh: University of Pittsburgh Press, pp 22-61.

 

World Ballet day and English National Ballet's dance for Parkinson's programme

I'm sure a few others will have watched some of the live stream on the BBC from World Ballet Day?   So great to be able to watch different companies around the World recording their rehearsal and performances.   I wanted to share with everyone this video about English National Ballet's work with people with Parkinson's disease and how they run the sessions.   I am interested in dance therapy, particularly the research that has been done into benefits of dance mentally and physically for people with degenerative diseases such as Parkinson's and Alzheimer's.   Of course there is also the social benefits for people who might otherwise not have much physical contact, or be quite isolated.

I think the section of the video where one of the session leaders talks about how they run the sessions based on characters from the repertoire is interesting.   It makes sense that they are run as a ENB rehearsal so that participants work on embodiment of a character like professional dancers would.  I have previously looked  at Masters programmes in DMT at Dance Voice in Bristol.   It is definitely something I would like to be more involved with when I move back to England in the future.

http://bbc.in/1KXAWhh

Transdisciplinary skills - we've all got them!

Just a short blog on a what I've been thinking about while reading through module one and the theories surrounding transdisciplinary 'knowledge'.   Gibbons 'Mode 2' or 'heterogenoeous' knowledge helped me understand what it means when knowledge is produced outside of just one discipline. 

He describes 'Mode 2' as:

• Transdisciplinary
• Diversity in learning sites
• Generated in context of application
• Reflexive

As a dance teacher, performer and (hopefully one day) choreographer this really relates to my work.  I trained as a dancer but I feel that now in fact that is just a small fraction of the knowledge I need in my job.    I've learnt how to teach in the job - the qualifications I have to teach really did not stand for a lot when it came down to engaging, inspiring and disciplining a group of students!  

Being reflexive... what does this really mean and how does it help us learn?    I think as we're all from arts backgrounds really our work never ends because it's our passion as well.  We are constantly self-critical.  I work independently so it is up to me to reflect on my practice and compare myself to others I aspire to. 

I also got thinking that now you have to be transdisciplinary to be successful.   There has to be an amount of knowledge, not just of the discipline to stay afloat in a competitive atmosphere.   We live in a time when self-promotion in the arts is essential.  Knowledge of other areas of the arts in expected to be current and exciting.  To teach your discipline you need all the other interpersonal and tacit skills, as well as practical skills such as academic ability and technological know-how.

http://www.telegraph.co.uk/dance/what-to-see/Hussein-Chalayan-fashion-interview/

I saw this article about a fashion designer who is working with dancers for his next show and it made me think how that is the future of the arts and that it is really exciting when different disciplines work together.



 

Developing ideas on my professional inquiry: Links to work based learning and theories of learning

Due to a very busy summer and what will be an even busier autumn term I am looking now at the first part of module 2, while I have some time! Throughout module one we looked at understanding our personal learning styles and for me, when processing a lot of information, I find that it is easier to give myself time to reflect on an idea, allow the thoughts to 'sit' with me for a while and then come back to them.   As there is so many avenues to explore in this module, I want to start by processing some ideas on the professional inquiry as a link to WBL and linking it to theories of learning.

I haven't decided on an inquiry topic but understand the importance of the inquiry being in direct correlation to my work at present.   I want to research an area that I am interested in primarily, and on an issue that I feel uninformed about.  It will help me / my colleagues / professional network gain knowledge on an area I believe is an important issue.

What has struck me is that I shouldn't limit myself to a subject I think I know the answer too but just want to prove.  I can explore an area I really need to understand further to progress in my work.

 

Peter Senge is a leader in thinking on how we conduct business today. He calls himself as 'idealistic pragmatist'.  I enjoyed reading his ideas on learning in organisations, and businesses creating a common goal to strengthen their collective knowledge.  He believes in dismantling the ideas of leaders developing goals for the business as a whole.

‘Theories and practices for the interdependent development of people and their institutions... People talk about being part of something larger than themselves, of being connected, of being generative.' (Senge 1990: 13).  

This is connected to career satisfaction described in Module one.  In my current workplace we are a group of 6 dance / musical theatre teachers. We meet every 2 weeks to discuss upcoming projects and problems we may have and generally keep up to date.  I have found that our discussions are most valuable when we all agree of the best route for the studio and want to work together to build it.

