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].