Critical Reflection Portfolio - Summary

Developing my Professional Practitioner Inquiry has been a process of evaluating my dance knowledge and researching Dance Fusion.

I prepared a list of questions to assist with the development of my inquiry plan.   The comments from other learners and my adviser (via my blog) inspired me to further thoughts and ideas that fueled my interest in researching the origins and authenticity of dance styles.  (Appendix A)

My challenge was to choose an appropriate subject that would sustain my interest and build my knowledge base on historical dance.  I read ‘Finding A Focus’ this lead me to start the filtering process. (Appendix B)

I participated in SIG’s,  discussed on my blog, dance group forums to discuss this.  My conversations with teaching professionals and academics highlighted interesting and varied comments.  These resulted with a yes or no answer.  (Appendix C) 

After reviewing the questions I changed them to an open ended question. 

The Professional Ethics tasks has given me a deeper insight into the subject.

With my background in corporate business and my dance management knowledge, I have a good mature understanding of business ethics.  This is further enhanced by the guide lines issued by the ISTD (Imperial Society of Teachers of Dance) for dance classes. (Appendix D)

I found guide lines from the ‘home office’ offering advice on inclusion of transgenders.  (Appendix E) and (Appendix F)

I experimented with a range of tools available to gather data and conducted pilot trials in surveys, observations and interviews.   I read about ethical issues and data protection designed my questions using 'survey monkey'. (Appendix G) 

The pilot survey was completed by my peers on my blog and SIG and some members within my dance practice.  With mutual support, encouragement and valuable advice from my peers, improvements were made to some questions. The final results produced a good balance of qualitative and quantitative data. (Appendix H)

I organised two pilot interviews to be filmed using the same questions as the survey.    Preparing the interviewee with the question prior filming proved to be successful.  Some answers proved difficult to process and longer to analyse because some answers given seem to have hidden meaning.  This was due to the probing questions.  I will give myself more time to analyse the data.

The pilot focus group was an impromptu covert discussion. I was able to target my questions to a specific dance style thus having a captured audience.  The planning needed improvement in all areas.

In evaluating these tools, I favor video recording. This is more beneficial to my inquiry, giving me more holistic answers for analysis. (Appendix I)

I reviewed two pieces of literature linking to my inquiry topic. 

I ‘set the scene’ by describing the ballet before analysing it.  I was compelled to describe the human side of choreographer and her particular dance style and wanted to share this.   I hadn’t identified new sources of reviews which was required for this literature review.  This was an important element to a review which would have give a balanced perspective on my analysis.  My adviser invited me to comment on my blog about a review recently discovered by a contemporary critic.  I learned about the different ways of analysing reviews and a variety of writing styles. 

(Appendix J)

A contrasting review was about the holistic and spiritual side of dance deepened my interest. I was able to compare a broad section of diverse styles across cultures that have effect on dancers.  As I analysed the two reviews I could see that the inquiry subject was still too broad as I had discovered further areas to investigate and for a time lost focus on my line of inquiry. (Appendix K)

The tasks in Reader 5 & 6 and the book; Researching Dance,( Horton Farley & Hanstein) showed me a structure and frame work emerging that would assist me with the overall planning of my inquiry.  

The ‘Delicious‘ tool is for storing and sharing bookmarks and other useful shared resources.  I continue to search for primary sourced material from specialist of the Middle Eastern dance, on line magazine articles, University library archives, books and TV documentaries and my journal.  (Appendix L)

I have a clear plan and structure for this project to keep me focused with sufficient material on Middle Eastern Dance. I am now more prepared with the framework in place to proceed with my inquiry.

Appendix A http://corindahall.blogspot.co.uk/2012/02/part-4a-body.html#comment-form

Appendix B http://adesolaa.blogspot.co.uk/2012/04/finding-focus.html#comment-form

Appendix C  http://www.linkedin.com/groups/Does-fusion-multiple-dance- styles-3682328%2ES%2E97966765? view=&srchtype=discussedNews&gid=3682328&item=97966765&type=member&trk=eml- anet_dig-b_pd-ttl-cn&ut=12YERJ5F9WC5c1

Appendix D http://www.istd.org/documents/code-of-professional-conduct-and-practice-for-teachers-of-dance/

