Hello all,
I felt that yesterday's Skype session (evening) was extremely informative. Having decided to take a step back and defer my submission to May, I am a step behind most who are in Module 3. So hearing about where each of you are at and the experiences you have had with data analysis and writing really helped me understand what lies ahead. I took many notes during our Skype that I am sure will be useful as I move forward through Module 3. So thank you everyone :)
To be honest, amongst the hustle and bustle of life I often forget about our blogs and Linkedin. However when I do take the time to sit down and read through each of your blogs, I become inspired and motivated not just about blogging but about our MA and the dance world in general. It is refreshing reading blogs of people I have never met, yet seem to be living very similar experiences to myself. That is the beauty of dance, I feel it is a thread that ties people together into a community of similar thinkers, movers and feelers - even if these people never meet. Does that make sense?
Feeling like I have nothing to say in my blog, I decided to read through everyone else's first. I was pleasantly surprised to read that many of you have had the same feelings towards blogs that I have. What is this? I don't know what to say. Why do I need to do this. I loved reading Sarah and Suzy's blogs about their process of overcoming these thoughts and realizing how liberating blogging can be. And that writing can be an extension of our thoughts, discoveries and experiences. I believe it was Sarah who said she doesn't consider herself to be extremely creative. I feel yah! I say the same thing about myself. Which I have come to realize is a lie. No, I may not seem as creative as some of my peers, but I am creative in my own way. And I think it is lies like this one that stop us from doing things that we are not comfortable with or feel we have nothing to share. This is my experience with blogs. I often feel as though, "Why would anyone want to read about…?" So I don't share. But a big part of this MA is reflecting, sharing and encouraging others. Actually not just this MA but life. I also think that the stigma of over-sharing opinions online has hindered my desire to want to blog. So I am continually having to remind myself that this is different. This blog is for those who are walking through the same journey as myself and it actually can be a useful tool for both myself and other MAPPers.
Ok, on to the part that I am supposed to be writing about. Data analysis. Having not officially begun my data analysis, I can not necessarily speak to my specific experience with it, but more to the advise and ideas that I received from others during our Skype call.
The reason I have not been able to move onto Data analysis yet is because silly me, I decided to transcribe all of my audio recorded interviews. Each is about 1 hour in length, which takes me 5-6 hours to type. I am down to my last 3 interviews, and am now realizing I really should have thought of a better way of doing this! hahah, but it is too late now. I am almost done :) Even though this has been an incredibly long and strenuous job, it has been very enjoyable. It is one thing to sit and talk with someone, but to then spend 6 hours typing out the conversation word for word is really eye opening and enlightening. I feel that this process will actually assist me when it comes time to sort through all of my data, because I will be able to recall and identify details from each interview. I read in Louise's blog that she is under the same stress with her video recordings. Good luck Louise!
I am curious how much data you each had? I am beginning to worry that I may have too much!!!
Analysis - In our Skype conversation we were talking about the need for being thorough when sorting data and selective or strict with ourselves when choosing which findings to include in our final project. I believe it was Mary and Cathi who were having the conversation about literature. Cathi was mentioning that the more she analysis her data and finds new literature to back up her findings, she ends up with new trains of thoughts and new information to add to her project. Mary reflected back on her experience with completing Module 3 and recommended that Cathi (and the rest of us) be selective and stick with the literature that first stood out to her. What first inspired, enlightened or confirmed the idea is the literature that one should focus on. Would this also be something to consider for data analysis, coding and selecting what to include in the final project? I am not sure. We did talk about the fact that as we sort through our data and create themes, themes may emerge that were not considered when the proposal was created or data collection began. And some of these themes may actually be more prevalent then others that were assumed to appear. This is the exciting thing about research! I have already noticed in my own data collection that there are ideas coming forth that I did not expect. I am excited to sit down in the next few months and begin analyzing my data. But to be honest, I am extremely intimidated about this process because I feel I may be inundated with data, thoughts and directions!!! ahhhh…… Any advise?
Thank you Sarah for sharing your Rhizome with us. I am definitely going to use that!
The last thing I want to share is an image I had earlier in November that led to my decision to defer. I had been dealing with a sever back injury, a completely full schedule and a brain on overload when one night in my sleep I had this beautiful image come to me. Here is what I wrote….
It is like I am scuba diving in the Caribbean - I am at the bottom of the ocean taking in the beauty of the coral reefs, fish, and amazing things. It is so beautiful and enjoyable that I don't want to come up - however my time and air is running out so I must begin to ascend. This ascension takes time, it must be a slow controlled and perfectly timed process or there are consequences. When I reach the surface I can breath again and consider all that I have just experienced! The make my way back to the boat and call it a day!
I feel I am still at the bottom of the ocean taking in the beauty, but I know that I am running out of time! However I need to take my time ascending - sifting through the data, really digging into the analysis process and literature. For me I feel this stage will be important in order to really look at my data and get the most out of it that I can. Then I can reach the surface and begin to formulate my thoughts. And finally, make my way to Middlesex to share it with you all. I was wavering back and forth between January or May and realized, I am in no hurry! I had planned this whole year for school anyway. I know that if I rush to finish in January I will not do anywhere near my best work, nor will I enjoy it! What I am learning is so incredible and intriguing, I want to continue to learn and grow and develop my practice. And I know that if I rush to complete, this will not happen for me to the extent that it could if I gave myself more time.
Merde everyone on this final push to the end of term! I felt a little sad yesterday during our Skype thinking that some of these familiar voices may not be around next term! So hopefully some of you will pop into our Skype calls from time to time. And I may be reaching out to some of you for advice on Module 3!
