Musings as the end is nigh

There are but a few weeks until all work is completed, submitted and my MAPP journey is done.  As I work through the end of the first 2 submissions, I have had to get practical and think about how I am going to hand everything in which has led to me searching Amazon to find what I need in the way of stationery.  It sounds crazy I know but it is a practical consideration and I have needed to stock up on ink (which seems to dissolve), paper, folders, and whatever else I need to hand my work in in a way which is clear to any reader.  I hope that anyone who reads my work has a clear journey through it so making sure all references to appendices and other documents should thorough and easy to navigate and I will check and re-check before submission. 

I have found that there has been much actual writing involved, from transcribing interviews, which amounted to some 50,000 words to what I then did with them, hand notating, processing, analysing, extracting, grouping and summarising and compiling my review and artefact – which I always knew would be the case, for you cannot share research without going through any of the above processes, but I think the actual physical appearance of the submission will be more substantial than I first imagined.  I can only hope that I am able to get everything in my head across.  Really frustrated by the fact that last night as I was trying to get to sleep a great phrase formed for my review and I cannot for the life of me remember what it was…. I will let it go and ask it to come back to me when needed, or hope that the essence of it is in my mind somewhere!

There is an outline of a presentation waiting in the wings, which has changed greatly already and I am looking forward to getting it together once the other work is in, and again can only hope that I can get across everything that I want to say as so much has presented itself, sometimes in slow burn thinking processes and sometimes as a waterfall of ideas, thoughts and learning.  I have new areas to question for sure, some radical, but all, in my opinion, logical as an outcome of my recent research and related experiences.  So: much learned that I am hoping to present captured in time for submission and also as seeds planted which will shape my future.  I cannot be anything other than different having been on this journey – and different in this case is good.

Anatomical dilemmas and other matters

Having started with the most current writers about imagery in dance, I have recently found myself back with the pioneers of ideokinesis and their pupils.  Mabel Todd's work is written in a very 'medical' way with lots of Latin terms and I found it quite hard to access although the thrust of what she is saying is clear.  What has been fascinating is to see how the ideas initiated by Mabel Todd have been filtered, refined or revisited by her pupils and then by their pupils - to a state whereby they are current and accessible, in my opinion.

I have much admiration for Mabel Todd - a true pioneer, and am intrigued by the fact that Todd, Lulu Sweigard and Barbara Clark all became involved with ideokinesis and movement as a bid to correct personal physical difficulties.  It was interesting to note that Irene Dowd felt it appropriate to dispense with Sweigard's 'Nine Lines of Movement', as she reviewed and refined her work in 'Taking Root to Fly.'  This suggested to me that it is possible to start at one point and then refine a notion or a system further which may lead to eschewing earlier manifestations of something that has possibly evolved.  In contrast, it is also interesting to note that many original notions remain.

I have been able to trace ideas from printed source to my interviews for my research - for example the notion of stacking the skeleton to create an aligned stance.  This is evident in the work of Mabel Todd, Andre Bernard, Irene Dowd, Lulu Sweigard, Eric Franklin and Valerie Grieg, and they all conform to the notion of a central axis which runs through the body, although they all describe it slightly differently at times.  I was particularly drawn to Grieg's visual description of posture as building blocks (below in a version which I have created myself)

I have been using this imagery for some time and have had notable success with it, none more so than it being reported in more than one of my narrative interviews as being something used by the interviewee as a matter of rote.

I have often alluded to the dancer as a tree with roots extending into the ground, the trunk supporting the branches and twigs, and the top of the tree reaching ever upward.  Although a simple metaphoric image, this concurs with the notion of aligning the body as described by Irene Dowd, 'see if you can allow head, rib cage, and pelvis to be centered in relationship to each other and effortlessly supported and connected by your spine.  Let your sacrum hang down to connect you to the ground just behind your heels.  Let your central axis, soaring out through the top of your head, suspend you from the sky' (Dowd, 1974, reprint 2012, page 11).  It took me a while to comprehend that there were areas of the spine that cannot extend upwards, and this notion now makes complete sense to me in terms of actual anatomical possibility.

What has resonated more than anything else is how vital it is to ensure that all teachers have a thorough and correct knowledge of the functions of the body.  I find this slightly disconcerting as although I have a fair knowledge, I am not fully trained in kinesiology.  I also truly question as to whether or not my fellow ballet teachers are, and this has presented itself as an area of future investigation and interest.

Throughout this course I have been reassured and challenged in equal measure with regard to my teaching and I am sure that I always will be, and this is part of the rationale for my continued relationship with learning.  I have already been presented with areas for further investigation, which I cannot ignore.  At some point I hope to be able to continue with my studies, but for sure will take a break of some sort after the end of January!

Doing ballet class for the first time in 20 years........

Well, I did it – I went to class today as a dancer and not a teacher.  First time for about 20 years.  I was originally planning to attend a Foundation or Year 1 class but my schedule this week leant itself to me doing class today – with 3^rd Year Dance Diploma students.  (So I could have a day to recover before teaching and choreographing on Thursday to tell the truth!!!) The teacher was very gracious and welcoming – we are great friends so I felt relaxed and comfortable.

