Friday, 15 May 2015

Summary of Findings

 1. How can using a real life experience as a stimulus influence or support the choreographic process for section 4B of the GCSE specification?

  • All arts departments agree it is better to work from a personal stimulus
  •       It has a natural structure
  • Better quality of work 
  • understand the theme more so in the end its better to analyse 
  • students take pride in their work
  • Can act as a form of therapy and release
  • Themes are mature so students learn from each other 
  • Non threatening form of communication

2. What scaffolding can be put into place to help support students when working independently on something creative?

  • ž      Questions to guide students in the right direction
  • ž      Briefs
  • ž      Narrow down ideas ensuring themes are specificž       
  •       Booklets (handouts)
  •       žResources-mind maps, laminated sheets, images


3. What methods and teaching strategies can be used when students are lacking in creativity or motivation?
  •       žPairing high ability students with low ability to promote progress.
  • ž
  • ž      One to one intervention
  • ž
  • ž     Year twelve support
  • ž    Using past students work as an example. 
  •      žDemonstrating or improvising with the students. 
  • ž     YouTube clips of professional work

  •       Past Students work

  •       Praise

Evaluation of Inquiry Tools


Questionnaires
The first questionnaire I constructed was distributed to a group of G.C.S.E Dance students, at the end of a dance class. I handed out over thirty questionnaires, however I only received six back.  Although this was a drastically lower amount of returns than I had hoped for, their answers helped narrow down my inquiry and became the influence behind one of the final questions I investigated: How can using a real life experience as a stimulus influence or support the choreographic process for section 4B of the GCSE Dance specification? The second questionnaire distributed was in the consent pack. Only six choreographers returned consent packs and questionnaires, these students and their dancers went on to become to focus of this inquiry. This second questionnaire was a detailed look at the choreography unit and the questions were based around student’s thoughts and ideas on the process as a whole. I analysed these questionnaires later on in the inquiry and compared their answers.

The questionnaires were the simplest and most efficient tool for gathering information and discovering findings. If I had more time I would have added more questionnaires to the study as I felt they worked best in the hectic school environment, putting the least amount of pressure on students whilst taking up very little of their time. I would have liked to create more questionnaires based on previous answers to hone in on specific matters and findings giving my study more depth and insight. This is something I will consider for future investigations or research. All questionnaires were created from feedback given by colleagues within Performing Arts and reviewed for discussion and learning purposes.

Observations
Observations were a key tool in my inquiry and are the foundation for all my research. I conducted four observations over a four week period, at G.C.S.E intervention that took place on Wednesdays after school. I decided to record the observations in two ways: whole overview recordings of the sessions and close up individual footage of the students. The close-up recordings were filmed on a hand held flip camera and were the best way to capture the students working independently. The recordings allowed me to evidence individual group progress, showing the entirety of their journey from start to finish. I also conducted ‘catch-up’ interviews, to gain the perspective of the rehearsal from the choreographer and dancers. The catch-up interviews make a great addition to the progress footage and are a great resource for future learning to be used for my professional artefact.

The whole overview recordings allowed me to get a true sense for the rehearsal process and capture students working naturally and independently. G.C.S.E students are often filmed for evidence so this is not something they are unfamiliar with. The whole overview recordings captured the chaos of the intervention sessions, showing students fighting for the music speakers, distracting each other, not having enough space as well as the teachers being pulled in many different directions. Observing and instructing lessons in this way is a part of my usual professional practice, however looking back and making notes on the sessions has allowed me to reflect on my own practice as well as students resulting in an evaluation of the effectiveness of intervention. The recordings show evidence of some of the issues students brought up in their one on one interviews about the rehearsal process being difficult.

Professional Journal
The professional journal was a great way for me to reflect on the intervention and make notes of student’s progress. I would document how the session went as a whole and any difficulties or challenges students faced that day. Looking back over the journal has been a great way to solidify my findings and piece together the collective thoughts of both students and teachers as well as my own opinions of the whole process.

