MA Professional Practice Dance Technique Pedagogy

Response to Skype Discussion 8pm 02/12/2018 Experience speaks for itself, so it is important to write from the “I” perspective to demonstrate the ability to reflect and give voice to the research enquiry. As kinaesthetic learners it is sometimes difficult to transform experience into a written form of communication. As dance teachers, we use a particular tone and choice of words that we would not necessarily use in written communications with our students or with academics. We work with visualisation and mapping movement using creative description not in depth analysis and reflection.   Thus, expressing using academic form and language can sometimes feel trivia to us. Constantly questioning our own opinions and views is not something we are used to doing as part of our everyday teaching.   I actually feel that through the process of this MA, I have become more reflective and intuitive in my everyday teaching activities.  

  Response to Skype Discussion, Sunday 18 th  November 2018, 8pm It was interesting to learn about the interdisciplinary approach to training and how practice in other countries differs from our own. Often, we can get absorbed in our own environment and forget about what happens on a global scale. In a number of cultures there still seems to be a hierarchy with styles of dance, with ballet as for the elite and contemporary dance for the masses. The idea of dance being a divider or classifier of social status resonated with thoughts from the history of contemporary dance in Britain and how the public opinion was ballet as high art and contemporary as popular culture.  The versatility of students was also discussed and whether students who study more dance styles have better skills and make better dancers. The focus on the holistic well-rounded dance student, draws parallels with my own research, suggesting that better skills equal better teaching. We also discussed Leadersh

Interesting thoughts were discussed about how knowledge is embodied at a practical and theoretical level. As dancers we have different ways of communicating knowledge on an emotional and kinaesthetic level, which are equally valid in the same way as verbal or written communication. From a teaching perspective there needs to be a deep level of understanding and choices provided by the teacher so our students can build up their own way of expressing themselves. Embodiment should not be about conforming to another person’s perspective it is about finding individual enlightenment.  Gardner’s Multiple Intelligences Theory was mentioned with regards to how different people learn and how experience relates to learning. This is an example of a framework, we do not necessarily have to agree with, but it is useful nonetheless to help us find answers or make conclusions.  Whilst literature is not conclusive, it does offer a framework for discussion. For example, I have used Claxton (

During the discussion we spoke about student assessment and tracking progress effectively. Often assessment causes anxiety and is not fully embraced, however if it were viewed simply as a point of reflection, feedback and evaluation would it be viewed more positively. Thus, the way we approach assessment, as a milestone rather than an end result is important. Carrying out my research observations, has led to me question not only the effectiveness of my teaching practice, but how we “measure” or “know” that our teaching is effective. We may seek re-assurance when we observe similar teaching methods to our own, but I wonder if this this purely a re-action to us being in our comfort zone and unconsciously registering them as correct?