He was faced with the pianist calling in sick so we had to use recorded music but the music he had was inspiring and it worked well.

I found a corner at the barre where I was not conspicuous, and focussed on what I was doing.  My rationale for attending a class was that I felt that after spending so much time interviewing students and teachers, it may be advantageous to actually experience learning again after so many years of teaching.

I learned several things:

• You have to focus in class – I faffed about changing from ballet shoes to my trusty slipper socks and had to work hard to catch the exercise that was being set at the time
• Working with the music is so important – it gives you breath, life, context, dynamics and pace and enhances your ability to maximise each exercise
• I was more aware of my upper body than I think I ever was when I was young in terms of the strength it holds and the use it can be – I think I used my arms, core and torso to compensate for my old hips and legs!!
• I had forgotten how much I love to dance – I really loved being back in a classroom as a learner and dancing.  I realised how deep my passion is and wondered if the other dancers felt the same way
• I got through the whole class, including grand allegro which was a surprise – I attributed this to consciously relaxing at the start of the 64 changements warm up jump, waking my thighs up with a few squats before the grand allegro and using breath to get me up there.  I also think that trying to allow my central axis to be aligned and relaxing my arms within an aligned shoulder girdle helped
• It is possible to negate being able to do a step by pre-setting a negative mind-set.  I fell over in my Advanced RAD ballet exam over 30 years ago doing fouettes en pointe to the left – and the pirouette combination today included fouettes on demi on both sides.  As we queued to start the left the negativity crept in, and even though I had pulled them off well to the right, I struggled to the left.  I tried to flip the negative switch whilst I was waiting to no avail which made me ponder whether or not once the negative thought is there what can be done to change it.  Was I not convincing enough in my own head?  Was I not seeing myself succeeding in my mind's eye?  I think I was guilty of both.  The mind is such a super power and this was an example of how it can win.  I need to consider this more in order to assist the students when they are in a similar plight
• I couldn’t help but observe the students a bit too – and I was concerned about how little they use their plié to assist with jumping, and I want to address this when I am back in front of them

All in all an interesting experience during which I did rekindled my dancer self and celebrated what an amazing thing it is to dance, as well as raising my consciousness in several areas.  I am not sure what I was expecting as an outcome which was probably for the best.  I think overall I am more aware of what ballet may mean to each individual and just how much your personal physiognomy influences what you can and cannot do, physically, and how much your mind-set can affect outcomes.  Apart from the fouette moment I actually felt serene throughout, and on a high for the rest of the day.  

Being selfless

Doing my research has taught me much.  I was thinking in the gym this morning – I often use time there to think as I get lulled by the repetition of the cycle or cross trainer – and I came to thinking about ego, and giving yourself over to the needs of your learners and how hard it can be to accept you might be wrong and that there is always more to learn.

As performers we have pride: in getting a job, sustaining it, looking good, doing well and being a consummate professional and that remains when you start teaching.  Reading what my students have said about how they learn and how they teach along with what my colleagues have said about how they teach has made it all the more apparent (in my opinion) that until one can release the ego completely, one can never reach full potential as a teacher.  The same is probably true of being a learner. Why do I think this? 

With regard to learners, I have found my interviewees to be open-minded and embracing of all they receive in class.  I teach nearly all the students at the college at some point in the week and can say that there are students, however, who are very closed-minded and unwilling to embrace new ideas.  When you boil this down, however, it can in some cases be related to insecurity, I realise that, but it can also be temperament, personality type and ego.

The same can be said of teachers.  I work with some fantastically open colleagues and I have worked hard to create an environment of productive learning and constructive criticism when observing and working together.  I have had a lot of powerful experiences with the staff this term, and to follow are some examples. 

I had a meeting with one member of staff yesterday who is so humble that she has booked private coaching to enhance her range in her classes, several who have taken on every ounce of feedback I have offered them, others, who despite their age and experience still listen and try to embrace change although they can be hard work at times, and one who is a really keen learner who has demonstrated humility in the face of a difficult situation in a mock assessment this week.  I have also, however, encountered a stubborn refusal to recognise that there is any other way than theirs, with no ears for the new, to the point where my suggestions had to become veiled in ‘Ofsted box ticking exercises’ rather than tools for improving poor teaching.  It boils down to ego – a performer who thinks they know it all rather than being open to development and improvement.  The writing is on the wall – this person has received negative feedback from the students about her negativity and lack of assistance with how to improve…. it proves itself.  But I do wonder if it is also slightly narcissistic, in terms of being that elusive dancer that others cannot emulate?  If so, then teaching is not for this person.  Either that, or they are insecure – which, when admitted is never a bad admission.  It is by wobbling that we eventually find balance – it makes us more aware and open to learning. 