Interviews
Interviews were probably the most enjoyable of all the inquiry tools I used during this investigation. I conducted both student and teacher interviews, with a set of questions compiled from feedback given by my peers. I wanted to ensure I asked the right questions, knowing I would only get one chance to interview teachers due to their very busy schedules. I put together a draft set of questions and attach them to a brief rationale of my inquiry. I sent the document to fellow colleagues within the performing arts Department in the hope I would receive valuable feedback and suggestions, to which I did.

The teacher interviews were conducted first. I interviewed all four departments within Arts, Dance, Drama, Music and Art.  Each interview lasted around twenty minutes and took four weeks to conduct due to hectic schedules of all the teachers.
As each department has two teachers, I thought it would be nice and time efficient to interview both teachers at the same time. It gave a more relaxed and friendly approach to the interview giving the teachers room to bounce ideas off each other creating new waves of conversation.


The student interviews were conducted in exactly the same way. The questions were compiled from peer feedback as well as being a topic of discussion with my SIG. The student interviews were short and to the point. I felt students were a little embarrassed and self conscious resulting in rushed answers. If done again, I would try duo or group interviews, once individual interviews had been conducted. Maybe in a more relaxed environment the students would have gone into more detail and as with the teacher interviews had the opportunity to bounce ideas off one another creating new lines of conversation. If given the time I would have also conducted a group session to compare.  

Professional Artefact

Professional Artefact
Throughout the course of my professional inquiry, I was able to record many hours of footage in regards to independent learning. The footage included intervention sessions, and interviews with teachers and students. The staff and pupils at my place of work have been very supportive throughout the process, lending me their precious time to gather evidence needed for this investigation.
During the analysis part of my inquiry I realised how much useful footage I had that would never be seen again. This got me to thinking about the choreography unit and how students don’t have any resources that show the process through the eyes of a learner. I decided to collate the footage and create a video for students, who are preparing to begin unit 4B.
Whilst editing the footage I realised I had no place for the teacher interviews. They would not be appropriate or beneficial to the student video and it would make no sense to have them as part of the artefact. The recordings of teachers were so insightful that I came to the conclusion my artefact should be beneficial for both students and teachers. I decided to create a second part to my Professional Artefact that would be purely for the purpose of teachers.

Part 1
Part one of my artefact is a compilation of student’s rehearsals, catch-up progress clips and student interviews. Its unit 4B of the G.C.S.E specification in a nut shell, providing assessment criteria and important information for any dancer about to begin this choreography unit. It is a brief look into the process and guides the viewer from the beginning of the unit right the way through to final performance. It is a glimpse into the choreographic process from start to finish through the eyes of students. Part one currently runs at approximately one hour long, however my goal is to continue to edit the footage until it is a forty-five minute teaching tool. I intend to add mini tasks throughout the video to ensure students retain important information. By doing this I hope to create not only a helpful resource, but a complete lesson to be used by teachers, for students beginning unit 4B.

Part 2

Part 2 is simply a compilation of interviews conducted with teachers currently working within the Performing Arts department, on the topic of independent learning and working creatively at G.C.S.E level. The footage is a great way to compare the differences and similarities between the arts departments and highlights the many ways in which they structure independent learning. It includes many key teaching areas such as, supporting students when working creatively, structuring and scaffolding independent learning, methods for motivation and general teaching advice and guidance. The current video is thirty-two minutes long and could potentially be a used as resource for professional development. I indent to share the video with my fellow colleagues and take on board any advice they may have in order to continue developing this artefact. 

Thursday, 14 May 2015

Critical Reflection

Module 3
"Reflection is real when you put it into words and it has understanding and meaning" (Moon 1999). So where am I now? I have taken on board Kolb and Moons theories and using my findings, evidence and professional journal, I have reflected on the inquiry process. I have taken on board discussions and advice given by teachers and students, combined with my own thoughts and opinions to form new teaching strategies, which I hope to implement when I begin my teacher training in September.

Module three has come and gone so fast. The hardest part was beginning the inquiry process. It felt like I had so many things to do and had the overwhelming feeling of, where do I start? The action plan and schedule I made allowed me to remain focused and take each day and week one step at a time.

