A very 'Relevant' Skype Discussion: Wednesday 16th October.

I took part in the Wednesday morning Skype discussion this week with slight anticipation. I admit that I still become anxious at the thought of speaking in a group, especially if I am unconfident with my ideas which is often the case! What if I don't get the gist of the discussion? What if I'm actually lagging behind everyone else in terms of my understanding? What if I embarrass myself and orate something which is completely irrelevant?
Which is all rather ironic as after a brief conversation from a Module 3 student, Adesola suggested we veer in the direction of 'relevance'. A topic which is more of a concept. Something we all seem to attempt to consider continually, but a notion which never really fulfils one with confidence. After all, relevance is surely quite a subjective stance? What might be relevant to one person may seem completely irrelevant to another. And how does one ever know which information takes priority over the rest?
It can frequently feel like searching for a needle in a haystack, especially at the start of studying a topic where all the sources of information seem so vast. However, we did come to a few conclusions and it turned out to be a very thought provoking session. Firstly, what is relevance?

RELEVANCE: 'The degree to which something is related or useful to what is happening or being talked about'

(Definition of relevance from theCambridge Advanced Learner's Dictionary & Thesaurus © Cambridge University Press)

In the context of the BAPP course, I am striving to find relevance in the study I am undertaking, and although I cannot quite articulate the process I adopt, I do know that sometimes I get 'a feeling' when reading a particular source. Apologies for the intangible explanation but it's almost as if something clicks, like a memory has been released. With deeper reflection I came to the conclusion that often something appears relevant to me if it is something I can connect with a prior experience. An example?
When conducting my research on Lens 1, specifically Web 2.0 my attention was drawn to the ethical considerations of the online world. I have always been fascinated in the speed of technological development, but when relating the phenomenon to my practice I discovered balancing my private and public life was something I faced daily as a teacher. I agree with the view thatThe boundaries between private and public information – especially on the internet – are frustratingly ambiguous, contested and changing” (Markham & Buchanan 2012, 6; Ess 2007, 499). I receive friend requests from many of my students, and with my work as an administrator I have to delve into the world of social media for advertising purposes. This has made me acutely aware of how the children interact with dance school promotions, and I have had incidences where although Parents have previously given their consent for videos of their children to be taken, they then retract this permission as soon as the media is posted online. 
Then there is the more recent enforcement of the GDPR principles which strictly ensure that client Data is protected and stored safely. This had a huge impact on the method of data collection at the studios, where no contact numbers can be on public display (e.g: on a summer camp sign in sheet) and every time I send a mass email, I triple check that all the contacts are in the Bcc field!

Long story short, the research I read turned from mere words on a page to something which sparked familiarity. This recognition unveiled a memory, which led to more connections, thus provoking further thoughts and questions about the topic which I am encouraged to explore. This for me, I thought, was relevance. Something I experienced. Something I will experience again. Something I can apply to my everyday working life.

However, the Skype discussion then sidetracked slightly to the idea of disagreements within a group. One brave participant had the courage to disagree with a statement and explain her own viewpoint with justification. Adesola exposed this encounter to the group and I personally admitted that I find it very challenging to disagree, feeling content, safe and accepted with mutually agreed points. I see this as a way to strengthen a relationship through the finding of common ground.
 
But, then I asked myself where continual passivity would get me? The principal aim of this course is to not achieve right and wrong, closed minded findings within one's comfort zone. Why not challenge my cognitions, think outside the box? After all:


Even before asking such questions, it is vital to understand the concept that “knowing something new has to start with the confusion of realising you don't know something” (Akinleye 2019). Therefore, perhaps relevance is found in the areas which are seemingly irrelevant as this gives the opportunity to discover something new within a deeper level of reflective thinking. I then started to ponder on my own approaches and realised I may subconsciously be operating in a mode of bias, inclined to merely strengthen ideas I already know. A disadvantage to my attempts to better myself in my studies. But, hopefully by engaging in 'reflective thought; as I am presently doing which according to Dewey is "active, persistent, and careful consideration of any belief or supposed form of knowledge" (Dewey, 1997 p.6) - I can then expand my capacity to grow.