Talking of learning – what do you think of this?  I loved it.  So simple but so effective!

http://dancemedia.com/v/7998

Lots in my head

Lots to muse; annotating the essence of my research interviews is highlighting so much useful information which will not only assist my research, but affect my teaching and my work as a Course Leader in so many ways.  It is very clear that the student interviewees are extremely self-aware, and have more opportunity than I ever did to think about themselves as learners.  Some have undergone a diagnostic which allows them to discover whether they are visual, auditory or kinaesthetic learners, and most of them are at least 2 out of the 3, if not a combination of all.

They all relate to different types of imagery, some more strongly than others, and the range of needs therefore within delivery in class needs to be comprehensive and clear.  I think many teachers would be surprised to read what is going on with each student in their class and I need to find the best way to share this without being too judgemental or all-knowing.  That’s why I think a friendly ‘teaching tips for working with imagery’ is a good route for me. 

Onto today; I was part of the panel for the 2^nd and 3^rd year Dance Platform heats today where 12 students showed their choreography.  Only 3 of them are taking choreography as a diploma minor and anyone can create work.  The first piece was created by a student who has been injured and who has consequently been quite depressed recently.  Her work was her expression of this – visual imagery which depicted not being able to get past all that was troubling her.  She is a high imager and this was so evident in her work – the choice of movement and emotion in the piece shown angst and pain.  I can only hope that it was cathartic for her to produce it, and I took the opportunity to say that art is born of all experiences;  and maybe could consider that her negative experience has become positive by nature of creating the work.

As the pieces progressed I felt that some of the visual imagery was very powerful, with strong metaphorical story telling visual imagery that the choreographers had created for their casts.  Their imaginations are broad, sometimes dark, and emotional.  I would love to have the opportunity of being a fly on the wall when they take rehearsals.  I would be interested to hear if they use imagery to achieve their vision and how they deliver it.  I’d like to know how the cast process it too.  All this did make me think that I might brave it and participate in a Foundation or 1^st year ballet class to see if I could be part of the process and experience delivery first hand rather than as an observer.  I might do just that.  Get the muscle rub ready!!

Typing, thinking, and other musings!

Having transcribed almost 50,000 words of interviews in the last two weeks I am ready to start really looking at what has been said by students and teachers about the use of imagery in ballet.   My first impressions are that everyone uses it in some way, but within that there is a huge range of cognisance, type, process and recognition of what is being used and delivered.  Of the 3 staff members that I interviewed, one is currently on a teaching course and is really aware and hungry to progress, one is a self-confessed ‘strategic’ learner who has lots to offer, but not always via direct answers to my questions, and the other feels content with what they know for the students that they teach, providing the shortest interview of the 3.  They are all very good teachers, who I have recently seen in action.  The last teacher I listed teaches Foundation students mostly and having observed her teaching them after the interview had taken place I was able to relate what she said about the imagery that she used during the interview to the class she gave, and comprehend more clearly what she meant.  It was clear that the students had limited anatomical experience, and indeed in some cases very limited classical ballet experience and we reflected after the class that the teaching had to be what we called quite ‘literal’ and obvious in order to allow the class to understand the basics of what was required of them.  I mooted that I would like to see her teach more advanced students sometime to compare her approach to them in order to ascertain if there was a difference in the delivery and whether or not more imagery was used.

The students offered a wealth of information, with an early days observation from what I have transcribed being that they often contradict themselves, for example stating that they learn a certain way, or do not use a certain type of imagery, but stating later in the interview that they learn a different way to originally stated, or do use a type of imagery that had been discarded earlier.  In contrast, some do correlate all the way through. 

In addition, the depth of understanding of how they learn and process imagery was really varied from Foundation to 3^rd year students which was what I expected.  In the end, not all selected students were organised enough to arrange interviews, so I had 1 Foundation student, 2 first years, 3 second years and 8 third years which has given me a spread across all years and a lot of third year interviews to work with.  I am happy with this as the third year interviews demonstrate great depth of understanding and knowledge which will heighten my learning.   I know all the interviews will teach me, but the third years were the most sophisticated and very diverse and I do not want to discard any of them just to have an easier time analysing.   

I wanted to write this blog before I get into formally processing the transcripts as I feel that my first impressions are of value, however informal they are.  I wanted to capture the essences of how I feel after the marathon typing sessions, which amount to about 45 hours without interview time included, which has been all consuming but revealing.  On reflection, I did not always stick verbatim to my questions, sometimes jumping on something that was said as it sparked an interest and I think for me that was the best route.  The interviews are richer for it, if harder to transcribe, but nothing can beat the teenage use of language, which meant that the sentences were often extremely fragmented – see previous blog for my frustrations about that!  

So, I now prepare to analyse the texts.  Wish me luck!

Fascination!

I started my interviews this week for my research and have so far conducted 9 with students and 2 with staff.  I have to say the transcribing is hard; time-consuming as my reading had warned me it would be, but especially challenging as my first transcription was of a student who has English as a second language.  She is extremely articulate but I found her phrases hard to remember in the moments between listening and writing.  My second transcription was one of the longest interviews so it took a while, but by the end I could almost predict and/or recall what was coming at times.  It still took about 4 hours.

