Explorative curriculum- Is this the new way forward?
This afternoon, I joined in watching a discussion from IADMS- Exploring the Scope of Dance Education during COVID 19. It left interesting food for thought about the curriculum we offer currently and how we can adapt to new environments, taking new pedagogical strategies into our practice.
As we adapt to new environments, I have questioned my pedagogical approaches during lockdown, the reasons why I choose to use a lot of conversation within technique classes to explain the anatomical and physiological process of moving through movement. As I think about this, there are benefits of using questions fixated on metacognition, to understand the somatic processing of moving through movements such as a grand battement or adage.
As we have to adapt to new surroundings and as discussed in the webinar our ecological learning, we become more connected to our surrounding, connected to the objects around us, so therefore we should use those not restrict them. It made me realise every dancer, educator, choreographer is going through a experience of reidentification. Everything they knew has been altered and shifted, teaching in ways we have never experienced before.
This idea that learning happens on reflection, and experiencing different aspects of movement is important, which starts to solidify what I was second guessing about my use of verbal imagery and modelling earlier. There's no right way to teach something, only the right intention for the best outcomes of student and teacher. It was interesting to hear the panel discuss the teacher goals, with fight or flight mode, when we become exposed to new learning experiences. As we are (not complacent) but comfortable with our teaching methods, practices and routines, the discussion of knowing something for so long it becomes a part of us is an interesting concept. If we have known something for so long, this time period of questioning our values and ethological stance can be uncomfortable.
I don't define myself as a conventional studio teacher, I use a lot of experiential learning within my lessons, but often criticise my practice because I didn't teach a Ballet class conventionally, or I didn't include a set of classic contemporary movements, or I don't move in the same fluid motion as other dancers. I have fought so long to understand why I avoid convention, the expectations. As discussed the virtuosic movements that dancers/audiences are expected to perform.
It is really interesting that I have adapted within this strange time! However, there is also that doubting feeling after teaching the class, you can't be with the students, did you implement safe practice, did you give the most beneficial learning opportunities? Its an adaptive circumstance. Not one I think has a definitive answer, but a continuous thought process.
Do we consider change in our perspectives on curriculum and what we offer? As presented in the comments, we become so used to what we will teach, how and why? Should we become more fluid in our approach? Should our approach become more about process, should we be looking at the bigger picture for lengthier amount of class time, before becoming definitive in subject knowledge.
Another interesting point mentioned, what is dance? It made me think have we been viewing dance from an aesthetically focused viewpoint when planning. Whereas without this how do we meet the conformity of education? Should our curriculum/classes be more open to exploration? Being present in the class, focusing on how we feel when we move, what it means to us, rather on the content and knowledge we have acquired from a subject perspective. The point discussed by the panel about moving in an intrinsic way through repetitions of embodiment, was very interesting.
I'm sure this will be an ongoing conversation with all of the dance community.
As we adapt to new environments, I have questioned my pedagogical approaches during lockdown, the reasons why I choose to use a lot of conversation within technique classes to explain the anatomical and physiological process of moving through movement. As I think about this, there are benefits of using questions fixated on metacognition, to understand the somatic processing of moving through movements such as a grand battement or adage.
As we have to adapt to new surroundings and as discussed in the webinar our ecological learning, we become more connected to our surrounding, connected to the objects around us, so therefore we should use those not restrict them. It made me realise every dancer, educator, choreographer is going through a experience of reidentification. Everything they knew has been altered and shifted, teaching in ways we have never experienced before.
This idea that learning happens on reflection, and experiencing different aspects of movement is important, which starts to solidify what I was second guessing about my use of verbal imagery and modelling earlier. There's no right way to teach something, only the right intention for the best outcomes of student and teacher. It was interesting to hear the panel discuss the teacher goals, with fight or flight mode, when we become exposed to new learning experiences. As we are (not complacent) but comfortable with our teaching methods, practices and routines, the discussion of knowing something for so long it becomes a part of us is an interesting concept. If we have known something for so long, this time period of questioning our values and ethological stance can be uncomfortable.
I don't define myself as a conventional studio teacher, I use a lot of experiential learning within my lessons, but often criticise my practice because I didn't teach a Ballet class conventionally, or I didn't include a set of classic contemporary movements, or I don't move in the same fluid motion as other dancers. I have fought so long to understand why I avoid convention, the expectations. As discussed the virtuosic movements that dancers/audiences are expected to perform.
It is really interesting that I have adapted within this strange time! However, there is also that doubting feeling after teaching the class, you can't be with the students, did you implement safe practice, did you give the most beneficial learning opportunities? Its an adaptive circumstance. Not one I think has a definitive answer, but a continuous thought process.
Do we consider change in our perspectives on curriculum and what we offer? As presented in the comments, we become so used to what we will teach, how and why? Should we become more fluid in our approach? Should our approach become more about process, should we be looking at the bigger picture for lengthier amount of class time, before becoming definitive in subject knowledge.
Another interesting point mentioned, what is dance? It made me think have we been viewing dance from an aesthetically focused viewpoint when planning. Whereas without this how do we meet the conformity of education? Should our curriculum/classes be more open to exploration? Being present in the class, focusing on how we feel when we move, what it means to us, rather on the content and knowledge we have acquired from a subject perspective. The point discussed by the panel about moving in an intrinsic way through repetitions of embodiment, was very interesting.
I'm sure this will be an ongoing conversation with all of the dance community.
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