With this influence in mind, I have been consciously aware of my approach to the recommended literature for the BAPP course. I am working my way through Schon's 'Educating the reflective practitioner' and I have been finding the intensity of explanation quite challenging. Often I feel demoralised as I cannot grasp a certain concept which leads me to focus on the theories I have already understood through experience. 
Much of the book focuses on dialogue within a architectural design studio. Immediately I found myself questioning 'what does this have to do with my practice?' 'Surely this is a different field and I don't need to comprehend an entire glossary of architectural terms?' 'Teaching dance is very different' (and so on.) Although I would read the information, I can't say I'd grasp confident understanding due to my unwilling stance, which I accept is a significant barrier to future learning.
But what if I saw the challenge of irrelevance  as an opportunity to embrace curiosity? It doesn't have to be so black and white, as surely with any form of tutor and student relationship there are common themes despite the context? Foe example I Initially battled with discerning the following:

In the designer's conversation with the materials of his design, he can never make a move that has only the effects intended for it.” (Schon 1987, p.63)

Routinely I'd skim over this information despite the fact that it could actually hold a relevant message. Once I thought deeper about the idea of how reflecting in action presents itself through a series of actions and consequences, I understood the importance of evaluation where outcomes are anticipated and influential over future decisions. For instance in my choreographic work I may picture a partnering sequence with multiple dancers. I would envisage how the staging may marry with the placing of dancers, where my next choreographed move would always be a result of the previous movements. 

Another example may be predicting how a class may flow during my lesson planning. I may include a section of floor work which could then prompt me to plan some travelling combinations in contrast. I may predict that the travelling section of the class would cause disarray if the children were particularly young and energetic, so I might then think about including a lyrical composition at the end of class, intending to ease potential chaos.
With the above example I can now see that despite the original context of Schon's explanation seeming quite irrelevant, I actually was able to find relevance, subsequently learning something about my own endeavours.

One possible problem with this new found epiphany of mine is that I may be tempted to seek relevance in every situation which would be a very time consuming process! But I believe in the notion that knowledge will be absorbed if I target areas of unfamiliarity. This is perhaps where the greatest discoveries can be made? Then as discussed in the Skype call, refining the collected information gradually should lead to common themes which reoccur. Colour coding seemed to be an agreed effective method amongst us all- An aspect we did all agree on!
 
It was a very beneficial conversation amongst us and I'm looking forward to reading more blogs from my fellow peers who were also involved- No doubt their contributions will be relevant to my learning!



Bibliography 

Akinleye, A. (2019) Establishing Professional Practice [Handbook] Middlesex University London.

Book Summary - A More Beautiful Question: The Power of Inquiry to Spark Breakthrough Ideas. (2019, April 17). Retrieved October 18, 2019, from https://readingraphics.com/book-summary-a-more-beautiful-question/. 

Dewey, J. (1997) How we think, Mineola. N.Y. Dover Publications. 

Jouhki, J., Lauk, E., Penttinen, M., & Rohila, J. (2015). challenge to research ethics: Exploring the case of the Facebook experiment. Social Media Personhood as a Challenge to Research Ethics, 1–19. Retrieved from https://www.researchgate.net/publication/284156533_Social_media_personhood_as_a_challenge_to_research_ethics_Exploring_the_case_of_the_Facebook_experiment

Markham, A., & Buchanan, E. (2012). Ethical Decision-Making and Internet Research: Recommendations from the AoIR Ethics Working Committee (Version 2.0. Ethical Decision-Making and Internet Research: Recommendations from the AoIR Ethics Working Committee (Version 2.0. Creative Commons Attribution 4.0.)

Schön, D. A. (1987). Educating the reflective practitioner. San Francisco: Jossey-Bass Inc.

Woodford, K. (2005). Cambridge advanced learners dictionary. Cambridge: Cambridge University Press.




Exploring the Experiential Learning Cycle. Enter, engage, experience!

Once again I decided to take the mind map route (See below to the right) to try and decipher how the second lens of Reflection, ethics and creativity related to my practice. Personally, I find this lens the most captivating out of the three we are advised to study, especially as the main segment of my practice is dance teaching. Therefore, I am always interested in the psychology of how people learn in various ways and it has made me reflect individually on how I process information through reflection and action.

This all looks a bit of a mess! But it has helped me to categorise my thoughts, and I have found a few things particularly interesting, triggering paths for further research. I thought I would firstly focus on Kolb's Learning cycle. David Kolb's concept seemed significant to my practice as I feel it is imperative to understand how people can enter the cycle at different stages according to their learning preferences. Knowing a person's (and your own) learning style enables learning to be orientated according to the preferred method. (Mcleod, 2017). When applying this to teaching children in a dance studio I can conclude that a wide range of teaching methods aimed to target these contrasting learning pathways, would perhaps be the most effective approach.
So how would that look in action? What would be involved in answering the desired dimension of learning for each individual student? This prompted me to reflect on my past experiences as a teacher, and furthermore think about how I can improve the diversity of my delivery.