School life is hectic on the best of days and the students Involved in the inquiry had a lot going on. The inquiry process was during the run up to exam season, and the students were being pulled in every direction. I had to be very careful that students involved not only had the time, but could commit to the sessions, whilst ensuring I was not interrupting their study. Knowing the students well has helped in this case, as I was able to determine whether the students would be suitable in regards to commitment and other school priorities. The students involved have enjoyed watching the footage I have edited and I believe being a part of the inquiry, and knowing that they may potentially be role models for future learners, has given them a sense of purpose and an ever important boost of confidence. This can only help in wake of their exams. I feel very fortunate to have been able to conduct my investigation at my current place of work.

The school and staff have been very supportive throughout the entire process which has created a natural bond between me and the Performing Arts department, which I believe was formed during the teacher interviews. I think the teachers enjoyed being a part of my inquiry and were given the chance to share their expertise and opinions on matters they care about. My enthusiasm and thanks for their contribution lead to many staff room conversations which has helped to build working relationships I had not had before. I now feel like a true member of the department and not just a dance helper. It all falls in so perfectly with my teacher training beginning in September. I now feel the teachers are a part of my journey to becoming a teacher and I have built a great network of support, which I will undoubtedly need during my teacher training.

While the inquiry process had a profound effect on the way I will teach unit 4B, the module and entire course has undoubtedly shaped the teacher I intend to be. Module one change my way of thinking regarding many aspects such as social media, networking and Journal writing whilst inspiring me to expand my professional career through web 2.0.The many different theories in this module all relayed one message, we learn from experience and we progress through reflecting on that experience. "Continual recognition, restructure and transformation of experience" (Dewey 1934). I conducted many hours of research on Web 2.0 and am now able to understand how using social media can be a valuable tool and resource for learning, through the effective use of its features such as: community-input, content sharing and collaboration. 

The self is not something ready-made, but something in continuous formation through choice of action” (Dewey 1934). Ethics has been a huge part of all modules and looking at my working environment and studying the schools policies and ethos has been a very insightful.  The Kevin carter case discussed in module two has had a lasting effect on the way I view ethics. I have also discovered that sometimes there are no right or wrong answers, only opinions. I now feel I have a deeper understanding of the school and its policy’s which is going to be vital to the success of my future career beyond teacher training.

Throughout this course, particularly during module three, networking and communicating with professionals was a key focus. The module has encouraged me to seek advice from my fellow colleagues and use their expertise to develop my understanding throughout my professional Inquiry. I reached out to friends, former colleagues and professionals in my community who worked in a variety of settings within the Arts. Working with professionals in this way has allowed me to soak up the expertise and opinions of my peers and gain a wealth of knowledge through the experience of others within my profession. My colleagues are aware I am in the middle of a degree and were always willing to discuss or contribute to discussion. This gave me the opportunity to ask the questions I normally would have felt I couldn’t as teachers are very busy and rarely get time to socialise and relax during school hours. I have shared the footage I have edited with members of the Performing Arts department and enjoyed reflecting on the process with my peers. Working in this way has given me a great sense of purpose and given me the opportunity to contribute to the department I will eventually be joining permanently. Reviewing the modules and reflecting on the different tasks has made me realise how much I have grown since the beginning. I took a look back over module one and two and reflected on my progress, see Appendix W: Reflection on Modules 1 & 2.

Conclusion
"Knowledge results from the combination of grasping experience and transforming it" (Kolb 1984). Kolb’s theories have had a huge impact on how I use my own experiences to reflect and improve my teaching. Through the process of this inquiry I have gained a great deal of knowledge drawing on experience which has sparking determination, passion and even excitement for my future career as a teacher. I have been inspired not only by the people around me, but the research conducted for this investigation. The many insightful books and articles on: Independent learning; Art Therapy; Stimulus and Choreography have given me many new ideas for teaching resources.  Reflective practice is “a dialogue of thinking and doing through which I become more skilful” (Schon 1983).