'The discipline of team learning starts with ‘dialogue’, the capacity of members of a team to suspend assumptions and enter into a genuine ‘thinking together’.'  (Senge 1990: 10)

It also leaves me motivated when I feel we are working to a common goal.  Teaching can be a bit of a isolating job, it's good to know I have colleagues who I can talk to; working in the same direction to promote and build the business and discuss freely any complications.  However, I have found there is a member of the team of teachers who, rightly in some respects, will not do any extra work outside of her classes as those are the hours she is getting paid.   I respect knowing your own worth and not working for free but it made me think of Axelrod's 'Prisoner's dilemma' theory from module 1.   The most effective solution to better a group situation is proven as cooperation.  We are all in the same position and to ultimately build a bigger business and busier studio we all need to promote our classes and do some extra work.  This may sound like common sense,  but I have seen it so often ignored and instead interpreted as people feeling they are being taken advantage of.

 

 Looking at methods of learning to inform my work

 

I have been looking Argyris and Schon's theory of single and double loop learning.   At first to understand the single or double loop processes, I needed to identify the 'governing variable', or we can call it the action strategy.   Again I thought of examples in my work of what I deemed productive meetings with colleagues, and tried to identify these meetings as being likeable to Models 1 or 2.  Model 1 are the groups identified as inhibiting a change to the action strategy and Model 2 are open to changing the governing variable. 

 

The governing Values of Model I are:

• Achieve the purpose as the actor defines it
• Win, do not lose
• Suppress negative feelings
• Emphasise rationality

Primary Strategies are:

• Control environment and task unilaterally
• Protect self and others unilaterally

Usually operationalised by:

• Unillustrated attributions and evaluations eg.  "You seem unmotivated"
• Advocating courses of action which discourage inquiry eg.  "Lets not talk about the past, that's over."
• Treating ones' own views as obviously correct
• Making covert attributions and evaluations
• Face-saving moves such as leaving potentially embarrassing facts unstated

Consequences include:

• Defensive relationships
• Low freedom of choice
• Reduced production of valid information
• Little public testing of ideas

 Model 2:

 

The governing values of Model II include:

• "Valid information
• Free and informed choice
• Internal commitment

Strategies include:

• Sharing control
• Participation in design and implementation of action

Operationalised by:

• Attribution and evaluation illustrated with relatively directly observable data
• Surfacing conflicting views
• encouraging public testing of evaluations

Consequences should include:

• Minimally defensive relationships
• high freedom of choice
• increased likelihood of double-loop learning"

Through looking at my journal I can identify some meetings whereby some of the attributes of model 1 single loop learning have hindered change in the process that could benefit the business and colleagues.   A critical negative behaviour I have noticed is 'face-saving' moves to leave facts unstated.   I have seen in my self and other teachers dishonesty when they have spoken about a problem, to give off the impression that it was the fault of someone else or solely the student.  

'If my behaviour is driven by my not wanting to be seen as incompetent, this may lead me to hide things from myself and others, in order to avoid feelings of incompetence.  For example, if my behaviour is driven by wanting to be competent, honest evaluation of my behaviour by myself and others would be welcome and useful.' Argyris, Putnam & McLain Smith (1985, p.  89).

This hinders double loop learning as then the process of the teacher 'or governing variable' will remain the same as they can only identify the problem with the outcome not how they got there.  

 

I am constantly learning as I am a new teacher and throughout the summer I took on teaching 20+ students 5 days a week 6 hours a day musical theatre summer camps.   At first I found the weeks incredibly tiring and difficult but, of course as time went on I began to relax and enjoy myself.  I can identify in myself some of the negative attributes of model 1 from the start of the summer.   For example, in the first week I received negative feedback from a parent.  They said that their child was not challenged enough as I spent too much time with younger students.  At the time I tried to justify to my collegues I had done everything could and with such a wide age range (6-14 yrs)  it was hard to keep everyone 100% engaged for 6 hours.   As the week went on I realised this didn't have to be the case and actually I needed another adult so I could separate the children for group work, improvisation ect.   I spoke up, explained and luckily the studio owner agreed and I had helpers for the following weeks.   I learnt that 'saving face' would not change the process and actually honesty in my own shortcomings had the most positive outcome. 

Has anyone else had experience of this defensive behaviour being ineffective at work?   I've found that with performers we try to save face a lot as the industry is so competitive no one wants to admit that they are learning too!