Best of luck with your final presentations! Merde :)
Ainsley
Monday, 7 December 2015
Wednesday, 4 November 2015
Literature
Hello all,
As a follow up to our Skype this past weekend I have chosen to write about my understanding of literature and our research project. During our Skype we all came to consensus that we are struggling finding literature that is directly related to each of our topics, we are becoming overwhelmed by the enormous amount of ideas that come up within the literature, and we are finding that there are holes within the literature. It is these holes that our own research will help fill. By researching literature outside of our specific topic we can create our own thoughts and voice and use this to begin to fill these holes.
Understanding we will not find the answers we are looking for in literature, Helen gave us an image to consider. Literature is just an ingredient that is added to the bigger product that I am making. It will help add spice, making the flavour deeper and adding richness.
This image has helped me not feel as overwhelmed as I was previously. I am still struggling to find literature that related to part of my research, but will continue to see out sources that may be applicable even if not directly related. I believe this still has the ability to open up my mind and help me create my owns voice to eventually help fill in some of those holes within dance research.
As a follow up to our Skype this past weekend I have chosen to write about my understanding of literature and our research project. During our Skype we all came to consensus that we are struggling finding literature that is directly related to each of our topics, we are becoming overwhelmed by the enormous amount of ideas that come up within the literature, and we are finding that there are holes within the literature. It is these holes that our own research will help fill. By researching literature outside of our specific topic we can create our own thoughts and voice and use this to begin to fill these holes.
Understanding we will not find the answers we are looking for in literature, Helen gave us an image to consider. Literature is just an ingredient that is added to the bigger product that I am making. It will help add spice, making the flavour deeper and adding richness.
This image has helped me not feel as overwhelmed as I was previously. I am still struggling to find literature that related to part of my research, but will continue to see out sources that may be applicable even if not directly related. I believe this still has the ability to open up my mind and help me create my owns voice to eventually help fill in some of those holes within dance research.
Wednesday, 14 October 2015
Data Collection for Module 3
Sorry for the long delay in writing my blog following our last (first) Skype call.
I had chosen to write on Data Collection, so here we go…
As I have begun collecting data I am finding it incredibly exciting and enlightening yet overwhelming at the same time. I have immersed myself in the process of data collection. Since the start of this module have observed 8 technique classes (Ballet and modern), as well as host 2 interviews (one with a group of students and another with a group of teachers). I have also scheduled 4 other interviews in the coming weeks, and will begin creating my survey this next week to be handed out in November.
Overall I am finding the daily routine of watching classes and transcribing my notes very easy and enjoyable! The area I am struggling with is Literature. I am finding it incredibly difficult to find literature on my topic. As well, I notice that I put other MAPP activities ahead of finding and reading literature. I am not a lover of reading (although when I get into it I do find it very interesting) so getting started is where I lack ambition. This is something I need to work on ASAP! So if anyone knows of any great books, journals or readings out there around my topic, please let me know!
Anyway, back to data collection. This is the juicy part of the research process. This is the area that I find as a dance teacher, I thrive! I love observing others in the process. I am so inspired watching and learning from other teachers. I am also intrigued by the contrasting language and concepts that we use. I have noticed that between genres (Ballet and modern - and even within genres) and between generations of teachers our language is quite different. I am interested to see how this will be incorporated into my research.
An image I have in regards to this whole research process that has helped me realized it is ok to be unsure and a bit in the dark about where my research is taking me is…
Research is the human body. The research proposal (plan) are the bones. They lay the foundation or skeleton for the research - the shape to take form. The data collection is the layering of muscle. They form the body, they bring the meat and bulk to the body - shaping the research into what it will become but not bringing it alive quite yet. The analysis is the veins, arteries and cells. begin pumping blood They make the body come alive - the analysis makes the research come alive! And the skin is the final product, encapsulating all of the stages of research into one final product. (For the time being - because we know that this isn't a final product but is just the start!)
This has helped me because as I collect data I often have this nagging worry that what I am collecting is not what I was hoping too, or that it won't fit within my original research proposal. But by keeping this image in mind, I realize that I am only in the shaping stage. I have my skeleton and am now tacking on muscles, layer by layer. I don't know the final shape yet! Although its nerve-racking, its exciting! Almost like having a baby! You know the baby is being formed inside your womb, yet you do not know what it will look like or who it will be! There is mystery and anticipation!
So let's live in the mystery and anticipation and trust that it will all come together in time!
Merde!
Would love your input for Module 3 research!
Hello all!
As many of us are 3 weeks into our research I feel now is a good time to put some thoughts out to you all in hopes of receiving your feedback and thoughts on my inquiry.
To streamline things for myself, I have broken my research into 3 main areas of inquiry…
1. The relationship between Ballet and Modern technique -
- What is it? What could it be? What elements within the two are supportive (similar) and what are opposing (different)? Do adolescent students (12-17yrs old) have the ability to understand this relationship? (more about this below) and… Can the teachers understand, articulate and encourage the supportive elements of this relationship?
2. How do the Limon principles (concepts) apply to Ballet and Modern technique? How do they fit into, influence, affect the relationship between Ballet and Modern in both teaching technique (teachers) and dancing/embodying technique (students)? These principles include: Fall and Recovery, Opposition, Suspension, Initiation, Isolation, the Center (Core), Succession, Weight and Rhythm.
3. The study of Adolescent development - how the physical, mental and emotional development of adolescents affects their training. How dancers experience these changes in their training and if or how they are recognized and supported by the teacher.
I would love to hear about your experience as either an adolescent student and/or teacher of adolescent students.
- Do you teach students who dance in more then one genre?
- How do you find training in multiple genres benefits or hinders the overall technical training of adolescents?
- Are there concepts or elements within genres that can cross over and enhance the training within other genres?
- Do you or your fellow colleges ever discuss this idea with each other or your students?
