Reader two has provided me with an encyclopedia
to use in my reflective theory. The vast amount of context alarmed me at first,
but I then began to separate the theories into chunks of information,
re-reading and jotting down notes on each idea. So this got me thinking, how do
I learn?
I find it easier to read literature in
disjointed sections so it doesn't confuse me. I have also discovered that by
taking notes as I read the extracts helps me to maintain clarity on the subject
matter. Once I have fully understood the text, I can expand on the idea by
relating it to my past experiences in my profession.
This leads me onto the concept of Kolb's "Learning
cycle": (1984)
The point at which you learn depends on which
point you enter the cycle. I believe I enter the cycle at the "Reflective
observation" stage. I tend to look back on what I have just experienced,
rather than realising I am learning something in motion. Watching others is
something I am accustomed to. Watching a dance teacher demonstrate steps in
ballet class, so I can replicate those movements and learn something new.
However, I think the actual physical and mental process of learning a new step
in dance can relate to Kolb's learning cycle in an 'active' way. For example,
the dancer can perform a step, it can be corrected and the dancer will be
informed of a new way to execute that step. The dancer then learns from that
experience, eventually attempting the new move, taking the correction onboard
and aiming to improve their technique.
One particular theory that I felt I could really
relate to was Donald Shon's concept of "Reflection-in-action" and
"Reflection-on-action “ (1987). Reflection can happen while you are in the
middle of it or reflection can happen looking back on it. I found this
interesting as the reflection-in-action relates to my profession; dancing is
active, and a 'hands on' way of working. Academics use reflection-on-action as
a response to what is happening by going away and reflecting upon the
experience. The idea is embellished by Robert Kottcamp, who likens
reflection-in-action to "online" and reflection- on-action to
"offline." He highlights that reflection-in-action is harder to
achieve.
"The latter type is more difficult to
achieve, but the more powerful for improvement of practice because it results
in 'online' experiments to adjust and achieve one's professional actions.
" (Kottcamp, 1990).
As a dancer I have been taught from a very
young age to reflect-in-action. This happens simultaneously and often without realisation.
If a movement isn't correct, I will automatically try and establish an
alternative step to try and improve my technique. Kottcamp states that this
type of reflection underlines that the type of profession you come from has an
impact on the ways you reflect. I completely agree with this theory. An active
way of learning comes very naturally to me, however the conceptual side
(reflection-on-action) is foreign territory. Academics use reflection-on-action
to reflect on new ideas in their profession that are constantly evolving and
changing. The dance world is developing, but in a more physical way.
Dance is considered more athletic than it used
to be. Here is a short article from the Dance Consortium portraying
"Dancers as Athletes":
I agree entirely with this, it's short and sweet
but pin points my views brilliantly. During my three years at Ballet school I
was dancing ten hours a day, six days a week, and the physical strain your body
goes through is unbelievable. So I have the upmost respect for ballet dancers.
Your body is your temple, and inevitably it is also your livelihood so it is
imperative to keep your body in the best condition. Intense training is needed
to acquire the strength and stamina of a dancer, to avoid injuries and survive
days of countless performances and rehearsals. Dancers need to be athletic to
endure the everyday challenges, but dancing for me is really about the
artistry. I can appreciate technically strong dancers that will impress me with
their flexibility and multiple pirouettes, but I look for dancers with the ability
to move an audience and have such charisma you can't tear your eyes away from
them.
I have previous experiences in my professional
career of Kottcamp's "offline" engagement. At Ballet school I kept
a ballet diary where I noted corrections that were given to me in class and thought
about what I would like to improve on. During rehearsals for a cruise ship I
regularly used a ‘performers diary’, where I scribbled down the exact steps of
the routines in graphic form either in pictures or diagrams. Corrections were
also recorded, so I could clearly see where I could progress before the next
rehearsal or show. So my past experiences on reflection-on-action relates to my
journal and blogs I am completing during module one. I have reflected on my
work and can clearly see my progression already.
“Active,
persistent, and careful consideration of any belief or supposed form of
knowledge in the light of the grounds that support it and the further
conclusions to which it tends.” (Dewey, 1933).
John Dewey was an American philosopher who
viewed education as an experimental action. In his book “Art as experience” (1934) he states that art isn’t just an object
or a being, but a development of an experience. An experience
is something that personally affects your life. That is why these theories are
so important to our social and educational experiences. I possess invaluable
experiences from my career that I regard as both educational and beneficial to
my dancing. One particular routine in the production show incorporated the
style of choreographer Bob Fosse. We focused the whole day on looking into his
intricate and sassy style, to really do justice to the piece. This ‘experience’
is significant to me and I will take it with me in my professional practice.
“…muscle
memory. Automatic. Precise. A little scary.
The second time through, however, or trying to explain the steps and
patterns to the dancers, she will hestitate, second-guess herself, question her
muscles, and forget. That’s because she’s thinking about it, using language to
interpret something she knows nonverbally. Her memory of movement doesn’t need
to be assessed through conscious effort.”
(Tharp and Reiter, 2006).
This extract is from the book ‘Creative Habit’ by
Twyla Tharp, who explains the idea of muscle memory. Muscle memory is memory
through repetition. When
a movement is repeated over time, a long-term muscle memory is created for that
task, eventually allowing it to be performed without conscious effort. This
also relates to dancers being ‘online’, reflection-in-action, linking to shon
and Kottcamp. It is automatic, as Tharp explains, dancers do not even notice
that their muscles have this ability to obtain a memory and simultaneously
perform a task. I had a knee arthroscopy about two years ago, and I made sure
my fitness was in top condition before I underwent surgery. Because of this, my
muscle memory enabled me to return to exercise a lot sooner that I had
anticipated.
Reflective practice is imperative to the arts. It
accommodates learning, progression and evolution in your field, therefore
reaching a higher level of understanding and mastery. I have discovered through
reading the various theories in reader two that many apply to my own
professional practice, and the reader acts like a magnet to my thoughts-
expanding on any ideas I have and putting ‘two and two together’. I intend to
apply these new ways of thinking into my work and will be compelled to really
question my thought process in more detail as I continue with this module.
References
Dewey, John (1934) Art
as experience, 1958 reprint, New York: Putnam.
Kolb, D.A (1984) Experimental
Learning, Englewood NJ: Prentice Hall.
Tharp and Reiter (2006) The creative Habit, New York, Simon and Schuster. Dewey, John
(1933) How we think 2007 reprint, Champaign:
Standard publications, Inc.