Appendix E http://corindahall.blogspot.co.uk/2012/03/ethics-task-5b.html

Appendix F http://corindahall.blogspot.co.uk/2012/04/regulating-stage-schools-bbc-breakfast.html#comment-form

Appendix G http://www.surveymonkey.com/s/5YGXLMH

Appendix H http://corindahall.blogspot.co.uk/2012/04/dance-survey.html#comment-form

Appendix I http://corindahall.blogspot.co.uk/2012/04/task-6-b.html#comment-form

Appendix Jhttp://corindahall.blogspot.co.uk/2012/03/literature-review- no-1.html#comment-form

Appendix K http://corindahall.blogspot.co.uk/2012/04/lit-review-2.html#comment-form

Appendix L  http://www.delicious.com/corindahall1/tag_bundle/BAPP

DELICIOUS!

Here is the link to my  Delicious account.


It has some good links to;
Dance in Education
Dance Therapy
On line Dance Magazines 
A controversial piece about Ballet as a Form of Ethnic Dance! 
A research paper on Tap Dancing as a therapy
Articles on Middle Eastern Dance as my inquiry seems to be heading in that direction with a focus on Oriental Dance style  'Does the fusion of multiple dance styles have a negative effect on the conservation of historical, cultural or original dance’?



Please comment.

Task 6 a & b

My cover letter

 I am currently conducting pilot interviews and surveys for the purpose of gathering information on your experience and opinion for my topic based question ‘Does the fusion of multiple dance styles have a negative effect on the conservation of historical, cultural or original dance’?

The information that I collect will form part of a professional inquiry I am undertaking, in association with Middlesex University Institute for Work Based Learning and is for my sole use.  All participants shall remain anonymous until such times as permission is granted to me for results to be published.

All data will be strictly confidential. A code will be created to record data. I am the only person with access your data and will be the primary researcher.  You can instruct me at any time during this investigation if you wish stop the inter view or survey and be excluded.


Every person that took part in my various pilot interviews made were aware that these were trial interviews in preparation for the next module.  They were made aware that these surveys were being researched for appropriate tools to conduct my Professional Inquiry.

Pilot interview

This interview was conducted with an internationally known Salsa teacher and performer.  I’ve known this teacher for many years and have been employed by the company.  On this occasion my cover letter was shown and understood.

This interview was conducted after a Salsa lesson as this was convenient for us both.  

It was a semi-structured interview, the questions in the interview differed from my pilot survey questions. 

As a freelance dance teacher I was aware of the ‘insider-research’s conflicts of interest’ and made a conscious effort not to engage or be pulled into the conversation.  There was mutual respect between us as the participant was aware I was conducting this pilot interview under a Professional Ethics code.

I wasn’t expecting definitive answers with my open ended question.  I was anticipating this to be an interview of quality.

I am aware that my professional inquiry will require qualitative data for historical, cultural and original dance styles. This will give me the essence, core, heart and importance to the nature of my inquiry.

The interview lasted about forty minutes. This wasn’t really long enough as I felt pressured  that students were waiting close by to speak to the teacher after the class as often is the case.

My time during the interview was spent taking notes.  This concluded to be awkward when I asked to repeat some points.  I intend to conduct an interview via video recording method which will be beneficial to both my participant and myself.  This will eliminate illegible notes and the participant will have my undivided attention making the interview more relaxed.

The alternative was to have used a dictaphone. 

In conclusion, I found this method of interview to be much more appropriate for my professional inquiry even though we were in an open area with other participants around.  In future, I will find an appropriate quite area to conduct the interview in private.  I was trying to be as un-bias as possible and found I could hold my tongue and not express my personal opinion. This way, I learned much more and this rich information could be recorded and knowledge passed on.  

With my ‘future career’ in mind, my objective is to conduct these surveys in order to highlighting gap areas in education that I could research further and specialise in.

References

Middlesex University (2011) Reader 6: Tools of Professional Inquiry

Researching Dance :  Fraleigh and Hanstien

A pilot observation in dance classes is an inappropriate method of collecting data for my line of inquiry as I require verbal responses.  However I did come across a US dance company in Network Dance forum LinkedIn who are addressing my inquiry question within their dance workshops. That would be an ideal class for me to observe. 

