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 

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





 

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.

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 

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.

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.