An ethical dilemma

I write with my Course Leader’s head on, with thoughts inspired by reading and responding to Alison’s posting about ethics.

I am mid-ethical dilemma as we speak.  I am aware of a student who is not coping very well at the moment.  He has had a very poor education, and considers himself less equipped for the profession than his peers because of this, although he is very naturally talented within performing arts.  He has been attention-seeking recently at the start of my ballet classes, and, as I know him well, have let it pass and he has settled down.  I was of course concerned that he did not seem to be in a good place, even though he achieved 6 pirouettes in my class once he was settled.

He is required to prepare a monologue for a forthcoming assessment, and a song.  I was made aware by another student in his group of the difficulty he has had finding a monologue, and that he has real reading problems.  This student felt that the young man in question had not been given enough learning support whilst at the college.  She also felt that the acting teacher responsible for the assessment should have given this student help with finding a monologue as he lacks the required knowledge and literacy skills to be independent at the moment.

I spoke to him today as I was made aware by a colleague that he had had a meltdown on Friday and it was quite likely that he would not attend his singing and acting assessments.  We had a chat, and he explained that he had tried to read the play from which his monologue (that in the end another teacher had given him, and he had learned) had come, but he had really struggled with it.  I am aware that it is very likely that the teacher/assessor will ask about the play, and when we discussed this he said that he would probably answer that he had not read the play.  I have the play on video, so offered to lend it to him so that he had a visual and aural understanding of the play, but also suggested that he should give reading the play his best shot.  I also suggested that perhaps rather than saying he had not watched it, he could reply that he had tried to read the play, but, as he had struggled with the reading, he had found another way to research the work so that he was more aware of the plot.

I am really aware that my colleague may well accuse me of undermining her, but I have thought long and hard about this and feel that actually my responsibility in this instance is to the student, and that it is not about my colleague.  She has taken the stance that he is lazy and unorganised, and whilst this may partly be the case, I am more concerned by the fact that emotionally he is overwrought and feeling (as he articulated today) like a social outcast due to his lack of knowledge.  I have tried to give him a coping strategy for this and suggested that he starts to look at musicals and plays on television and youtube, as it is there for the taking, rather than punishing himself for not being able to read a play.  I will have to ‘defend’ myself with my colleague should this arise, but I feel quite strongly that I had to support the student in this case.  I also understand how my (quite fragile) colleague might feel, but can only hope that she can see the bigger picture and realise it is not about her.

What are your thoughts about this?

When is a ballet class not a ballet class and how to get the balance right.....

Reading Eric Franklin's 'Dance Imagery for Technique and Performance' has widened my thinking about imagery, its scope and its uses.  I have started to take the book into my classes, and am trying to encourage my students to think differently in the approach to their work, all of which is going well.  I have been doing this kind of work ever since I discovered Valerie Grieg's 'Inside Ballet Technique' which supported what I already thought, so all good.

However, last night I started to read Drid Williams' 'Teaching Dancing with Ideokinetic Principles' and I felt like my brain might pop....

I refer to Page 2 of Chapter 1, which quotes Jean George Noverre (1760) as cited by Derek Lynham in 1950 (138):  'There may be only one right principle to be taught, but is there only one way of demonstrating it and of imparting it to the students one undertakes to teach, and must one not of necessity lead them to the same end by different ways?'

For me this sums up the teaching of dance, both within concepts that are way bigger than teaching and within how I feel about and approach teaching.  The thought that there was this level of awareness within approaching teaching dance (and this quote also discusses the fact that each physique is different and therefore will appropriate technique according to physiognomy) as early as 1760 was incredible to me, especially as I witness teaching today that does not seem to account for either statement.  Within the communities within which I teach, I have always felt that my teaching is different – and I have been told this is the case by my students.  Now I am reading book after book that confirms that this practice is out there and I feel inspired, yet a small fish in a large pond.  Although this is reassuring and inspiring, I have a slight anxiety which I want to put out there….

Reading about Williams’s utilisation of Lulu Sweigard's 'principles regarding imagery in dance technique classes' (Chapter 1, page 12) and how Williams approaches teaching: ensuring that the dancer in the class is thinking about what anatomical processes are taking place, (the ‘how to’ that I have discussed since the start of this study process,) was inspiring and I related well to the structure that the lesson may take, which included taking time to explain and identify areas of the anatomy which are responsible for certain actions such as turning out.  In my classes I often state that I would prefer quality to quantity, and often commence a class, or take time within it to stop, to refer to text or visual images, or use verbal descriptions to work on a step, line, position, or sequence rather than running through a set amount of work in a set format, following one exercise with another.  

I was cautioned however by the comment further down page 12 that ‘Not everyone responds positively to the kind of teaching I advocate…’ I now feel that part of my research should include a survey of the balance between who feels they benefit from my teaching methods and who does not.  I guess it is an advance on ascertaining the benefits and uses of the imagery I use.  I feel a little vulnerable, and need to remind myself of the positive feedback I receive, but nonetheless I need to put myself through this to ensure that I am giving the students what they need. 

Time to study, think and reflect

This weekend I am home alone - my better half is in Russia (thankfully not where the meteor landed) and I am dedicating as much time as I can to my study.  I want to take a minute to reflect on a theatre visit - well actually 2.