A pilot focus group has proved to be a little challenging to get together because of time constraints but is impossible if planned well in advance by informing the relevant participants of a mutual date and place of meeting.  I found an occasion that I covertly steered a group of dancers after a rehearsal of Oriental Dance and started a discussion on the lines of ‘Why do women choose to dance belly dance’ This is linked to my inquiry question as it will be a dance style I will analyse and compare to other culturally diverse dance styles in the UK and the effect of fusion has on the original/cultural/historical dance.  I was most surprised by the variety of responses I got from the group.  I was able to jot down notes after the short 20 minute discussion while we were stretching out on the mats.  I think this is something that I may consider putting together but need to plan a convenient date time and place for the group and think about recording devices.

Filmed interview with a student/friend

I choose a close friend that happily participated understanding my restrictions regarding codes of conduct and that I was the only person with access to this data.  My friend understood that it was a trial attempt but we were relaxed during the interview which lasted approx. 20 minutes.  A list of questions was supplied the day before and we discussed these before filming. I had the opportunity to probe further due to the nature of the answers.  This gave me excellent responses.  We were both satisfied with the video.

Pilot survey monkey

The survey

The pilot survey was created with survey monkey.  Easy to set up, pass word protected with analysis results clearly shown.  These were sent out to a small group of contacts within my social networking groups, my  blog and emails were sent as well as given out by hand.  A broad age range and ability levels were included, ranging from leisure dancers to professional teachers and performers.

All survey’s came back promptly apart from the surveys sent to four people in a Middle Eastern dance group I am currently rehearsing with.  Nothing has been returned from this group to date.

I asked for suggestions of improving or amending questions in my survey.   Suggestions from my BAPP blog mentioned to include the following in the survey; gender, age range and a couple of multiple choice questions.  I didn't think it mattered about the participants gender but I think I will include the gender question to make it quicker and easier to analyse the data.

In conclusion, I’ve collected data in various forms on a variety of dance styles. 

The pilot observation will not be applicable for my line of inquiry.

The filmed interview gave qualitative results and the survey gave both qualitative and quantitate results I required particularly from the survey monkey.  Charts could be produced to show visual clear results.

Regulating Stage Schools, BBC breakfast report

BBC breakfast news!

Stage Schools, do they need regulating?

An interesting report this morning on BBC breakfast highlighted the growing number of stage schools.  There is a huge demand for them and it comes from children and young people watching shows such as Billy Elliot, So you think you can dance?, The X factor, Youtube. etc.

These stage schools are all unregulated.  Some have been found  without Insurance, staff without CRB checks, unqualified dance instructors and some without any experience in the profession.

‘Stage Coach’ have their own set of standards, they are assessed independently.

Some schools charge whatever fee they want and some offer good value for money.

The Dance council stated that ‘What is required is common sense’

This is a very current and topical issue as we have been reading up on Business and Personal Ethics.

What is your opinion?

Do you think stage schools need to be regulated?

Lit review 2

With the constant drive to learn more about various dance styles and the constant question at the fore front of my mind of what will I be doing in a year’s time, I came across this book

Sacred/Circle Dancing by June Watts.

In my current state of connecting with my spirit/soul, of course dance plays the key part

This book is about spiritual and ritual dances performed in circles.  The author writes about her personal teachings, learnings, experiences and findings.

I was intrigued to find out how this could help in our dance today and if some of my theories about our inner body connected to our outer living . My other questions, under my line of inquiry, are to explore ‘all dance is a therapy’ and ‘dance origins’

What attracted me to this book was the  connection of ‘mind, body and spirit’ working with a language that develop movements naturally and organically from vibrations that happen within the body.

The author learned about circle dancing from Bernhard Wosien, a German Ballet Master who had a passion for traditional European Dance. (1) 

Certain dances where said to have healing energies thus connecting us with the earth.  Meditative in movement, they can relieve stress, release creativity and help dancers feel centered.  

Watts explains how we are all energy and every subatomic particle dances, ‘an endless energy dance of creation and destruction‘   drawing to ‘The Dance God of Shiva and Sub Atomic Particles’ (2)

A couple dancing can generate energy power equivalent of five to ten amps. An intent focused group of people could generate much more.

We experience this energy when watching a chorus or crowd of dancers in a musical on stage today or any large gathering of dancers.  In Cuban Salsa dancing, couples dance in the round with one another.  When dancing in a ‘Rueda’ (wheel) dance as a couple, there is no doubt they become highly energized and are tremendously exhilarated when focused on the correct moves and patterns.

