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 2nd
and 3rd 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 1st 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!!
Great Janet, absolutely putting yourself in a very visible learner role is so valuable to developing your pedagogic understanding. Whilst we are learning always through teaching from our students, from the methods, ideas and imagery we may play with, to actually take class rather than teach it and absorb imagery, information that way round, I believe is not only refreshing and re-engages us in different ways, but also a very powerful learning experience. Let me know how it goes, and as you say, muscle rub, hot baths at the ready!!
ReplyDeleteAnd on the choreographic front, I think this is an arena in which imagery is used and is vital in the communication between choreographer and performers. It would be interesting to see how intentional that use is though, quite a different process to the technique class, and use of imagery for a direct end result. Imagery crosses more with intuition and being humans communicating when creating choreographic work?
ReplyDeleteHi Helen
ReplyDeleteThank you - both points very interesting and thank you for the support regarding finding my ballet legs again! It feels like the right thing to do and I will report back.
With regard to choreography I have a vivid memory of creating a piece of work the morning after being angry at work which led to a tough evening at home which was my fault - and this was possibly the most passionate piece of work I created. I did not communicate my feelings to my dancers, but my emotions created imagery for me that made my choreography full of what I was feeling. I think sometimes you have to gauge how much of yourself you give away – on this occasion it would have been inappropriate to be too personal about how I was feeling and it was more effective to disguise my emotions with diverted imagery about how others might feel when dancing the piece. Maybe this is what my student thought too? I will ask her sometime – as it was very interesting that on the day after the above-mentioned dance platform sharing the main dancer told me that although the choreographer had told her the piece was about depression but not that it was autobiographical... she was surprised when she heard it on the day. The very greatest news is that the self-same choreographer came to me today for a reference for a post-grad course at The Place - made my day as she was positive and upbeat. Whatever the reason for her positive step forward, I will always wonder if the experience of communicating both verbally and through dance was a catharsis of sorts.