- Do you feel your students easily carry information and experiences between technique classes and genres or do they close the door on one class and open on another, forgetting everything that they heard and experienced in the previous class?
- Thinking about the Limon principles (movement concepts) listed above, can you recognize them within your own teaching? Do you use any of these terms, or maybe explain them in different ways? Or maybe not at all?
Sorry to bombard you all with so many questions! Knowing that you are all established teachers I would love to hear your experiences with these ideas. If you have the time, please comment: )
Thank you!
Ainsley
As many of us are 3 weeks into our research I feel now is a good time to put some thoughts out to you all in hopes of receiving your feedback and thoughts on my inquiry.
To streamline things for myself, I have broken my research into 3 main areas of inquiry…
1. The relationship between Ballet and Modern technique -
- What is it? What could it be? What elements within the two are supportive (similar) and what are opposing (different)? Do adolescent students (12-17yrs old) have the ability to understand this relationship? (more about this below) and… Can the teachers understand, articulate and encourage the supportive elements of this relationship?
2. How do the Limon principles (concepts) apply to Ballet and Modern technique? How do they fit into, influence, affect the relationship between Ballet and Modern in both teaching technique (teachers) and dancing/embodying technique (students)? These principles include: Fall and Recovery, Opposition, Suspension, Initiation, Isolation, the Center (Core), Succession, Weight and Rhythm.
3. The study of Adolescent development - how the physical, mental and emotional development of adolescents affects their training. How dancers experience these changes in their training and if or how they are recognized and supported by the teacher.
I would love to hear about your experience as either an adolescent student and/or teacher of adolescent students.
- Do you teach students who dance in more then one genre?
- How do you find training in multiple genres benefits or hinders the overall technical training of adolescents?
- Are there concepts or elements within genres that can cross over and enhance the training within other genres?
- Do you or your fellow colleges ever discuss this idea with each other or your students?
- Do you feel your students easily carry information and experiences between technique classes and genres or do they close the door on one class and open on another, forgetting everything that they heard and experienced in the previous class?
- Thinking about the Limon principles (movement concepts) listed above, can you recognize them within your own teaching? Do you use any of these terms, or maybe explain them in different ways? Or maybe not at all?
Sorry to bombard you all with so many questions! Knowing that you are all established teachers I would love to hear your experiences with these ideas. If you have the time, please comment: )
Thank you!
Ainsley
Friday, 2 October 2015
Module 3 - let the research begin!
Hi all!
Well, I am 5 days into Module 3 - the research has begun! After spending September getting caught up and ready to begin this final chapter of my Masters, I am now experiencing many mixed emotions.
I feel anxious, nervous, excited, not ready, ready, unprepared, prepared… and so on….
Within the days leading up to the start of this term, I decided to sit down and revisit my research proposal from last module. As I read through my proposal and reflected on my original idea for inquiry I realized that my mind is in a much clearer place now then it was a few months ago. Almost as though having distance and time away from this inquiry created a space for me to realigned my thoughts and intentions. Taking this new found clarity, I re-articulated the key elements of my research proposal - highlighting the main concepts/ideas that I would like to focus on. As I wrote I discovered that my area of inquiry can be categorized into 3 key areas:
1. The relationship between Ballet and Modern technique -
- What is it? What could it be? What elements within them are supportive (similar) and what are opposing (different)? Do adolescent students (12-17yrs old) have the ability to understand this relationship? (more about this below) and… Can the teachers understand, articulate and encourage the supportive elements of this relationship?
2. How do the Limon principles (concepts) apply to Ballet and Modern technique? How does these fit into, influence, affect the relationship between Ballet and Modern in both teaching technique (teachers) and dancing technique (students)? These principles include: Fall and Recovery, Opposition, Suspension, Initiation, Isolation, the Center (Core), Succession, Weight and Rhythm.
3. The study of Adolescent development - how the physical, mental and emotional development of adolescents affects their training. How dancers experience these changes in their training and if or how they are recognized and supported by the teacher.
By simplifying my inquiry, I feel I am more confident about beginning my research and data collection. I have created a framework for what I am looking for. However, all of this said… my struggle is trying to stay unbiased! I continually remind myself that I need to open to whatever the data presents. This will be something that I know I will have to remind myself about over and over throughout this process.
This week I began observing my selected group of participants in Ballet and Modern technique classes. I have chosen to use a particular group of students within my studio who are between the ages of 12-17 years old (at the start of research) as well as 4 teachers from my studio (3 ballet, 1 modern). This group of dancers train 3-5 days a week, taking 3 ballet classes, 2 modern classes and choreography. They have a different ballet teacher for each class, two of which are focusing on ISTD Intermediate syllabus and one who is working on the RAD Intermediate syllabus. As well they have 2 different Modern teachers - one who is teaching a variety of modern and contemporary movement styles and myself who is teaching them Limon technique.
Anyway… Spending a few nights this week focused on observing these students and teachers has already got my brain going! Getting into the studio with my notebook in hand, being able to observe and not teach - noticing so many fascinating things - I am beginning to get really excited about this journey that lies ahead! I spent hours today colour coordinating my notes, so that when the data analysis begins I can easily categorize my findings. This process of re-writing my notes also gave me time to reflect on what I witnessed in class. I plan to make this a weekly tradition so that my very full and busy brain retains this data (along with my many pages of notes). Next week after all of my participants forms are signed, I will begin recording classes as well as conduct my first interview with my participants. I have only planned on having 2 interviews with my students and 2 with the teachers - however after this week of observations, I wish I could interview them weekly!!!!! I have toooooo many thoughts and questions!!!!
I am looking forward to this weekends Skype - getting back in touch with all the other MAPPers, hearing where people are at and what we have to look forward to.