 

 

Bio:

Argyris, Putnam & McLain Smith (1985, p.  89) 

http://www.infed.org/thinkers/argyris.htm

Peter Senge  From <http://infed.org/mobi/peter-senge-and-the-learning-organization/>

 

Argyris and Schon  http://www.aral.com.au/resources/argyris.html#a_arg_loops

Contemporary with me at James and Alex!

My first upload from my classes at James and Alex.  I want to show the progression over a few weeks with this group.  This is week 1, so I appreciate it's kind of messy (and I'm marking it) but I wanted to give everyone a bit of insight into what I am doing here.  I am happy with the development of the choreography and it was so great to see everyone happy to freestyle on the spot at the end.  I will share with you all footage of the showcase we are working towards in June, and any feedback is welcome!

My thoughts on the downfalls of a connectivist era

Connectivism and affiliation, both important components for a networking professional.  However, in an era where so much of our professional networking is undertaken online, has the immediacy of talking directly with professionals taken a hit?  Has this change in learning affected my practice?

A concern arose when I was reading other BA PP bloggers posts on their top 5 forms of networking.  Nearly everyone listed the online tools as their most important sources.   I gave thought to professionals I know of that are experts at online networking and often create and sustain employment largely by the effort given in this area.   An example of this is my brother,  he is a software programmer.  He books work through LinkedIn and other sites he is on through his professional association more than he does through direct contact with employers.  This makes sense.  He works 100% of the time on a computer and so it is important he has a clear online profile to project his expertise within his networks. 

The difference between myself and my brother is that while I am at work I don't have the buffer between computer screen and human being.  I thought about how we are all getting used to being able to write, spell check and post our thoughts but how this is not reflected while I am at work.  I have to think in the moment and project exactly the teacher I want to be.   I thought about the BA PP and how although I can see the importance of connectivism in this time, it is a different type of learning from the immediacy of the teaching I do.   I researched the idea of connectivism against direct affiliation and found some interesting articles.  

The idea of non-verbal immediacy is significant as I am new teacher and looking for ways to keep students engaged.   I found this paper written about research into teachers non-verbal immediacy behaviours and the reflection of this on students' motivation to learn.
http://asian-efl-journal.com/PDF/Volume-12-Issue-4-Hsu.pdf

Also, another consideration and interesting read was this research into the challenges of a connectivist learning community (such as the BA PP).

http://www.irrodl.org/index.php/irrodl/article/view/882/1689


 

Sources of information 3C

I moved 2 weeks ago now to Dubai, for a contract teaching at a large dance school in media city called James and Alex Dance Studios:  jamesandalex.com.  It has been a challenging two weeks so far, and I've been thrown in at the deep end teaching around 20+ hours per week for children and also courses for adults up to advanced level.   My main style is contemporary, which I am enjoying a lot but I am also teaching ballet, tap and hiphop to kids.  

One of the studios and the view from concord tower across the marina



Today I've been thinking about this experience and how it relates to some of the points arisen from this professional networking section of the course.   One of the hardest thing so far has been that I haven't had my support network here and I am the newcomer.   I have questioned my own ability as I haven't really had a lot of feedback.   Everyone is so busy doing their own classes, I'm always wondering if I'm on the right track.  I haven't had any bad feedback and students are coming back to the classes so I assume I am doing ok but it has made me think about how my professional network is smaller here as I know less people.   I  want to expand my network, and therefore have more resources to gain knowledge and also constructive feedback on my work.

What are my top 5 sources of information?

My most important resources is my network of dancers and teachers who I have worked directly with.  Here, it is my colleagues at the school and also my boss.   It is in their interest for the school to succeed so I watch them teach and learn from people more experienced than myself, and also ask a lot of questions.   I have also been taking videos and asking for their feedback.   As a businessman my boss seems pretty laid back as to what I do with each class just so long as students are happy, so it's up to me to ask sure I ask for opinions.  I also take classes myself and absorb good points of teaching that I could use.   In taking class I also maintain the sense of what it is like to be the student.

Equally I look online to see what other choreographers are doing.   I subscribe to dancers and teachers that post on sites like Youtube to get ideas for choreography and themes.  This has ethical implications however;  I would never steal a piece of choreography, but I do think it's important to look for new ideas, music, themes and stay current.

For technical points I think being a member of a professional teaching body is invaluable.   Although I'm not currently teaching a syllabus, because I am registered with the ISTD I can still use their syllabus to help me to gauge what level a group of children are at and where they should progress to.