After engaging in the Skype discussion
last week and thinking more about the various methods of mind
mapping, I thought I would experiment with this technique by placing
my practice in the lens of 'Communication and Ideas'. On
reflection, I can see that although effectively it looks like a
jumbled mess on paper, it was incredibly beneficial to make
connections between what initially appeared as a lot of factual
information which only seemed relevant to the world of digital
computing. This assumption of mine was soon disregarded as I came to
realise the significance that the Web 2.0 platform has had on
Practice in the Arts.
Web 2.0 is a term which has been
growing in recognition over the past twenty years or so. You cannot
deny the rapid pace of technological development. In fact Alvin
Toffler likens the phenomenon to an impactive 'culture shock' where
humans have been catapulted into a new social environment due to the
advances of computer capabilities. He states that “We no longer
feel life as people did in the past” (1970) which made me reflect
on how I may have considered my practice twenty years ago before the
revolution of the internet. Platforms such as Facebook, Instagram,
and Youtube are interwoven in our everyday lives that it's almost
incomprehensible to imagine a world without them. But is this of
benefit to the population and to my own personal practice? Or are
there areas of detriment which cross ethical boundaries and
inadvertently cause more division? I don't think there is one simple
answer but in order to explore this, I need to think about how I
utilise Web 2.0. More specifically, how my contribution has an
influence on the collective intelligence of the community and the
knowledge I acquire for myself.
The Benefits of Web 2.0 communications
in Dance teaching
- Music access: There are a wealth of musical genres at ones' fingertips. Spotify has changed the ease of my teaching preparation over the short time I have been practicing. Time reduction is not the only positive, as I believe my repertoire of accompaniment has expanded, impacting on the diversity of my choreography. This gives the students a more varied experience of training which can only enhance their capabilities.
- YouTube: At surface level I can instantly see the advantage of easy access to a range of online videos. Users who collectively share their media are invited a community to comment, share, express opinion and even remix a theme to further develop creativity.Video tutorials on teaching methods can be readily viewed, allowing for deeper learning of teaching techniques and I personally love to browse videos of choreographic masterpieces danced by the elite. This pastime sparks inspiration, further initiating hype within a community of people with a common interest. On a deeper level this is an example of collective intelligence where discussions, debates and connections arise to help evolve interaction and deepen learning. As Pierre Levy explains, collective intelligence “helps a novice while another specialist in the initiative, in turn in a field in which he has less knowledge” (Levy & Bonnono,1999, P.31)
- Employment accessibility: Employers have the freedom to post job vacancies to appeal to those practitioners who are seeking work. There are a number of sites which allow a user to post their C.V as an advert in the hope that they will be sought out. Recommendations from past employers can boost a person's profile, and communication can be initiated between the two parties which could lead to employment, further connections with others in the field, or perhaps a process of elimination. Undoubtably it's easier to make oneself known by creating an online presence and I know I have gathered most of my working pursuits through sites such as Dance Teachers pro, or Facebook groups.
- Blogs and forums: Similar to the above, Facebook has been a common platform where artists have felt safe to express their opinions on many ethical questions regarding industry. I have learnt what is an acceptable rate of pay via group conversations and this has generated a collective feeling of self activism amongst professionals. Even in areas of disagreement, the respect is maintained across the web and this just deepens the capacity to empathise with alternative points of view.
- Research and Education: BA PP is a prime example of harnessing a Web 2.0 platform to further knowledge on a particular subject via a community of learners. We all have responsibility to take an active role in expression of ideas, and a passive role in observing and contemplating what has been shared. I am beginning to realise that I often learn by reflective observation (learning from others) yet discovering that by participating in dialogue rather than just taking a web 1.0 approach, my understanding deepens. John Dewey theorised this concept by claiming “Experience is primarily an active-passive affair; it is not primarily cognitive” (1916). Online educational courses such as the RAD CBTS Ballet course, DDE module learning for ISTD dance and the Future Fit Pilates course follow this structure so I have become more accustomed to this collaborative approach. I can recognise how this style of learning contrasts from my academic education where I predominantly was just fed information by the teacher.
But with great advancements in
technology there also come disadvantages and I have been thinking
about how such communication has impacted on my practice.
For example, although it is wonderful
to be able to access a plethora of performance videos, I question how
these cultural dance examples have changed the face of production
today. In recent years there seems to have been a decline in quality
of movement, and more focus on tricks and athleticism. It has been
discussed amongst Web 2.0 platforms how dance is now falling into the
category of sport due to American dance influences where the main
question seems to be how many turns or acrobatic tricks one can
perform.