However; it has been fascinating to have the opportunity to listen to what they all have to say.  I realised that we all spend so much time ‘doing’ or ‘teaching’ class but we never spend time discussing ‘how’ (yes, I am back to how again) we are doing class and I have gained so much from this insight, and the interviewees have said that they too have benefitted BUT…..

At the end of each interview each interviewee, including the 2 staff members, stayed to chat – mostly with the students about personal matters as they do not have much access to me during usual college time, but in some cases to discuss their learning and that they did not realise how much they use imagery and that they would probably work differently now.  I have to note that it was lovely; rewarding, but a little bit frustrating, as I could not capture it as it was unexpected and informal, and I feel that the interviews are perhaps not going to truly represent the whole experience.  I suppose I could arrange further interviews so I can document the ‘endings’ but with the limited time I have and the amount of hours the interviews I have already recorded are taking to transcribe this is not realistically achievable. It would also not be spontaneous, which could skew the data collection.

It’s also really fascinated me to reflect on how differently each person communicates.  In addition to the odd interview which contained my pet hate ‘LIKE’ inserted into speech like pepper spraying randomly over the supper, I have experienced precise, neat responses from a particularly precise, neat student, moments of fantastic insight and moments of confused answers which contradict themselves.  ‘I don’t know’ immediately followed by a clear response was the order of the day in one interview, which did actually reflect the nature of the student, in terms of a predisposition to be a little difficult and over-confident, along with the constant reference to self, which was not a surprise, more confirmation of their personality.  One interviewee was amazingly clear about how they learn and what they need in order to learn.  I know this and work well with her in class so this was no surprise. What was a surprise was realising that I was the same in so many ways it was almost uncanny and I had not made this connection before as my focus in class has been on her and not on me.

I think my questions were salient, but I am aware that there were occasions when the interviewees pushed for me to respond to them, or displayed insecurity and although I tried not to ‘lead’, some explanation was needed at times in order for comprehension of the question.  I also wanted them to feel relaxed, so there are odd moments of ‘both laugh’ in the transcripts, but as the Stamford Encyclopaedia of Philosophy (http://plato.stanford.edu/entries/phenomenology/) states; ‘We reflect on various types of experiences just as we experience them.’

I foresee an exhausting few weeks but I am glad it is underway.

How I was then is not how I am now..... a reflective observation

I am working on my critical review – trying to write notes as I go so it is real and honest, and I have just mentioned my change of focus within my teaching.  When I started this MA I came from an interest in the way I taught compared to other ballet teachers, for sure not thinking I was better than anyone – more that I was different in my approach to anyone I had watched when observing as part of my job.

Since learning so much about imagery I have tried lots of new approaches in my classes and although my fundamental ethic of taking time to ensure that the students know what they are doing – my obsession with ‘How to’ – has not changed, the ways I am trying to procure understanding have.  I am happy to have been able to tap into so many different ideas and theories and feel that my more holistic approach which includes more work on positive self-talk and imaging before doing, with a healthy sprinkling of my usual anatomical/metaphorical teaching and other new ideas may be reaching a wider audience.

I am interested in what the interviews may throw up – especially amongst those who grade themselves as low imagers as there may be work that can be done to improve this and therefore enhance their training.  I am also looking forward to hearing what teachers have to say as perhaps I underestimate their engagement with imagery, based on what I have seen. 

Another thing that I have noticed is that although I am perceived as a very organised, methodical person I am finding that within Module 3 I am jumping around like a grasshopper; 10 minutes ago I was working on my Critical Review, although my original attention was to approach my Professional Artefact, and now I am writing in my Reflective Journal and Blogging having also worked on my Literature Review in the meantime.

I think one idea sparks another and I want to ensure that I do not focus too much on one area of assessment work and find I have neglected another.  I’m not perturbed by this way of working, and theorise that it is because there are 3 end products to produce and not 1 and they are all equally important.  Also, something written in 1 document may well contribute to another – my presentation is informing my artefact in some ways, although the end products will certainly be very different. 

So I am changing.  In lots of ways, I am changing.  

As a happy postscript: It was interesting to hear what a student had to say yesterday. When taking students upstairs to get sheet music I asked them to use the student photocopier on the floor below my office to copy their songs as I could not be in my office and the library at the same time.  One of the students I was with said ‘You need a Janet army!’ to which I replied (tongue in cheek) ‘Can you imagine!!!!’  She said something to the tune of ‘There would be pictures of dancers and the anatomy everywhere, inspiring everyone!’  Well that is good enough for me – if I can inspire and educate then I am a happy woman.  Interesting to hear how someone perceives you; this student is a great singer but struggles with pointe work which I teach her – so if she can see what I am trying to do in the face of her pointe work adversity I can only be relieved and pleased as I do worry that 1½ hours of pointe work can be tough for students who find it really challenging.  This little interaction has given me hope and positivity and I am very thankful.

A good day at the office!

Firstly thank you Helen for your response to my 11th September post.... it is a big step from being used to doing what you do to challenging everything that you do and doing things differently as a consequence.  