Quick question for everyone - I am curious, do most people plan on completing Module 3 in January - or do you wish to defer it until the spring in order to have more time to research, review data and compile your these? I am wrestling with this. (Even though I know I am not supposed to stress about it, I am!)
Good luck everyone!!!
Ainsley
Well, I am 5 days into Module 3 - the research has begun! After spending September getting caught up and ready to begin this final chapter of my Masters, I am now experiencing many mixed emotions.
I feel anxious, nervous, excited, not ready, ready, unprepared, prepared… and so on….
Within the days leading up to the start of this term, I decided to sit down and revisit my research proposal from last module. As I read through my proposal and reflected on my original idea for inquiry I realized that my mind is in a much clearer place now then it was a few months ago. Almost as though having distance and time away from this inquiry created a space for me to realigned my thoughts and intentions. Taking this new found clarity, I re-articulated the key elements of my research proposal - highlighting the main concepts/ideas that I would like to focus on. As I wrote I discovered that my area of inquiry can be categorized into 3 key areas:
1. The relationship between Ballet and Modern technique -
- What is it? What could it be? What elements within them are supportive (similar) and what are opposing (different)? Do adolescent students (12-17yrs old) have the ability to understand this relationship? (more about this below) and… Can the teachers understand, articulate and encourage the supportive elements of this relationship?
2. How do the Limon principles (concepts) apply to Ballet and Modern technique? How does these fit into, influence, affect the relationship between Ballet and Modern in both teaching technique (teachers) and dancing technique (students)? These principles include: Fall and Recovery, Opposition, Suspension, Initiation, Isolation, the Center (Core), Succession, Weight and Rhythm.
3. The study of Adolescent development - how the physical, mental and emotional development of adolescents affects their training. How dancers experience these changes in their training and if or how they are recognized and supported by the teacher.
By simplifying my inquiry, I feel I am more confident about beginning my research and data collection. I have created a framework for what I am looking for. However, all of this said… my struggle is trying to stay unbiased! I continually remind myself that I need to open to whatever the data presents. This will be something that I know I will have to remind myself about over and over throughout this process.
This week I began observing my selected group of participants in Ballet and Modern technique classes. I have chosen to use a particular group of students within my studio who are between the ages of 12-17 years old (at the start of research) as well as 4 teachers from my studio (3 ballet, 1 modern). This group of dancers train 3-5 days a week, taking 3 ballet classes, 2 modern classes and choreography. They have a different ballet teacher for each class, two of which are focusing on ISTD Intermediate syllabus and one who is working on the RAD Intermediate syllabus. As well they have 2 different Modern teachers - one who is teaching a variety of modern and contemporary movement styles and myself who is teaching them Limon technique.
Anyway… Spending a few nights this week focused on observing these students and teachers has already got my brain going! Getting into the studio with my notebook in hand, being able to observe and not teach - noticing so many fascinating things - I am beginning to get really excited about this journey that lies ahead! I spent hours today colour coordinating my notes, so that when the data analysis begins I can easily categorize my findings. This process of re-writing my notes also gave me time to reflect on what I witnessed in class. I plan to make this a weekly tradition so that my very full and busy brain retains this data (along with my many pages of notes). Next week after all of my participants forms are signed, I will begin recording classes as well as conduct my first interview with my participants. I have only planned on having 2 interviews with my students and 2 with the teachers - however after this week of observations, I wish I could interview them weekly!!!!! I have toooooo many thoughts and questions!!!!
I am looking forward to this weekends Skype - getting back in touch with all the other MAPPers, hearing where people are at and what we have to look forward to.
Quick question for everyone - I am curious, do most people plan on completing Module 3 in January - or do you wish to defer it until the spring in order to have more time to research, review data and compile your these? I am wrestling with this. (Even though I know I am not supposed to stress about it, I am!)
Good luck everyone!!!
Ainsley
Saturday, 4 April 2015
Exploring the supportive relationship between Ballet and Modern techniques in training adolescent dancers.
Exploring the
supportive relationship between Ballet and Modern techniques in training
adolescent dancers.
I would like
to explore how ballet (RAD and ISTD) and modern (Limon technique and ISTD) techniques can support each
other in the training of adolescents
(ages 10-18).
Within this
exploration I intend on looking into the stages of development that are
experienced throughout adolescents, using literature and research to inform my
understanding. I intend on examining the physical, mental and emotional
development of adolescents and how this development affects their ability to
learn, embody, and perform ballet and modern techniques.
Vulnerability – Maturity – Decision Making – Attention span – Ability
to learn and embody movement.
The
adolescent years of a dancer are filled with much expectation from both the
dancer and the teacher/parent. The student hopes to progress in a seamless
manner and gain talent and facility. The teacher places many expectations on
the adolescent in training, including focus, desire, respect, the ability to
embody or “pick up” movement, etc. The parent expects the dancer to enjoy their
training, commit to dance for a given time period, stay in shape, etc.
Decision-making
is also an area of interest to me as I know adolescents struggle with this, however
these adolescent years are also the years in which many choices and decisions
are placed on them regarding their future in dance. Classes, examinations, performance
opportunities, additional training, etc are all offered to them with an
expectation that they will choose according to their potential future career in
dance.
- · What is the relationship between teacher/student/parent decision-making?
- Does training in both Ballet and Modern technique create an environment in which fewer decisions are expected of adolescents?
In understanding
the development of adolescents, I would like to look into how training in both
Ballet and Modern technique can benefit the dancer. I will look into areas such
as: efficiency, freedom and control of movement; technical support (turn out,
weight transference, placement etc); muscle development; balance (of muscle
development, movement etc); how the spine is involved in each technique;
initiation of movement; understanding of anatomy – how and where movement comes
from – which leads to efficiency of movement and injury prevention. Areas of
interest include:
-
· What principles of movement are similar or compatible between Ballet and Modern technique?