  1. REFLECTIVE OBSERVATION

As I have mentioned before, I believe this is where I often enter the learning cycle and this was certainly the case when I was training as a dancer. I often benefitted more from watching my peers or performers I admired in action than actually engaging in the movements myself. I could almost picture in my mind's eye how a particular dancer embodied a routine which assisted me in emulating the same. (Or at least attempting!)
In my practice, this is exampled in the way I observe other teachers in my community. As part of the DDE qualification I had to carry out teaching observations and I found it mesmerising to notice how a teacher could captivate the class with various techniques. Even in moments of observing teachers briefly before my class in due to start, I use these pockets of opportunity to embrace learning via observation.
I believe this spreads wider in the form of media which has supported me in my understanding of children's behaviour. For instance 'The secret life of four year olds' has helped educate me on methods to effectively capture a child's attention and consider the stages of socialisation in youngsters. I feel these observations have supported me in my teaching. How can I help my students to embrace this learning pathway?

TEACHING METHODS TO SUPPORT REFLECTIVE OBSERVATION?

  • Demonstrating the dancing myself.
  • Peer observation and feedback. Eg. Performing to the class in groups and asking each child to explain what they liked about the demo.
  • Showing media Eg. Videos of performances.

In other areas of my practice I can see that I use this stage of the cycle regularly. As a Princess Party entertainer I often watch the mannerisms of other employees as they portray a different character. Watching YouTube videos about individual Princess's mannerisms assists me in delivering a polished performance. I learnt from my employer as to how the administrative system worked online so that I could effectively take over her duties. I am frequently inspired by choreography I see, perhaps the way a dancer has been instructed to express the music which subsequently helps me in choreographing future work.

  1. ABSTRACT CONCEPTUALISATION

At first, I assumed this was perhaps less common in the arts industry as I associated it with 'working it out in your head' seeming more academic, theoretical. However, looking deeper into this concept I realised it is more complex than just thinking about an idea as it is at this stage that the learner must formulate concepts which “integrate their observations into logically sound theories.” (Kolb 1984, p 30) I see this almost as the web between reflection, observation, theory and experience. I wonder whether this is more prevalent in older students due to the requirement of a more advanced cognition. In trying to think of an example which applies to myself, what springs to mind is the strand of my practice which involves Pilates instructing. It wasn't until I embarked on my study for this that I really understood the notion of engaging the pelvic floor. I knew what 'it' was to some extent, I knew that the pelvic floor had to be switched on to aid technique and I vaguely knew the difference between 'engaged' and 'unengaged'.
However, by hearing how imagery can help with the feeling (imagining my core was an elevator and needed to go from the ground floor, to floor ten, to floor three) I attained more understanding. I connected the imagery to the physical feeling. In turn I observed the visual effect of the pelvic floor being engaged on other students and through anatomical study, I further understood how the position of the skeletal muscles supported the notion of it's purpose. I suddenly found myself linking accumulated knowledge to past experiences which intensified my understanding. For instance I inferred why the arms were used in certain ISTD modern core strength exercises as they helped students to stimulate the correct muscles. The dots all joined up and through considering all of these facets of learning, I achieved the 'CONCEPT' of the pelvic floor.

TEACHING METHODS TO SUPPORT ABSTRACT CONCEPTUALISATION
  • Questioning students to stimulate their exploration. Eg: What does this movement remind you of? What do you think would help in strengthening your supporting leg? Etc.
  • Ask students to conjure up their own imagery.
  • Work as a group to create a piece of choreography through integrative ideas.
  • Ask questions: How could you make your performance better?
  • Encourage students to research between sessions.

      1. ACTIVE EXPERIMENTATION
Attempting to try out different ideas through an exploratory method. The catch 22 in this approach is that one must generate ideas first in order to trial a methodology. The need to trial new ideas is often triggered by a problem, lacking or acknowledgement of 'not knowing'. In a creative practice such a dancing this is a method which is often engaged in.
For example when choreographing the studio is an inviting haven for creative experiment and even when one feels like the desired result has been met, there is always that drive in the back of one's mind to make improvements. As Schon explains 'the experimenter might keep on experimenting indefinitely- as long as he is able to invent new, plausible hypothesis.' (Schon, 1987, p 73) Linking this to my practice I associate my choreographic work with this approach, and even when I try and pre plan a lesson or dance, I often change my mind once I see how the moves are reflected on the dancers in front of me.
Equally, from reflective observation my learning from external situations then encourages me to experiment with ideas in my own way. Discovering new tactics to promote spacial awareness in the dance studio or allowing my students to improvise to see how it can benefit them is an example of this.

