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?
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?
Thanks Catherine - like this - look at Eraut - a lot of connections - good conversation - choreography and dance as an art form!
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