- Are the students able to translate information between technique classes?
- Is this affected by their stage of development?
- What is the student’s experience of this relationship?
o Do
they understand it?
o Can
they verbalize what they have experienced?
o Can
they translate information from one technique to the other within class?
o Have
they experienced a benefit from training in both techniques and thinking
about the relationship between the two?
- · Are teachers able to communicate the relationship and draw the students attention to details within each technique that support the other?
- How can teachers help facilitate this relationship in the training of adolescents?
I believe
these two techniques when taught with an understanding of the each other and in
relationship with each other can offer adolescents balanced training. I would
like to look into the physical/technical benefit of this relationship – balance
in muscle development and injury prevention (for example the balance between
training in turnout & parallel).
How can this balanced approach to training affect the adolescent dancer
emotionally? I believe it creates an even playing field for dancers – training
is no longer focused on the best at one particular technique, but rather the
mutual respect and appreciation creates a training environment in which the
dancer feels accomplished and successful as well rounded dancers. The
appreciation and understanding of this relationship can encourage a broad
spectrum of dancers, not just those who are successful at ballet.
- · Is one technique seen as more superior to the other?
- · Can this relationship create a more balanced understanding of Ballet and Modern technique as equals?
I would also
like to explore how this supportive relationship allows or creates room for a
holistic approach to teaching. I have already discussed how I believe it can
offer the opportunity for balanced training physically and emotionally. It also
provides education for the dancer in offering technical training in two very
important techniques – providing them with training that can facilitate the
potential for further careers in dance (since most professional ballet and
modern companies expect efficiency in both techniques). Having an understanding
of developmental stages in adolescence and anatomical knowledge, we as teachers
are able to train our students in a safe informative way. As well, this
relationship may be approached from the intention to nurture the whole dancer. Through
exploring and researching the above ideas I believe that a nurturing learning
environment would be able – recognizing the strengths and abilities of all
dancers, care for the dancer’s development as a human not just a technical
machine, and allowing for a healthier body image.
The
teacher’s role within this relationship is critical. The teacher must be
informed enough to understand both Ballet and Modern techniques. In order for
the adolescent students to benefit from this relationship, they must be introduced
to it in an encouraging environment in which the teachers are informed and
supportive of the relationship. I
believe the teacher (either ballet or modern) can have a strong influence on the
student’s ability to appreciate, recognize and embody this relationship.
Saturday, 28 March 2015
In need of advice!!!
I would love advice from all of you fellow MAPPers...
I have been struggling this week to be inspired and motivated to read and dig into literature around my topic of the relationship between Ballet and Modern dance technique. I have been doing lots of thinking this week and am realizing that my passion is for the area of mentorship.
So, I am now wondering if this is an area of inquiry I should consider for my research instead of the relationship between Ballet and Modern technique?
I can see clearly how I could go about researching the Ballet/Modern relationship - I already have ideas for questions etc, but am feeling a bit unmotivated.
I cannot see clearly how I would go about researching Mentorship in dance. So I am hesitant to go this direction.
I would love your advice about this dilemma as I feel I am now in a time crunch and need to decide asap in order to move on with this module!
Any suggestions or thoughts would be greatly appreciated :)
Thank you,
Ainsley
Saturday, 7 March 2015
Task #3
Task #3 - Qualitative Research Methods
Thinking about Positivism in regards to dance research I can understand how this method would not fit. Dance research involves looking at the human body. The body is an ever-changing, dynamic, diverse, unique, living being. There is no "fixed reality" when it comes to the human body.
The logical side of me sees aspects of positivism that make sense for some things in life. However in terms of dance research I let go of this because I understand how human dance is. While reading through my notes on Positivism I decided to Wikipedia the term for a quick definition. Wikipedia explains Positivism as rejecting "introspective and intuitive knowledge". So much of dance training and instruction involves these two things, so it must not fit within this approach.
In all of my readings on the Positivist approach I realize that Science is the King! It is through science, mathematics, reason, and logic that knowledge is gained. Experience can be "exactly determined" (Wikipedia). This is not the case with dance. As a student or instructor you can not predetermine the experience that you or your students/dancers will have. Each body and class offers a completely different experiences and outcome. Non-positivism focuses on diversity, experience, humanism. Human experience can not be replicated, it is an ever changing, growing, developing thing. It is not predictable, instead it responds to it's surroundings and feedback.
This information has made me fully aware of how important the Non-Positivist approach to dance research is. Each body, class, student, learner, teacher, studio, environment, etc… creates a completely different experience then the next. There is no "fixed reality" in dance. While some outcomes may be expected, you can not say with certainty what the outcome will be. As dance instructors/choreographers, we often have desired outcomes when it comes to teaching technique or choreography to our students. But each student's body is going to receive and embody that information differently.
When I translate this to performance or technique class this Non-Posivist approach makes more sense to me. In performance you have a desired or expected outcome - the dancers will perform as instructed/rehearsed, they will mesmerize the audience, there will be no mistakes. Unfortunately it is not that simple. Dance performance is a live art, presented by humans. Humans are unpredictable. The performance could be more amazing then expected or it could be a complete disaster! This goes for technique class and rehearsal as well. As the teacher I come in to class with a plan and expectation of how it will go. However, I am dealing with living beings that change frequently, and I as well am a human. I believe dance and the human body are impossible to predict and impossible to replicate. This is life!
I also feel that as a researcher in an area that is so familiar with me, it is impossible for me to be objective - which is an aspect of Positivism. I will have biases because of my own experiences with dance. This may hinder me in some ways, but in many ways I feel it will deepen my understanding of the research and ability to observe and notice details within the research that others may not pick up on.