TEACHING METHODS TO SUPPORT ACTIVE EXPERIMENTATION
  • Work in partners or groups to create choreography.
  • Ask the students to practice 'what works' on their body.
  • Get pupils to practice technique in the wrong way momentarily so they can explore how it feels to execute correctly.
  • Encourage the use of props to support learning. Eg Instruments to strengthen rhythmical awareness.
  • Recommend additional training programs to help strengthen dance eg: Does going to Pilates help with your control?

    4) CONCRETE EXPERIENCE

Even though I am a professional, and I know what the steps are, I don't quite know how I'm going to do them, because I haven't lived that moment yet.”
Suzanne Farrel.

I'm sure many dancers can relate to the above quote, namely because dancing is a physical art so can only be perfected by the athleticism of doing it. You can think, visualise, mark and talk about a movement but it is only in doing it that you can actually achieve that kinaesthetic knowledge. This isn't to deny that this stage of the the cycle is irrelevant without the processes of reflection and observation, where improvement would never be possible if it wasn't for contemplation. 
 
The 'here and now' practice could potentially be enhanced by reflection in action as I have discussed in my previous post. In choreography I am naturally led to formulate movements in my head and I feel so sure that they will work in practice, only to then dance them in my body and realise the flow just isn't right. Additionally with my administrative work I believe I have gained most accomplishment by doing, so much so that it almost feels like an automatic process where repetition leads to mastery. The reflection of my concrete experiences can be strengthened through the emotional connection to a situation. Eg: Seeing a young child fully engaged and inspired by a storytelling dance ignites joy in my heart, which then persuades me to engage in this concrete experience again and again!

TEACHING METHODS TO SUPPORT CONCRETE EXPERIENCE
  • Repeating exercises with the music numerous times.
  • Giving opportunity to practice.
  • Switching up spacing when performing in the studio makes the experience more engaging.
  • Encourage practice time away from the studio.
  • Develop reflective time through questioning: What will you improve for next week?

This diagram shows the Experiential learning cycle in more detail and introduces another additional theory:

This shows how Kolb's two continuums separate thinking and feeling. The east-west axis is labelled as “the Processing Continuum (how we approach a task), and the north-south axis is called thePerception Continuum (our emotional response, or how we think or feel about it).”
(McLeod 2017)

In other worlds Assimilating is a learning style which is logical, systematic, and cognitive. Maybe more favoured by natural scientists and mathematicians. Similarly, converging is technical in style and learners typically favour problem solving. This doesn't mean these kinds of learning can't be utilised in my practice and if a student was more inclined to think in this manner, I could use inventive ways to communicate my teachings via this approach.
Diverging and Accommodating are more aligned with feeling and expression. They involve seeing things from different points of views and generally encapsulate an open minded approach. This style is possibly more in harmony with the dance profession.
I would be interested in researching how much of the preferred learning style is influenced by genetics vs environment. Does a Teacher have the power to switch one's preferred learning style? Is it down to frequency of exposure? I hope to explore this further.


In conclusion, when thinking about this cycle I recognise that it is all in vain unless one is active in the process. “Experiential learning requires self-initiative, an "intention to learn" and an "active phase of learning" (Moon, 2004) and it cannot just be forced by the teacher alone.
Encouraging my students to recognise the benefit of being active in their own learning process would hopefully reduce the strain of trying to drag the learners through the motions, devoid of passion and interest. My past experiences of learning have always motivated me to want to learn even more. It feels satisfying. Enriching. Perhaps this is more evident when one has a passion for the topic? I know my engagement in the learning process was stronger in the performing arts as opposed to say, Geography! I question whether the educational system is dulling the ability to be a collaborative learner as the school set up is frequently a set of delivered instructions without the opportunity for innovation. This has made me consider how important creativity is in my teaching and how my own self improvement in my practice can hopefully facilitate a more effective learning process for my students.

Where do you typically enter the learning cycle? Is it different according to the situation?


