Task 2d Inquiry (Part 1)



Looking back on my journal and finding questions I had asked myself in the process of reflection made me aware of my thought process. Some of the questions I had asked myself I had answered in detail and some of the questions I had not answered and feel there is no answer to them questions yet, although these may be answered when I gain more knowledge and understanding throughout my professional practice.

What new experiences and skills am I gaining from teaching?

-          Maturity

-          Confidence

-          Knowledge

-          Learning more about myself

-          Precision

-          Developing a deeper thought process

-          A deeper Understanding of reflection

-           Development of Communication skills with all ages

What strategies can I come up with to help with continuous improvement of the students?

Coming closer to the end of term I am beginning to think about the progress and improvement of my students I have been teaching. From my point of view it is very uplifting to see how far the students have came because more than often it is not noticed by the students themselves so I believe in making them aware of the improvements and developments they have made. However I have been thinking of different strategies and methods I could use for further development and continuous improvements:

-          Encourage my students to explore new techniques in dance performance.

-          Explore new styles and background of dance.

-          Encourage critical self-reflection to give students an insight of realistic career- development planning.

-          Emphasise the need for learners to consider audience needs and tastes in dance.

-          Explore options with students for presenting creative ideas through performance.

-          Encourage students to learn and develop mastery while they develop positive self-esteem and remain passionate about dancing.

How can I identify styles of teaching and learning that will optimize both skill acquisition and the development of high self-esteem and personal growth in dancers?

We all have varied strengths, abilities, values, personalities and constraints that influence us and how we choose to teach.  Noticing that students also differ in ability, talent, personality and learning styles has made me question are there methods for planning  and delivering dance classes that can simultaneously enhance mastery of skills whilst promoting self- esteem and positive self - image?     

The ability of a dancer to master a particular skill or technique depends on many factors: Physical ability, motor and kinesthetic feedback and learning processes, physical practice, mental practice for skill enhancement, sufficient physiologic rest, motor memory consolidation, appropriate breakdown and acquisition of complex skills, growth and development, knowledge of results through appropriate external feedback mechanisms, and an environment that facilitates learning and a sense of joy and purpose. One of the most comprehensive and prominent theories of how humans acquire mastery, learn values, regulate themselves, and are motivated is Social Cognitive Theory. A social-cognitive perspective emphasizes the interaction between a person’s thinking and behaviour and her or his social environment. Its main tenets state that people learn by observing others; learning is an internal process that may, or may not, change behaviour; people behave in ways to attain goals; behaviour is self-directed; and reinforcement effects behaviour and learning.  Self- esteem is a dancer’s feelings of worth or value whilst self-efficacy is a person’s belief that he or she can perform a specific task successfully. Teachers can enhance the learning environment for skill acquisition with the enhancement of self-esteem and self-efficacy by:

1)      Clarifying the process and goals of the class

2)      Discussing various influences that effect that dancers progress

3)      Clearly defying the class structure and content

Expanding and enhancing the class content through a better understanding of related fields such as: Dance science, including anatomy, biomechanics, motor learning and dance psychology would also help the personal growths and developments of the students.

The teacher can provide information that allows students to understand and embrace individual differences in both anatomical physique and dynamic movement qualities. As dancers learn about their unique qualities and potential, both physical and artistic, they can direct their energy toward optimal development. For example, the highly flexible dancer who lacks strength and core support can understand that investing time in enhancing those attributes, rather than stretching all the time, will result in far more progress. Such open discussion of individual differences also encourages students to appreciate each other’s qualities and learn from each other through observation and discussion. As dancers become more self-reliant and peer-reliant, they are less likely to become overly dependent on teacher approval and more appreciative of peer feedback.

I recently came across this status on facebook:

‘There are so many dance schools, institutions and tutors that do more harm than good. Being weighed, being too fat, being put down, being fed the wrong information about the training you need. Setting young dancers up in the wrong way, killing their confidence’

Dancers need encouragement to nurture self-esteem and to instil self belief. When students are struggling to achieve the material, teacher confidence in student abilities can provide the encouragement and motivation needed for continued effort. Verbal communication, body language, and tone of voice all convey the teacher’s attitude. The teacher can provide praise when improvement is demonstrated and constructive criticism when changes and corrections are needed. Positive reinforcement can both inspire and motivate the dancer in class.

I have highlighted the words verbal communication, body language and tone of voice in the above statement as I believe these are very important factors to consider when teaching. The student is more likely to be receptive when the teacher’s body language and tone of voice indicate openness and encouragement whilst teachers who listen attentively to their students’ questions and complaints are better equipped to meet individual needs and adjust lessons were necessary.

 Children are injuring themselves and by the time they get into university or higher training they have to ‘fix’ their bodies and re-train themselves in a correct and safe way. I believe this comes from teachers who don’t have the right training and understanding to pass it on correctly.

Optimal development of a young mind and body occurs with healthy experiences, both inside and outside the classroom, and the dance class offers a particularly enriching environment and experience for the development of skill mastery and of the whole person. Students come to class with a desire to develop dance skills; the training will be enhanced if the teacher provides a larger conceptual context and a thorough understanding of movement principles. For example, taking time in class to explore principles of good alignment is more beneficial than simply adjusting a student’s pelvis during a particular exercise.
In each aspect of dance training, the teacher needs to identify the basic foundation, and then build upon that knowledge base. Whether a dance class is founded in ballet, modern, jazz, African, or urban dance, certain fundamental movement skills will be explored. These skills include aspects such as alignment, balancing mechanisms, spatial awareness, musicality, motor control, and coordination. This foundation must be in place before more complex and sophisticated vocabulary and skills can be absorbed.