Knowing that Positivism relates to Dualism in that they both focus on the mind being the source of knowledge - I see how these do not fit in dance or human research. In order to view, critique, experience or research dance one must experience the body in movement. Dancers receive their information, knowledge and experiences through their bodies. They are the perfect example of Embodiment. There are no external tools in dance. The teacher/choreographer directs the student/dancer in movement by demonstrating with their own bodies or verbalizing physical movement through terminology and imagery. The student/dancer then physically translates that message into their own body. Then the teacher/choreographer gives feedback by viewing/observing the students body in movement. It is a completely embodied cycle of giving and receiving information. Even the language used is body focused. I believe the body and mind work together to understand what they are seeing and experiencing and to respond to feedback. Because of this relationship I can not see how dance could ever be done, taught, or researched from a dualistic perspective.
Thinking about Positivism in regards to dance research I can understand how this method would not fit. Dance research involves looking at the human body. The body is an ever-changing, dynamic, diverse, unique, living being. There is no "fixed reality" when it comes to the human body.
The logical side of me sees aspects of positivism that make sense for some things in life. However in terms of dance research I let go of this because I understand how human dance is. While reading through my notes on Positivism I decided to Wikipedia the term for a quick definition. Wikipedia explains Positivism as rejecting "introspective and intuitive knowledge". So much of dance training and instruction involves these two things, so it must not fit within this approach.
In all of my readings on the Positivist approach I realize that Science is the King! It is through science, mathematics, reason, and logic that knowledge is gained. Experience can be "exactly determined" (Wikipedia). This is not the case with dance. As a student or instructor you can not predetermine the experience that you or your students/dancers will have. Each body and class offers a completely different experiences and outcome. Non-positivism focuses on diversity, experience, humanism. Human experience can not be replicated, it is an ever changing, growing, developing thing. It is not predictable, instead it responds to it's surroundings and feedback.
This information has made me fully aware of how important the Non-Positivist approach to dance research is. Each body, class, student, learner, teacher, studio, environment, etc… creates a completely different experience then the next. There is no "fixed reality" in dance. While some outcomes may be expected, you can not say with certainty what the outcome will be. As dance instructors/choreographers, we often have desired outcomes when it comes to teaching technique or choreography to our students. But each student's body is going to receive and embody that information differently.
When I translate this to performance or technique class this Non-Posivist approach makes more sense to me. In performance you have a desired or expected outcome - the dancers will perform as instructed/rehearsed, they will mesmerize the audience, there will be no mistakes. Unfortunately it is not that simple. Dance performance is a live art, presented by humans. Humans are unpredictable. The performance could be more amazing then expected or it could be a complete disaster! This goes for technique class and rehearsal as well. As the teacher I come in to class with a plan and expectation of how it will go. However, I am dealing with living beings that change frequently, and I as well am a human. I believe dance and the human body are impossible to predict and impossible to replicate. This is life!
I also feel that as a researcher in an area that is so familiar with me, it is impossible for me to be objective - which is an aspect of Positivism. I will have biases because of my own experiences with dance. This may hinder me in some ways, but in many ways I feel it will deepen my understanding of the research and ability to observe and notice details within the research that others may not pick up on.
Knowing that Positivism relates to Dualism in that they both focus on the mind being the source of knowledge - I see how these do not fit in dance or human research. In order to view, critique, experience or research dance one must experience the body in movement. Dancers receive their information, knowledge and experiences through their bodies. They are the perfect example of Embodiment. There are no external tools in dance. The teacher/choreographer directs the student/dancer in movement by demonstrating with their own bodies or verbalizing physical movement through terminology and imagery. The student/dancer then physically translates that message into their own body. Then the teacher/choreographer gives feedback by viewing/observing the students body in movement. It is a completely embodied cycle of giving and receiving information. Even the language used is body focused. I believe the body and mind work together to understand what they are seeing and experiencing and to respond to feedback. Because of this relationship I can not see how dance could ever be done, taught, or researched from a dualistic perspective.
New discoveries
After a busy and inspiring few weeks I have finally been able to sit down, re-read the Module 2 Handbook and try to understand not only what I need to do but also the theory behind what I need to do. During our Skype on Sunday I realized that I had gone about this Module backwards. I read the handbook over Christmas, but to be honest, I didn't really pay attention to what I was reading. When this term began I dove into trying to pick a research topic. I took 40 books out of our local university library all on dance education, ballet, and modern technique. I browsed over each, categorizing them and pull out potential areas of research. Then our studio got busy and I left my MA work for a few weeks. And then the Skype call where I realized I had completely ignore the handbook and wasn't even aware of the theory behind research.
This past week I have focused on the handbook, digging into Positivist vs Non-Positivist approaches to research and attempting to understand the different research models and data collection tools. I re-read the handbook, making notes along the way, trying to grasp hold of a understanding of research. Through this short process I have come to realize that I am a task oriented person, give me a list of tasks and I will do them in order and finish in the given amount of time. Give me a bunch of reading and information and I feel overwhelmed, especially when it is a topic that I have no experience in and vocabulary that is brand new to me. Having read Helen's blog and hearing Helen and Adesola reassure us via Skype, I realize that going into this I do not need to be a master of research theory, nor should it be a stumbling block for me as I begin this journey. However, this past week definitely brought out insecurities in me, I began to feel almost like a fraud. What education and life experience do I have that even compares to what is being asked of me. After talking this over with some close friends last night and re-reading Helen's blog, I have come to believe that although this seems so far beyond my understanding, that is kind of the point of all of this. I am only beginning this journey and have so much learning ahead of me. No, I do not feel like a Masters student yet, but I know that as I work through this material it will begin to make sense and I will feel more and more confident each day. In the meantime, I need to start at square one and build up my "technique" in regards to research and master level education. Almost as though I was learning a new dance technique for the first time.