 
Bibliography

Chapman, A. (2006, May). Kolb Learning Styles. Retrieved October 13, 2019, from http://www.businessballs.com/kolblearningstyles.htm

Mcleod, S. (2017, February 5). Kolb's Learning Styles and Experiential Learning Cycle. Retrieved October 13        2019, from https://www.simplypsychology.org/learning-kolb.html.

McLeod, S. (2017, Oct 24). Kolb - learning styles. Simply Psychology. Retrieved October 14, 2019, from https://www.simplypsychology.org/learning-kolb.html

Moon, J. (2004). A Handbook of Reflective and Experiential Learning:Theory and Practice. London: Routledge Falmer. p.126.

Kolb, David. A. (1984). Experiential Learning: Experience as the Source of Learning and Development. New Jersey: Prentice Hall, Inc.

Schœn, D. A. (1987). Educating the reflective practitioner: toward a new design for teaching and learning in the professions by Donald A. Schon. San Francisco: Jossey-Bass

Suzanne Farrell Quotes. (n.d.). Retrieved October 14, 2019, from https://www.brainyquote.com/authors/suzanne-farrell-quotes.

Learning to Learn....



The process of learning is something I have always been fascinated with and my mind is currently buzzing with different thoughts and reflections on what I have researched so far. Where do I start? I want to know so much more! Perhaps I should use what I have learnt about learning to better this whole learning process? Did that even make sense? And how does this relate to my practice? How do I consider all the wealth of theories about learning itself and translate these concepts into strengthening my own role as a Teacher?

I decided to explore the philosopher and educationer John Dewey a little more as his discoveries seem to expand on previous learning from my past studies. Ironically, I can now recognise that this chain of learning reflects one of Dewey's theories in that
  “In order for education to be most effective, content must be presented in a way that allows the student to relate the information to prior experiences, thus deepening the connection with this new knowledge.” (1902, Maley & Kiss, 2018, p.50).

I recall reading a prose on teaching methods in dance, which described how linking the learning of new steps to movements already mastered can help a student attain knowledge. This struck a cord as I recognised that this was something I embraced consistently as a student whilst training. For example, I remembered how in tap class, I noticed that my shuffle beats became crisper the more I relaxed my ankles. Progessing later into 3 beat shuffles I was having trouble creating such clarity in the sound, until my particular teacher at the time reminded me to think back to when I initially was taught the basic shuffle. I revisted that past experience in my memory and was able to link the previous feedback of relaxing my ankles to the new experience, thus aiding me to improve my technique accordingly. This also relates to Piaget's theory of constructivism which “argues that people produce knowledge and form meaning based upon their experiences.” ("Piaget's Theory of Constructivism" n.d)
Being able to form these connections requires the skills of reflection, memory and association along with then implementing the action. (As seen in the image opposite But how can one be actively engaged in the process of learning so to generate the possibility of reaching further learning? How can knowledge be deemed significant enough to be retained in ones' memory, to allow for recollection at a later date when required?

I believe that Dewey's theories are particularly relevant to the above questions, and especially important when I think about the process of learning to dance. 
As a teacher I strive to be able to help my students reach their potential and as well as considering the different ways in which people learn (eg, kinaesthetic, visual, auditory), I need to consider how to add value to the experience.

In seeking the answer to this I found Donald Schon's theory (1879) about reflecting in-action and off-action very thought provoking. His ideas both enhance and contradict Piaget's beliefs that reflection is active after the event, opposed to during. But as a dancer, reflection DURING the performed action is something which is unquestionably familiar. This doesn't mean that both processes can't be engaged in, with 'Present or future being two distinct and different ways to engage with experience.' (Dewey, 1958, Jackson 1998).

EXAMPLE 1) Reflecting IN Action:
 
Situation? Difficulty performing chaines across the floor. I found myself veering off the intended diagonal tract and became increasingly dizzy. I used previously acquired knowledge regarding the importance of weight alignment. After adjusting my body forwards slightly I was able to recover the sequence. 
 
This is an example of how in the moment I was able to recognise what wasn't working. As a dancer one is used to 'feeling' corrections within their own body, and must compute this personally in order to improve. I was in charge of initiating those corrections which is commonly experienced by artists in the moment.
What would have happened without the ability to reflect in action? My chaines would have veered off and I may have fallen over! The learning process would have been lengthened if I'd only have been able to reflect in hindsight.