However; today was a real leap of faith and so positive on so many levels - I had to deal with a ballet class of partied out students who had their Fresher's party last night... I was pleasantly surprised by how focussed they were, but I was challenged by a very slippery floor and no live music.  I took the decision to focus on the legs and feet, as I am aware that I correct lots of different things in a lesson and sometimes the students find it hard to work on everything at once.  One thing led to another and we got to the point where I felt it appropriate to discuss imagery with them in more depth than ever before - actually to stop the class and discuss and experiment.

I had been re-reading and Psychology of Dance on Wednesday night, documenting what jumped out at me and their suggestion of attaining imagery ability seemed appropriate to where we were in the class, along with ascertaining external and internal imaging as a subconscious preference.

So I asked all the students to lie down, close their eyes and visualise an orange, as suggested, recognising everything about it and asked them how easy or difficult they found it.  Responses varied from feeling they could taste it, to realising they were imaging the actual orange they had eaten 2 weeks ago to not seeing an orange at all.

Next I asked them to imagine themselves doing a pirouette and we talked after this - some realised that they were internal imagers, others external imagers and a few a mix of both - with the student who saw the 2 week old orange seeing herself in the mirror in a past class. Interestingly this student struggles to retain new work so we pondered that perhaps she needs to 'reframe' her imaging to new and current events and what is happening at the time rather than in the past in order to improve her capacity to learn new work.  She went on to explain that she sees photographs of things in her mind and can then recall everything she saw in the photograph - a true photographic memory.  Useful for many things I am sure, but evidently not so powerful within immediate retention.

The student who had trouble seeing an orange of any sort also reported that she just went through the names of the steps in her head without seeing herself at all.  Another explained that she saw someone else, always the same person, executing the step perfectly.  We discussed whether or not it might be valuable to aim to replace the perfect other being with herself.

Two students voiced that imaging a pirouette led to fear – which manifested in tension in one and a funny feeling in her tummy in another.  We discussed how that can lead into actual pirouetting and becomes a learned reflex or reaction to the step and how to replace the ‘negative self-talk’ with more positive thoughts.  One said she cannot imagine turning to the left at all – some sort of block about it.  Another said that she has a positive outlook when imaging yet can be very hard on herself and negative when something goes wrong in practice.  I mentioned setting themselves up for class by making positive statements before they start and checking back in with themselves at the end of class to see if anything was different.  I also reassured them all that they would need to practice imaging and not to expect overnight change. 

Finally I asked them to imagine themselves performing a role they would love to perform.  My orange deprived student saw the person who plays the role playing the role and not herself, whilst some students found it easier – one in particular who found it easier than the others as she said she loves performing.  I suggested that she might aim to realise the connection between technical achievements to that love of performance in order to reach her full potential. 

I gently suggested to the student who clearly has poor imaging skills that it might improve with practice outside the studio, and explained the notion of 2/3 physical doing, 1/3 mental rehearsal being seen as a good balance.

It was fascinating to hear their responses and I think they started to realise (they are in the first term of their second year of training) how different they are and how learning to dance is so much more than being in a studio and doing steps.  The class concluded with more discussion about positivity, the power of the mind and some of the other elements involved in becoming a dancer such as focus, concentration and drive which I explained we would be looking at next week when I ask them to fill out profiles for me.  

They all felt that imagery was important, and some of them voiced just how fascinating they found it all, thinking in new ways.  They were grateful for being considered as individuals, and some went on to tell me about CBT they had undertaken as we had touched on how close to CBT positive thinking is.  I found them open, honest, mature, engaged and interesting.  I appreciated their sharing with me and hope that they may be able to progress in a productive manner.  I also learned about them as learners and hope that this may assist me within helping them attain their goals.  I cannot claim to have all the answers but today seemed to trigger lots of thought within the students which can only be a good thing.

All in all – a good day at the office!

Acorns, oaks and other woodland matters

Taking a more focussed look at my work for Module 3, I am going to try and put into words where I was and where I am, and what I think I am about to do.  No point whatsoever in trying to imagine where it will end up because I could not possibly predict!

As I mentioned in my last blog, my interest since day one has been the use of imagery in dance training, sparked by an inspiring read – Inside Ballet Technique by Valerie Grieg – and my personal journey as a teacher.  Since starting the MAPP I have encountered much writing about imagery, and have been introduced to a wide range of imagery related possibilities that I had not previously encountered.

They say that out of small acorns large oaks may grow, (a tree being my favourite image to use in dance class) and my acorn has allowed me to embrace, dislike, tussle with and learn from the work of many new writers and researchers such as Eric Franklin, Drid Williams, Jennifer Cumming (I find her research very stimulating) along with the Phenomenologists such as Husserl.  There have been several ‘lightbulb’ moments – Psychology of Dance by Jim and Ceci Taylor being one, and little phrases, quotes, moments, facts in so much of the literature I have come across that my mind is constantly engaging with new thoughts and ideas and new ways of finding out more.  I started from a relatively narrow perspective, but we all have to start somewhere and currently I stand on the precipice – about to leap into the unknown.  