So… I am going to spend this next week reviewing this material, reading literature about research and working through the "steps" listed in the handbook - in reference to my top choice for inquiry. All the while focusing on the belief that I am capable of this, even when doubt overwhelms me.
This past week I have focused on the handbook, digging into Positivist vs Non-Positivist approaches to research and attempting to understand the different research models and data collection tools. I re-read the handbook, making notes along the way, trying to grasp hold of a understanding of research. Through this short process I have come to realize that I am a task oriented person, give me a list of tasks and I will do them in order and finish in the given amount of time. Give me a bunch of reading and information and I feel overwhelmed, especially when it is a topic that I have no experience in and vocabulary that is brand new to me. Having read Helen's blog and hearing Helen and Adesola reassure us via Skype, I realize that going into this I do not need to be a master of research theory, nor should it be a stumbling block for me as I begin this journey. However, this past week definitely brought out insecurities in me, I began to feel almost like a fraud. What education and life experience do I have that even compares to what is being asked of me. After talking this over with some close friends last night and re-reading Helen's blog, I have come to believe that although this seems so far beyond my understanding, that is kind of the point of all of this. I am only beginning this journey and have so much learning ahead of me. No, I do not feel like a Masters student yet, but I know that as I work through this material it will begin to make sense and I will feel more and more confident each day. In the meantime, I need to start at square one and build up my "technique" in regards to research and master level education. Almost as though I was learning a new dance technique for the first time.
So… I am going to spend this next week reviewing this material, reading literature about research and working through the "steps" listed in the handbook - in reference to my top choice for inquiry. All the while focusing on the belief that I am capable of this, even when doubt overwhelms me.
Sunday, 1 February 2015
Planning an inquiry - Module 2
Hello all,
Nice to be back on Skype with some of you reconnecting as we are about to begin Module 2 (or which ever Module you are on). To be honest I thought I understood what this coming module was all about but I think I am more confused now then ever. However, the Skype call did bring some clarity to certain questions. As always, we were each asked to write a Blog following the call to sum up what stood out to us, hopefully to help fill each other in on what was discussed. I have chosen to talk about planning an inquiry, mostly because I am confused in this area and I feel that if I have to write about it then maybe it will help me understand my own thoughts & notes and possibly some of you will respond with your ideas to further all of our understanding on how to go about this module!
I believe it was Helen who mentioned that it is good to think of this module as a Field of Research rather than a Research Topic. This way the seed of an idea can grow into a wide range of areas and fields to explore to bring together the research. Throughout the Skype I noticed that both Helen and Adesola continued to replace the work "question" with "inquiry", I think to subconsciously remind us that we are entering a time of inquiry, not of solving problems or answering questions. Thinking about this journey as a "field of research" and/or "inquiry" has brought some clarity to the purpose of this module and the MA in general.
However, I am still confused! So I will keep talking through what I heard today….
Adesola asked us the question "What makes something useful to research?" - this conversation went on to ask further questions… "Does all research or do all questions need to have answers?" or "Is research about finding our more about something?" - Although there is no definitive answer to any of these questions, we all agreed that research is about finding our more about something meaningful.
So… how do we each choose what is meaningful for us to research? This is where I am getting stuck, and by the sounds of everyone else in our Skype group, we are all struggling with this. I have a few areas of interest that I could see taking my MA research in. However as I mentioned this morning (my time, evening UK time) I want to choose a topic that I am passionate about but will also carry within me into my future practice and will be respected/desired by the dance community in Canada and maybe even abroad.
Helen did a great job of explaining how to plan an inquiry. She mentioned things such as:
- What is it?
- Follow curiosity - pose questions to self about topic
- Explore every facet
- What am I asking? - allow the inquiry to create more questions (not answers)
- How do I plan?
- Is it something I can take forward with me?
- What have other people said about this topic? (Literature)
- Is it a viable topic? (Literature will help decide this)
- Have others already done this?
- What questions do I need to ask in order to find meaning?
- Our research inquiry is part of a further journey - beginning with our already build expertise - considering all that was discovered in our AOL's - continuing into our inquiry into research topics - being carried our through our thesis - and then going with us into our future practice.
"Let yourself speak for yourself" (either Helen or Adesola said this) - our own history and practice emerges into our themes of research. This struck me! It made me question if the topic ideas I have written down are potentially not the direction my MA is supposed to go. Am I not speaking for myself when I am attempting to steer my MA in a direction that will be suitable for my current employer, community, or future jobs? I am having a hard time letting myself think about this, because I feel if I open up my mind to other possibilities, I may never be able to choose! For the past month I have been thinking about the idea of looking at how Modern dance can be taught to young children. But now I wonder if that is an inquiry worthy of research or something I could do on my own. Through the Skype call I began thinking about the idea of how students who are training in Ballet and Jazz or Modern technique benefit from Modern technique (specifically Limon technique). While I grew up focusing on Ballet, I have spent the last 10 years training in and teaching Modern/Contemporary technique. At our studio Ballet is definitely the focus. Our students take multiple Ballet classes a week but only 1 Jazz/Modern class (where I teach ISTD Modern Theatre syllabus to the younger students and Limon based technique to the older students). I struggle with the mindset that Ballet is the end all be all. To be having strong Ballet technique is crucial! BUT… Modern technique is where you learn to move your spine, release your weight, experience suspension, discover groundedness, etc…. And this understanding of movement is so beneficial for the Ballet dancer. I am a strong believer that dancers benefit from having multiple outlets in terms of technique. I think that each technique can build up the other if taught and training correctly. I would also include fitness training to this as well. Whether it is pilates, yoga, athletic training, or any other physical activity. Well rounded dancers who have strong base technique and healthy bodies have so much going for them! Our studio has teamed up with a gym here in Calgary that specializes in Sports Conditioning/training. Some of our students and many of our teachers are training in weights and track. I have felt a change in my own strength and an curious to see how this could benefit our students. Anyway I am babbling now! I will save this for my journal!