Reflecting On-Action: After the class, I could have reflected on the mistakes I had made and theorised what I might be able to do next time in order to help. But this encourages a disconnect between mind and body. I could 'think' about what may have gone wrong and raise the idea that it may have been down to my weight placement, but I wouldn't KNOW until I was experimenting with the movement itself. As Schon states ‘reflection-in-action necessarily involves experiment’ (p. 141)


One may argue that Reflection in-action is therefore of vital importance when dancing, but reflecting on-action can help to harness an idea which can then be revisited during performance. But is it possible to reflect in the present moment in areas where one isn't engaged in a facet of the arts? Have I experienced this during my own teaching occupation?

When I recollect on how I usually lead my classes, I do know that I aim to adapt my approach continuously to try and achieve optimum results. Often children are unpredictable and the atmosphere of the class environment can alter from one week to the next depending on numerous factors. An example of this is during my job as a Princess party entertainer. One of the most challenging aspects of the role is trying to hold the attention of the children.

EXAMPLE 2) Reflecting IN Action: 

Situation? Trying to keep the children engaged during the parachute game at a party. Youngsters running off round the room, not adhering to the rules and crawling underneath the prop. I tried raising the volume of my voice, becoming more excitable but this seemed to have a detrimental effect as the group became more chaotic. I then experimented with hushing my tone of voice to a whisper to create a mysterious atmosphere. Upon which, the children appeared intrigued, eager to know what was happening next which subsequently calmed their hyperactivity.

What would have happened without this ability to reflect? It's likely that the children would have become more chaotic and I would have found myself getting increasingly frustrated.

Reflection ON Action: In scenarios like this, reflecting on action is incredibly beneficial. Sometimes in all the action of leading a party, it's tricky to step back and observe which techniques are favourable in that precise moment. After each party I often take a deep breath and think about what went well and what didn't go well. Did I struggle with anything in particular? How could I prevent a chaotic situation like that in future? This may prompt me to ask advice from other entertainers in the field, or perhaps research literature on children in play.
This cycle of appraisal and adaptation is something I see as imperative in order to better my practice.

Therefore, I decided to research this further and found the following concept very interesting:

Griffiths and Tann (1992) present an interesting framework that builds on the work of Schön to describe how reflection by teachers occurs in five temporal dimensions. These are:

1. Rapid reflection (immediate and automatic reflection-in-action)
2. Repair (thoughtful reflection-in-action)
3. Review (less formal reflection-on-action at a particular time)
4. Research (more systematic reflection-on-action over a period of time)
    5. Re-theorizing and Research (Long-term reflection-on-action informed by public academic theories. (Warwick, 2007)

By culminating all of these stages for reflection into my practice, there is the potential to grow in competency. This cycle is always in action and all whilst one is continuing to develop in self improvement, the cycle will continue to be active. As Donald Graves says:


So where does this leave me? I endeavour to research this topic further as it has triggered many questions. How can I train my students to adopt the skills of deep reflection? Are there specific teaching techniques which would facilitate this? I'm also curious as to how mindfulness practice may act as an aid to strengthening engagement in experience. Could this be a useful tool to deliver to artistes? How many dance studios out there already offer meditative practices?

Any thoughts on any of the above would be gratefully welcomed!


Bibliography


10 Lovely Reflection Quotes. (2013). Retrieved from https://typesofletter.com/reflection-quotes/. [accessed 5 Oct, 2019]

Ayres, R (2011) Another Good Quote. Retrieved from https://twowritingteachers.org/2011/10/05/another-good-quote/. [accessed 5 Oct, 2019]

Jackson, P.W. 1998. John Dewey and the lessons of art, New Haven. London, Yale
University Press.

Maley, A., & Kiss, T. (2018). Creativity and English language teaching: from inspiration to implementation. London: Palgrave Macmillan.

Piaget's Theory of Constructivism (n.d.). Retrieved from http://www.teach-nology.com/currenttrends/constructivism/piaget/.

Schön Donald A. (2016). The reflective practitioner: how professionals think in action. Abingdon, England: Routledge.

Tripp- Action Inquiry~Action Research.pdf - Scientific Figure on ResearchGate. Available from: https://www.researchgate.net/figure/The-Self-improving-Reflective-Practice-cycle_fig2_305619003 [accessed 5 Oct, 2019]

Warwick, P. (2007). Reflective practice: some notes on the development of the notion of professional reflection. [ebook] Bristol: ESCalate. Available at: https://dera.ioe.ac.uk/13026/1/3573.pdf [Accessed 5 Oct. 2019].