The writer discusses Bernhard Wosien ‘raison d’etre’, he explained at every occasion the importance of dance.  He was devoted to his purpose, to something that was greater than all of us.  He would say; When we enter the circle we subsume the self and our individuality into the greater whole. We become part of something greater, something we can share and share in equal measure.  Each of us holds our place in the circle facing the centre and shares the centre in common with everyone else. But each has a unique perspective and no link in the same as any other.

She was enchanted by him and must have had a passion for him as she watched his powerful, muscular body with awe and stated he was dance. 

After Woisen’s death she felt she had been given a special gift of empowerment.  She felt the centre of the circle light up with a powerful vibrant light and felt his presence.. At this point she felt her ‘reason for being’.  She began her intensive quest the reason for her existence after having three children and ten years of absence from dance.

A quote from one of today’s Spiritual Enlightenment teachers;

Independence of Spirit

The most lauded luminaries of humanity's rich history have all been bold individuals who, in one way or another, bucked the status quo in order to follow their own muse. They courageously did what too few human beings are willing to do: think for themselves about the big and important questions in life. Who am I? Why am I here? What is the purpose of existence and what is the purpose of my existence? What I call "spiritual self-confidence" comes from knowing the answer to these profound and fundamental existential questions. In order to become self-actualized human beings, ironically, we have to, in our own ways, find the strength and integrity to mimic the greatest human beings who have come before us. In this case, that means embracing enough independence of spirit to finally find our own authenticity and think our own thoughts. It's not an easy thing to do. But it's worth it. It's more than worth it.—Andrew Cohen

I agree with her totally when she talks of our body as tools of the dance trade, musicians have their instruments, artists have their brushes and paints, crafts people their tools.  A dancer’s body is the instrument.  She talks about the language that dancers learn daily in maintaining flexibility and technique. Dance classes are a ritual for professional dancers

In her ‘Brief History of Dance’ section two facts are stated, one, humans have always danced, two, everything natural moves in circles.  True, we see this daily, the planets revolve around the sun, the moon and sun rise and set, the seasons of the year is a cycle.  Circles within circles.  Our ancestors understood their place in the scheme of life and dances moved in open circles. We see evidence of these dances on wall paintings and vases and Etruscan 4th Century BC wall paintings show funeral dances.  These dances became part of ‘mystery religions’

I find parallels with the Greco-Roman world of religious cults circa 4th century,(3)  and Physical Theatre today. (4)  A cross over between music, dance, drama, art and life.

The Greek history contributed to the development of our arts today particularly in dance, (5) celebrating by dance every event of life, births, deaths, harvest, sporting events, (The Greek Olympiads ) the hunting etc.  The Greeks came to understand the rhythmic laws expressed in their manual occupation; ploughing, sowing seeds, rowing their boats with oars etc. and discovered jerky and broken movements resulted in work exhaustion and bad production.. During the Hellenistic period,(6) children learned music as training for the mind which developed the aesthetic sense and gymnastic exercise for the physical.  This made way for and cultivated a natural foundation for life. The Greek felt whole and able to express himself through the body ‘which was the material object that contained the soul’ (5).

Dance, in it’s highest form was a language of prayer, praise and dedication. An act of worship to their Mythological goods.

I think the thought of modern dance as a form of worship will scare most young people away.  

Watts explains the ‘inner and outer’ and ‘vertical and horizontal’ axis.  Dancers move from the ‘inner’ (within) vertical axis running through the centre of the body to the outer world.. 

One of Martha Graham’s fundamental technique for contemporary concentrates on the spine as vertical axis taking it further to a twisting of the torso or known as The Spiral

Wosien called this ‘Meditation on the Cross’. First position in ballet, heels together, arms curved in front with fingers opposite the solar plexus. The Dancer is centered, alone and ready.  Second position, heels, shoulder width apart, arms open out to the side, ready to connect with others. Third position, feet at right angles, right heel, touching left instep, right arm up above the head, left arm open to left side.  He called this ‘ready to serve’. Energy running up and out through the top of the head and down the body, through the feet to the centre of the earth, centered and strong.

The outer, the journey, not knowing where it will lead.  