Well I think that is all of the info I have to share. As you can see I am in a place of confusion and hope that my rambling out ideas did not add to your confusion! Maybe together we can talk through this. I would love to hear your thoughts, what you got out of your Skype call, and any wisdom regarding Research Inquiry!
Also - I had a thought during the Skype. I would love to Skype more often if anyone is interested. Maybe 1 other time each month. If anyone if interested in adding a Skype conversation to the mix let me know! The only problem is that I am 7 hrs behind the UK, so I can only do afternoon or evening UK time. If not, we have Linkedin and Blogs for support!
Ainsley
Nice to be back on Skype with some of you reconnecting as we are about to begin Module 2 (or which ever Module you are on). To be honest I thought I understood what this coming module was all about but I think I am more confused now then ever. However, the Skype call did bring some clarity to certain questions. As always, we were each asked to write a Blog following the call to sum up what stood out to us, hopefully to help fill each other in on what was discussed. I have chosen to talk about planning an inquiry, mostly because I am confused in this area and I feel that if I have to write about it then maybe it will help me understand my own thoughts & notes and possibly some of you will respond with your ideas to further all of our understanding on how to go about this module!
I believe it was Helen who mentioned that it is good to think of this module as a Field of Research rather than a Research Topic. This way the seed of an idea can grow into a wide range of areas and fields to explore to bring together the research. Throughout the Skype I noticed that both Helen and Adesola continued to replace the work "question" with "inquiry", I think to subconsciously remind us that we are entering a time of inquiry, not of solving problems or answering questions. Thinking about this journey as a "field of research" and/or "inquiry" has brought some clarity to the purpose of this module and the MA in general.
However, I am still confused! So I will keep talking through what I heard today….
Adesola asked us the question "What makes something useful to research?" - this conversation went on to ask further questions… "Does all research or do all questions need to have answers?" or "Is research about finding our more about something?" - Although there is no definitive answer to any of these questions, we all agreed that research is about finding our more about something meaningful.
So… how do we each choose what is meaningful for us to research? This is where I am getting stuck, and by the sounds of everyone else in our Skype group, we are all struggling with this. I have a few areas of interest that I could see taking my MA research in. However as I mentioned this morning (my time, evening UK time) I want to choose a topic that I am passionate about but will also carry within me into my future practice and will be respected/desired by the dance community in Canada and maybe even abroad.
Helen did a great job of explaining how to plan an inquiry. She mentioned things such as:
- What is it?
- Follow curiosity - pose questions to self about topic
- Explore every facet
- What am I asking? - allow the inquiry to create more questions (not answers)
- How do I plan?
- Is it something I can take forward with me?
- What have other people said about this topic? (Literature)
- Is it a viable topic? (Literature will help decide this)
- Have others already done this?
- What questions do I need to ask in order to find meaning?
- Our research inquiry is part of a further journey - beginning with our already build expertise - considering all that was discovered in our AOL's - continuing into our inquiry into research topics - being carried our through our thesis - and then going with us into our future practice.
"Let yourself speak for yourself" (either Helen or Adesola said this) - our own history and practice emerges into our themes of research. This struck me! It made me question if the topic ideas I have written down are potentially not the direction my MA is supposed to go. Am I not speaking for myself when I am attempting to steer my MA in a direction that will be suitable for my current employer, community, or future jobs? I am having a hard time letting myself think about this, because I feel if I open up my mind to other possibilities, I may never be able to choose! For the past month I have been thinking about the idea of looking at how Modern dance can be taught to young children. But now I wonder if that is an inquiry worthy of research or something I could do on my own. Through the Skype call I began thinking about the idea of how students who are training in Ballet and Jazz or Modern technique benefit from Modern technique (specifically Limon technique). While I grew up focusing on Ballet, I have spent the last 10 years training in and teaching Modern/Contemporary technique. At our studio Ballet is definitely the focus. Our students take multiple Ballet classes a week but only 1 Jazz/Modern class (where I teach ISTD Modern Theatre syllabus to the younger students and Limon based technique to the older students). I struggle with the mindset that Ballet is the end all be all. To be having strong Ballet technique is crucial! BUT… Modern technique is where you learn to move your spine, release your weight, experience suspension, discover groundedness, etc…. And this understanding of movement is so beneficial for the Ballet dancer. I am a strong believer that dancers benefit from having multiple outlets in terms of technique. I think that each technique can build up the other if taught and training correctly. I would also include fitness training to this as well. Whether it is pilates, yoga, athletic training, or any other physical activity. Well rounded dancers who have strong base technique and healthy bodies have so much going for them! Our studio has teamed up with a gym here in Calgary that specializes in Sports Conditioning/training. Some of our students and many of our teachers are training in weights and track. I have felt a change in my own strength and an curious to see how this could benefit our students. Anyway I am babbling now! I will save this for my journal!
Well I think that is all of the info I have to share. As you can see I am in a place of confusion and hope that my rambling out ideas did not add to your confusion! Maybe together we can talk through this. I would love to hear your thoughts, what you got out of your Skype call, and any wisdom regarding Research Inquiry!
Also - I had a thought during the Skype. I would love to Skype more often if anyone is interested. Maybe 1 other time each month. If anyone if interested in adding a Skype conversation to the mix let me know! The only problem is that I am 7 hrs behind the UK, so I can only do afternoon or evening UK time. If not, we have Linkedin and Blogs for support!
Ainsley
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