Does this discovery raise the standard
of students in the present day? To some extent, perhaps. Easy access
to viewing the most competent dancers can be inspiring and perhaps
encourage pupils to aim for higher standards in their work. I have
observed this as a teacher, where competitors can perform with more
advancement that ten years ago. This can also be a frightening
concept as the pressure to attain this new level of expectation can
mean safety in the studio is an afterthought. Often the desire to
grasp an impressive step reduces sensible perseverance. 'Running
before you can walk' provides further difficulties for dancers who
then have to refine technique at a later date which is also
problematic for the teacher.
Similarly, I have witnessed replicated
versions of routines viewed online. The teacher has passed off as
their own invention, completely contradicting the original intentions
of Web 2.0. O'Reilly's principle of 'Harnessing collective
intelligence' (1916) cited in Illeris (2007) effectively then
backfires if the freedom to publish content is then abused. What is
meant to promote deeper thought and inspire creativity can
potentially revert to a passive Web 1.0 user experience.
One disadvantage I have certainly
experienced is information overload. I find myself viewing content as
less valuable as it is so readily available in mass. What would once
inspire is now commonplace and the constant, addictive engagement in
technology is reducing ones' present emotional experience. Could this
be impacting on the quality of dance? Isn't performing about
connecting with the body and the audience rather than with the
screen?
Then there is the question of digital
literacy where “web 2.0 offers almost all
users the same freedom to contribute” (Pal, 2012) allowing for non
verification of information thus reducing reliability. In terms of my
practice, this can be seen in the form of dancers being filmed
performing syllabus exercises. They could very well me inaccurately
dancing the required steps due to the teacher's interpretation of the
written syllabus, yet users may take this as concrete reference.
There is always an ongoing debate about
the safety of internet use and this must be considered when working
with the younger generation. Teens often gravitate towards the Web
2.0 Sphere
because they are generally considered by users to be adolescent
“publics” where they can interact without parental supervision
(Boyd, 2008). The boundary between teacher and student is often one
which can be difficult to navigate with the intention to maintain
respect, but to also generate a partnership of balance. This can feel
compromised if a teacher becomes too genial with a student which can
be exasperated if a student has access to the Tutor's social media
presence. There is an element of wanting to keep work and private
life separate, but social media arguably blurs those boundaries.
Finally,
my work in administration for a dance school has introduced me to the
importance of an online presence in terms of advertising to new
students and showcasing the school in an appealing manner. It almost
feels as though behind the scenes there is a secret network which
aims to target customers at a certain time, with sneaky sales pitches
and generated hype. What once to me seemed like innocent dance school
promotion now reflects a deep hunger for more money, more pupils and
more admiration. Could this focus take priority over focus in the
dance studio, where more energy is placed into the business model as
opposed to the students?
Then
there is the debate over whether Web 2.0 is truly accessible for all?
Despite this being one of the held principles, being able to have a
presence online requires having a computer in the first place which
obviously requires money, the time to be able to participate and also
the capabilities. Age can be a barrier to this as typically the older
generation and the juvenile age group can be neglected. What effect
does this have on dance schools which are owned by older teachers? Do
they feel left behind in this mass market of online promotion?
As
you can tell from my more than lengthy post there is a lot of
information to be considered on this subject! But where do you stand?
How as Web 2.0 affected your area of practice? I'd love for you to
share your ideas.
References
Boyd,
D. (2008). Why youth (heart) social network sites: The role of
networked publics in teenage social life. In D. Buckingham (Ed.),
Youth,
identity, and digital media.
Cambridge,
MA: MIT Press.
Illeris,
K. (2018).
Contemporary
theories of learning: learning theorists ... in their own words.
Milton
Park, Abingdon, Oxon: Routledge.
Lévy
Pierre, & Bononno, R. (2001).Cyberculture.
Minneapolis, MN: University of Minnesota Press.
Pal,
Surendra. (2012). Web 2.0 : A New Tool For Teaching and Learning in
Electronic Environment. Journal
of young Librarian Association.
(Online) Available at
https://www.researchgate.net/publication/284028865_Web_20_A
_New_Tool_For_Teaching_and_Learning_in_Electronic_Environment
(Accessed 30 September 2019)
Toffler,
A.
Future shock, Random
House, New York, 1970.
