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
Wednesday, 14 October 2015
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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