It’s a good way of thinking, a way for professional dancers to experience that moment of stillness in time gathering energy from within and connecting before dancers set off towards the end of the dance, as that is their objective, it’s over and done!! 

One exceptional dancer, Sylvie Guillem can take you with them on their dance performance journey and you experience every single move with her. Not unlike the the slowing down of moves as in ‘The Matrix’  

I wonder if we all experience this consciousness and understand it’s form. Joseph Campbell asks, are we the ‘vehicle of consciousness’ or are we ‘the consciousness’ (7) 

The author continues with symbols, shapes and dance direction.  Symbols and shape have meaning and are relative.  In many dances we start to the right, symbolizing we get on with life, then take a few steps to the left before moving on again, as if to review the past before continuing to the right.  A parallel with our planet Mercury when in retrograde for a few months every year.(8) 

She continues with explanations alignment and attunement, still points, transforming spaces and interconnectedness of ourselves and the environment.

I read this book for the reason of learning but reviewing it is a different matter but trust I have maintained a balance.

The main point of this book is about circle dancing and a connection to sacred power of dance. A book written for groups interested in historical, folk and spiritual dancing.  

Circle Dance is definitely form for therapy.

The authors excellent description of form, structure, motives and concepts are very useful notes for any style of very basic choreography. Her definitions and ways of thinking will help with the emotions a choreographer may wish to portray. 

Circle Dance may be more acceptable than Sacred Dance today. It is seen as a dance for certain types of people; folk, religious, older age group, passive dancers, non professional dancers, community dance.  The very young children enjoy linking hands and moving around in a circle.

I would suggest professional dancers to experience at least once, circle dancing to share the energy it emits within a group and to take you back to some of the origins of dance. It’s a good leveler. 

The book was interesting at the time of reading but not as enjoyable reviewing it as much as my first. The subject matter did not expand into any artistry, ingenuity or raw passion of the moves.

A complete contrast to my first review about professional dancer and choreographer Pina Bausch and her contemporary physical theatre dancers. Although both dedicated to the dance and finding their purpose in life, both internally driven to find inner strength, direction and reason for being. 

‘We take class every morning!
Morning class is necessary for dancers not just beneficial reasons, it is like a ritual’. - Daisuke Miura ,a Professional Dancer with Ballet Cymru. - A quote taken from LinkedIn Nebuli dance forum 2012.

(1) http://en.wikipedia.org/wiki/Circle_dance

(2)  http://hinduism.about.com/b/2008/09/10/the-dance-of-shiva-and-sub-atomic-particles.htm

(3) http://en.wikipedia.org/wiki/Greco-Roman_mysteries

(4) http://en.wikipedia.org/wiki/Physical_theatre

(5) Gateway to The Dance by Ruby Ginner

(6) http://en.wikipedia.org/wiki/Hellenistic_period

(7) http://en.wikipedia.org/wiki/Joseph_Campbell

(8) http://astrology.about.com/od/advancedastrology/p/MercuryRetro.htm

Literature review before survey and no SIG!!

Please see my last blog as it has a survey that I would like help with.


I'm writing up my reviews before my surveys as I had watched the video of 'Pina' and am finalising my 2nd Literature review on a book I've read recently..  It seemed to make sense to write these reviews while fresh in my mind for analysing.


Although some of my surveys are complete, I need to analyse my data and write up..


I've found my line of inquiry question keeps changing slightly... I am also almost always thinking of where I would like to be after this course ends.. What subject or dance style will I be teaching?  At the moment I'm learning so much about myself. I want to keep learning... I'm still thrashing through the woods at the moment and am grateful for the framework of the modules to keep me focused.  Although I feel I have strayed off my course somewhat.... 


I've been reading some of your blogs and some have mentioned changes to your original line of inquiry, which is a good thing that naturally evolves...


I haven't set up a SIG group for the reason that I've linked with numerous dance forums.  I found three groups in LinkedIn that I've joined plus face book and networking with colleagues seems to be sufficient for me.


Does any one else feel out of sorts at the moment ?

Pilot Survey

Pilot Dance Survey


Can you help me with my dance survey.  

Hope this works, it's my first ever survey.  

I would like to hear what you think about it and what changes would you suggest to improve it.  

http://www.surveymonkey.com/s/5YGXLMH