Working qualitatively, for example, is relatively new for me – I am used to logical and factual analysis of figures both in previous research work and in my current post, so learning to drill down into a more narrative type of data will be an interesting challenge – and a more human outcome I guess.  That’s why I opted for Phenomenology – describing the lived experience.  I will also try and get some factual data as I am interested to see how it compares to the more personal narrative data derived from interview.  I have gained some really useful information from reading both quantitative and qualitative studies and feel that there is something in comparing both and something to be gained from having both.

I think in real terms my research is going to take me more into the realms of psychology:  I am reading about sport psychology at the moment, related to imagery via the notion of positive imaging, along with my current fascination which is that of focus.  I do bounce around a bit – something I read sends me off on another trail, and sometimes I cannot see the wood for the trees but I know somewhere in all of this there is a lot to discover and that I will find a way through.

My first notion was to research how students interpret and utilise imagery, how teachers teach imagery, and how teachers learn to teach imagery within this genre.  It feels at present like a rather huge undertaking and I am currently refining how to approach researching within all 3 areas.  I will be using a profiling system at first, with the students, which should allow me to establish a manageable number of participants between 3 year groups (as I wish to look into differences and similarities as experience evolves), followed by interviews.   I have to work differently with teachers as I am not looking into the same areas as the students, and am currently preparing how I will do this.    I have had second thoughts about trying to triangulate too much externally to my place of work, which may seem narrow-minded, but realistically within the given time frame there simply may not be time to gather enough back from elsewhere – I will save that for the next study.  I will contact other teachers, just not other students as I am aware of just how hard it is to get the participation you require.  The rest I cannot document..... the truth is out there somewhere!

So – that’s it for now – I am looking forward to hearing what your topic is, where you are at, what you are discovering!  

As autumn unpacks suitcases and settles in

It has been an interesting and rewarding summer, and as I reflect I realise that I approach my work in a new way, with broader thinking and raised awareness.

Choosing imagery as my topic of interest was born of a small idea about the way I teach ballet.  This has grown into a much bigger idea about teaching, learning, describing, watching, listening and hearing and I find myself thinking so differently about imagery - for example, I have read avidly for a large portion of my life, but for the first time, in July, I 'saw' a book and related it to the imagery that the words were creating.  That sounds worryingly unaware, but I cannot quite describe the experience......Of course I have 'seen' books before, but never before have I been so impressed by and aware of the skill involved in bringing the page to life.  The book was Rules of Civility by Amor Towles, and it was joy from start to end.  There are 2 paragraphs very close to the end of the book that I could hear as the voice-over for the start of the film; so vivid that I could visualise the scene in great detail and understand the whole concept and genre.  Most interestingly there was a section at the end of the book, a q & a with the author that discussed the use of imagery.  A real treat - and perfect movie material.

Another imagery adventure was creating the musical Footloose with my summer youth cast in Rugby.  This was my 21st youth project - so I am no stranger to the process of creating a show in 8 days with a large cast of varied experience and ages.  This year, however, I was really concious of the power of the words the creative team (myself, choreographer and musical director) used to create the shows opening environment of Chicago and then the repressed town of Bomont.  When working like this speed is of the essence and it is vital to capture the imaginations of the cast so that they 'believe'.  Only when this belief is there can the audience be transported, and it was vital that every member of the cast be they 10 years old and on the stage for the first time or 21 and playing a leading role was part of the community.  I was really aware of the descriptive way we communicated what we needed and the right energy and mood was captured by all the cast members, which led to a really committed and enthusiastic cast who gave a really embodied performance.  I am sure I have worked like this in the past, but it was interesting to be able reflect in this way with a broader vision.

I have also been captivated by reading Psychology of Dance by Jim and Ceci Taylor which refreshed and re-framed my thinking about the possibilities of success imaging and added much to my research ideas.  I am hoping that the participants in my research may find that they have a more positive approach to their training and capabilities once the work is done.  It is important to me to have something to offer them for being brave and taking part - it is always hard to reflect and be open and honest - and to have something to offer a wider audience in time.

I think my research is going to take me to unexpected realms, and I am prepared for this.  When I started this course I was most interested, probably because it was what I knew, in the type of imagery I use when teaching.  Since then there has been a shift and I am more interested in establishing how others feel - students when they are learning and teachers when they are teaching.  Perhaps worryingly narrow-minded at the start, but exciting at the onset of my research.  I am ready to listen, see and hear with open eyes and ears and an open mind and as autumn unpacks suitcases and settles in, I am settling in to accepting the unknown and feeling ready to face it head on.

Reflection/Progression

I wanted to share what is happening at the moment... although I am not too sure how to express it!

Here goes.

So, my proposal and all related work is handed in, ostensibly 'completing' unit 2,  However, I am having almost retrospective lightbulb moments (or are they progressive?) about my chosen topic and actually musing that my research may end up taking me somewhere other than I thought.