Last Saturday afternoon, I saw A Chorus Line at the Palladium.  I last saw it when I was 13 at Drury Lane... and can vividly recall the impact it made on me.  I was at Bush Davies, immersed in my study and loving it - and the notion that a graduate from my school (Cherry Gillespie FYI) could achieve a role in this show was huge for me.  That, and the show itself really hit home and I was somewhat nervous about seeing it anew, over 30 years later.

No need for worry - I saw much again... I marvelled at how the dancers of 2013 had adapted to the style of 1978 - dance has progressed/changed/developed so much since then - especially Jazz dance, and they did a great job.

The biggest impact this time round was Scarlett Strallen dancing The Music and The Mirror as Cassie.  She WAS Cassie - not a performer playing the role - she was Zac's ex-lover, who had failed in Hollywood, who still loved the dance as she always had, desperately demonstrating her love of dance and her talent to get a job.  Jaw-dropping, breath-taking - totally immersed - BEING in capital letters, not doing in lower case.  She was totally living the moment, the story, the dance.  I was really moved.  At the end of the show I was literally speechless - my voice box felt as if it had turned on it's head and I could not speak (rare for me!!)

With regard to my study I guess I learned that imagery can be pretty much anything....not just words, or pictures....I was reliving mental imagery which had stuck with me for over 30 years, whilst simultaneously  being emotionally carried along by the moving images in front of my eyes.  Powerful stuff....

I am also struggling a bit due to the challenges of my reading at the moment; there is a particular notion that Eric Franklin finds unmentionable (the glutes - and consciously mentioning using them within dance) which is the polar opposite to the way I teach ballet.  I frequently mention 'pinning' the pelvis and by default the turnout with the 'bottom of the bottom' 'the glutes' and supporting the balance with these muscles, and the thought that this may not be constructive is tussling with all my teaching buttons.... So, I must ensure that I ascertain whether what I am saying is useful, and whether I am negatively interpreting what Franklin actually means.  It is really on my mind so I must act swiftly - Monday I feel!  I guess that is what study is all about - nobody can afford to get complacent and this is certainly 'keeping me on my toes' (see what I did there!)

My brain is going into overdrive a little!

More musings about imagery...!  I have found that I have started to 'logicalise' all sorts of things... found myself driving home today and working out how something was happening within the mechanics of the car, thinking how to explain it in a logical manner, so it could be replicated correctly.   Not a problem in itself, but I do not want to start analysing things that I really do not need to fret about!!!  I think it might be because I am really immersed in my Eric Franklin reading at the moment... which I am enjoying.  I do not agree with every image that is presented, but have thought about how my imagery differs and why.  I am open to his and any other ideas, and find a lot of it really fantastic.  I will try to affirm the uses of the imagery I use, then I may have an argument.....  I can see that I will be reading lots more - there is more to learn from all sorts of sources, and it fascinates me!

An Interesting Week!

I have been trying to find ways to ascertain the impact of my imagery in preparation for my research, and have combined this notion with trying to keep injured students engaged whilst watching classes.

I have collected 3 sets of their work this week - their interpretations of what I have said in 3 different classes, over 2 college years.  I asked them to describe what my imagery meant to them in relation to how they might use it and it is really interesting to see the outcomes.

I am very inspired by their enthusiasm and they have preferred this work to filling out the regular observation sheets, so a very useful exercise.  I have learned that it is possible that I need to be clearer with first year students having seen the first year interpretation against those of 2 second years, but more than anything else I can see that the students are able to relate my imagery to ballet.  I have mentioned before, if not on here then in my reflective journal, that I am conscious that I have to establish the uses of the imagery for my students - it is no good me thinking I am helping if I am not.

So far, so good, and some far better drawings than I could create.  They are also enthused about the notion of being a part of my research project.  I will make sure that full permission is obtained, naturally, but I am pleased with my tentative, early days findings.

Happy MAPPing!

Janet

Once again I am reflecting on the imagery that is all around me, having just completed the final shoot days on the film I have been working on, and once again I am fascinated by the processes that take place once the image has been created and the speed at which they can be transformed into movement.  Added to that is the outcome... lots to assess.

I can really see that my inquiry is going to have to include input from my students - it is so much more than me saying words or drawing pictures - that is just the springboard from which my ideas are launched - and they are just that - my ideas, so there is no guarantee that they will work for others.

Going to start to really look at how to best go about this inquiry - I must make sure that I use the right methods and collect the right data so I can get the best outcome.

Short and to the point, but this has helped me really focus!

Happy MAPPing!

Janet

Happy New Year

Happy New Year one and all!

So... onto Module 2...

After reading the handbook, buying books, searching the net, making new contacts on LinkedIn who are keen to help and much thinking I need to start to order how I intend to research my topic.  As ever, it is getting bigger and broader (seems Xmas affects everything and everyone) and I know I will have to narrow it down to keep it rational and manageable.  I know what I am going to look at, but need to distinguish exact areas that I should cover - I am becoming more fascinated by the neurological processes associated with my research so want to include that along with everything else..... 

I am also becoming more aware of how much I use imagery to get results, as do others around me.  Working as Associate Choreographer on children's film Molly Moon has required much use of imagery as at speed we are required to create work on young children with little or no dance experience.... new steps such as 'do the laundry, Molly Roll' have entered my vocabulary and it seems to be working.... I have also listened to the director preparing the young actors for scenes, and he really describes how the character is feeling, what has happened prior and so on and it is really really clear - and the results are tangible.

So... it is everywhere!