Then comes the anxiety that this may not be allowed, followed by rationalisation which tells me that what my brain is processing now is related to my topic... and could in fact enhance it....

Then I cogitate further, and pick up a book which is not related but related to my topic and it all starts again...

If I can analyse this logically, I do think that my understanding of my research topic is broader than it was, which it should be, and this is all ok.. but then I ponder that maybe I should have got to here before I did, but I didn't, so what can I do?

Is this just me?

Ethics.....

Thinking about my research and who and what it may include and therefore affect, I need to ensure that I follow a clear ethical code.  Looking at several codes of practice dedicated to research made me realise that the ethical boundaries are wider than I first thought.

http://ethics.iit.edu/ecodes/node/5029

http://www.arts.ac.uk/media/oldreddotassets/docs/13_-_RSDC_UAL_Code_of_Practice_on_Research_EthicsForRSDCMarch2011.pdf

http://www.bps.org.uk/sites/default/files/documents/code_of_human_research_ethics.pdf

http://www.humanities.uct.ac.za/downloads/humanities/research/ethics/UCT_Humanities_Ethics_Guide.pdf

I had not really considered any problematic scenarios with regard to publishing, for example, or a personal conflict of interest with my own work, but I can see how they may become problematical, or at very least would require consideration.

To me, ethical consideration is mostly common sense and good manners, but there are wider parameters to consider than just behaving in a professional manner.  My students and colleagues are all included in college safeguarding policies and procedures, as well as disciplinary and harassment policies, so by default, as a member of staff I have to abide by all college rulings.  Naturally I would anyway but it could be possible, I suppose, to harass someone who does not return a survey, or to belittle their input.  Horrifies me to even write this, but I suppose it could happen.  My intention is to conduct a positive, useful, well intentioned inquiry that offers something in return to all participants and the wider dance community.  It is also critical to ensure that everyone is aware that their input cannot be wrong… that sort of judgement can be destructive, and in reality, no-one can give me wrong information if they are telling me their lived experience.  I have nothing to prove, but plenty to learn.

When approaching triangulation sources, I will take the stance that I am setting out below, but will also have to be mindful of any additional considerations that may arise out of them being off college premises.  For example I am CRB checked, but would ask if I had to be accompanied if interviewing off site.  I do not intend to engage with anyone under 16, but if my research takes me on that route I will insist on being accompanied when interviewing.  This protects the participant and me.

As I am not researching personality or the human psyche per se, there should not be anything within my inquiry that could be detrimental to any person; however I will be mindful to ensure that the contribution of all participants is valued, not judged, and obviously appreciated.  A ‘thank you’ along with a clear understanding of the work and where it might be read goes a long way. 

With regard to my personal choice of research, I have constructed what I think is an appropriate ethical code to follow:

• Be explicit when asking for permission to use participant’s information.  Better to be over clear than to keep anything from anyone
• Get written permission from everyone
• Show transcripts of interviews to participants so that they can change the wording if they feel misrepresented
• Ensure that appropriate explanations are offered when conducting surveys or interviews so that no-one feels that they are required to participate in something that is too challenging for them – a happy participant is one who does not feel undermined or confused by what they are required to do
• Stick to the guidelines of where I work, or to those of other institutions I may become engaged with
• Be open, patient, reliable, and non-judgemental in any interview or discourse with any participant
• Ensure that clear references are given to any quotes that are included
• Be mindful of how you criticise the work of others when writing a Literature Review – if you really believe you have a point to argue, remember a human has written it
• Be reliable – if you have booked an interview make sure you do not cancel

The above are 9 very basic tenets to follow.  I am sure I will become aware of more as I progress.  

28th April 2013.......... Where am I?

I have been a little absent from my blog as much has happened recently which has caused me to address my past and face the events that have shaped my development as a person. 

Much good has arisen out of a potentially difficult time, and I have been able to reaffirm what I believe with regard to my philosophical stance.  I have always believed that we are able to have a huge influence over our own health and emotional responses.  Therefore the mind/body connection for me is also contributed to by the spirit.  I remember writing on Adesola’s blog that the notion of selecting a philosophy felt ‘spiritual and vast’ and now I know why; it feels like that because it is like that!

Within my work as an educator, I embrace the mind/body connection and feel that this is a good way forward when learning how to use the body in order to dance safely.  I feel that the ‘thinking dancer’ is the dancer who is able to apply logic, work constructively with their own physical parameters and work to their maximum and even beyond, with application and thought.  Add the spirit, or soul if you will, and you have the dancer who can attach their intuition, emotion and life force to their work, which can only, in my opinion, take the work to another level.

On a more personal level, I have recently been reminded that ‘your biography becomes your biology’ and this has certainly resonated and helped me to find my way back to the path that I wish to tread.  As the recipient (not, I stress, victim) of a challenging childhood and adolescence, I found I followed the path of self-help and was able to confront my emotional responses to what had occurred, which led to forgiveness, but perhaps not amnesia..!  I have always said that my childhood is the reason that I am as I am and not an excuse and I am starting to realise the benefits that my journey has allowed me, such as awareness.  I have tried never to sit on the negative side, but more recently, since starting my new job, have been able to view life from a more positive angle.  

As a result of recent events I feel ready to work even harder to be a better person.  Lessons regarding the power of the spoken word (once it is out there is it out there) and the power of the self within health and creativity are jumping at me from all corners and I am endeavouring to move forward with new energy within my cognisance and approach to everyday life.

Somewhere within all of this I know that my research and teaching will be better for all the work I have had to do on a personal level, and the curveball I have been thrown, for why are we sent challenges other than to use them to progress and learn?

Dualism in action......

On a rare and productive trip to the gym this morning, I was idly watching the world go by out of the window and observed a young lad walking along a wall which ostensibly got higher as the steps got lower.  I was one step ahead of him and waited in great anticipation of what he would do when he got to the end and realised that the wall was too high for him to jump to the ground from. 

I was fascinated to observe him.  He reached the end, and I could see a clear calculation going on which seemed to sequentially involve eyes, message to brain, thought and finally action - to turn back!  It was almost in slow motion; he stopped, looked down, thought for a moment, made a calculation based on what he saw and turned around and went back to a spot along the wall where the stairs were higher so he could jump down safely.  So, his mind was assessing the risk and informing his body what to do.  Mind and Body working as a team to save a potential accident.  

Thinking about Descartes, I found the following of interest, visually a strong representation of what was happening to the young lad I observed.  I then applied the four steps that Decartes created as the route to all problem solving to the situation he was in (described below each point in brackets).

https://thescienceclassroom

Descartes four steps to solve all and any situations presented in life:

‘The first was never to accept anything as true if I had not evident knowledge of its being so; that is, carefully to avoid precipitancy and prejudice, and to embrace in my judgment only what presented itself to my mind so clearly and distinctly that I had no occasion to doubt it.

(There was no doubt at tall that if he jumped, the young lad would have injured himself)

The second, to divide each problem I examined into as many parts as was feasible, and as was requisite for its better solution.

(It seemed to me that the parts were observation, consideration, calculation and solution)

The third, to direct my thoughts in an orderly way; beginning with the simplest objects, those most apt to be known, and ascending little by little, in steps as it were, to the knowledge of the most complex; and establishing an order in thought even when the objects had no natural priority one to another.

(Orderly thinking: analysis and action, which concluded somewhat ironically in him returning to the ascended steps)

And the last, to make throughout such complete enumerations and such general surveys that I might be sure of leaving nothing out.

(He really thought it through even though it did not take long – he identified and evaluated the risk, and made a logical decision)

It was a great scenario to observe and gave me food for thought about how we function as human beings, and the amazing way that our minds and bodies are united as one great ‘machine’ with a powerful control system.    Descartes believed that a motion of the body was effected via having a thought – mind/body interaction – and what I witnessed today was, in my opinion, a perfect demonstration of this dualist philosophy.

A sentimental sharing

Hi All

I know this is really sentimental and heaven forbid I found it on Facebook, posted by another very passionate teacher I know…….but it did make me think, and I thought I would share it with our ‘striving to learn’ community.  Hopal, I thought it really poignant considering the tough time you recently had – and can only hope you were appreciated somewhere along the line!

THINGS YOUR DANCE TEACHER MIGHT NOT TELL YOU: BUT YOU REALLY NEED TO KNOW

1. He/She wants all of his/her students to succeed, regardless of who they are or how they look. This reflects well on the teacher, the students, and the studio as a whole.

2. You will never know how hard he/she works outside of the classroom. Research, training, choreography, music editing, costuming, paper work, pictures, parent meetings, etc. There are hours of work that you never see.

3. The greatest gift you can give him/her is to thank them and tell them what you've been able to learn in class.

4. A student being sore or tired, means he/she has done a great job.

5. He/She was once a student too. They understand.

6. Years of training and hours of work go into all of that choreography and all of those classes. Not just anyone can do his/her job.

7. Very few things are as gratifying as a student having an "ah ha" moment.

8. The favorite students are never the ones who have a perfect dance body or have been there the longest. They are the ones who are respectful, work the hardest, and remember corrections.

9. A dance education is more than just steps. When your teacher shares their life experiences, take it in and know that it is for your benefit and is a crucial part of your total education.

10. A teacher's biggest fear is not bad choreography or small classes, but failing the passion of the art. We never wish to cause a child to fall out of love with dance.

11. He/She wants you to ask questions in class about life and about dance. He/She has a need to share their passion, just ask them.

12. He/She will still remember you 10 years after you have graduated out of their dance program and they will want to know what is going on in your life.

It’s all true; in my case especially the ‘ah ha’ moment (and no I do not mean the band).  There is nothing more rewarding and inspiring than when something ‘clicks’ with a student and they are able to improve.  A wonderful moment and a great feeling.

I posted this with respect for you all - working so hard to be the best you can be.  Without dance I do not know where my life would have led me, and I am thankful that I had a vocation that has given me so much pleasure, and which has enabled me to share my experiences with others.