There are so many areas that have been highlighted throughout this inquiry that I wish to investigate further. I believe I have only touched the surface of so many aspects and fully intend to continue researching the topics covered to create a deeper understanding for communicating with teenagers, whilst developing my skills as a teacher. My appetite for research has been heightened throughout this investigation and my awareness of the knowledge gained has increasing my confidence enabling me to deliver the G.C.S.E Dance syllabus effectively and with confidence.

Work based learning has given me the opportunity to communicate and learn from the professionals around me. Working in this way has given me the confidence needed to ask for their support and guidance for future practice. This has also helped to build close professional relationships with the members of the performing arts department, which is important as they are the teachers who will be mentoring me during my teacher training.
I have learned a great deal from feedback given, by fellow BAPP Arts students, my tutor and colleagues within my place of work. Feedback has been delivered in a supportive and constructive manner, which has encouraged me to seek advice more often. I am certain my future practice has been influenced by my peers experience and expertise which has undoubtedly had a profound effect on my teaching style.

Reflection is a powerful tool and one I will continue to use to aid my own professional development as well as the development of my students. I hope to share the knowledge I have learned with fellow colleagues and continue on a path of reflection and growth. The knowledge and experience gained from this inquiry has better prepared me for the many challenges ahead, which I am sure I will encounter throughout my career as a secondary school teacher. This module and BAPP Arts course has put me in great stead, giving me the confidence needed to prepare for my future teacher training commencing in September.

BAPP Arts Reflection

So we are almost at the end! I felt it was important to look back at modules one and two before being able to reflect on the course as a whole. 




I have gained a great deal of knowledge through this inquiry and the BAPP Arts course in general. Module one change my way of thinking regarding many aspects such as social media, networking and Journal writing whilst inspiring me to expand my professional career through web 2.0.The many different theories in this module all relayed one message, we learn from experience and we progress through reflecting on that experience. "Continual recognition, restructure and transformation of experience" (Dewey 1934).

Web 2.0
Module one was the beginning into my discovery of Web 2.0 and the world of blogging. Blogging was a concept I’d heard of, but never tried. Setting up my own blog was a challenge to say the least, and it took a good few weeks for me to get to grips with the site and understand how to navigate my way around it. What started out as a daunting task, became an enjoyable and productive hobby. I have since discovered many teachers have professional blogs and use them as a way of communicating and sharing work with students, particularly for sixth form.

I conducted many hours of research on Web 2.0 and am now able to understand how using social media can be a valuable tool and resource for learning, through the effective use of its features such as: community-input, content sharing and collaboration.  I learned many new theories such as: “Rise of the Prosumer” and the “Blurring of Lines” (Valtysson 2010), giving the public a voice providing comfort in anonymity for both producer and consumer. I investigated these theories further and discussed this on my blog (Radford, Claire, Professional Communications, Online). I have been introduced to many new and interesting sources of information, For Example Flickr (Radford, Claire, Flickr,Online) and Listogrophy (Listography,Online). I have also created my own YouTube channel (Radford, Claire, YouTube Channel, YouTube, Online).

Reflective Practice
Reflective practice is “a dialogue of thinking and doing through which I become more skilful” (Schon 1983). During module one, I kept a professional journal documenting my working day. This allowed me to learn about my own teaching methods and make adjustments to lesson plans. The documented evidence was a clear indication that I was learning from experience, I recorded these improvements on my blog (Radford, Claire, Diary Entry Blog, Blogger, Online). Reflection is real when you put it into words and it has understanding and meaning (Moon 1999).

"Knowledge results from the combination of grasping experience and transforming it" (Kolb 1984). Kolb’s theories have had a huge impact on how I use my own experiences to reflect and improve my teaching. I put Kolb’s cycle into practice by analysing and evaluating my lessons using all four stages of the cycle. This resulted in many revised versions of original lesson plans. Using this method of analysis ties in nicely in with Donald Schon’s ‘Reflection on Action’ and my experiment proved that this type of ‘Off Line’ thinking can achieve great results. I recorded and documented these results and posted them to my blog (Radford, Claire, Reflective Theory. Blogger. Online).

Networking
Networking was the topic I felt I knew the most about but had practiced the least. Cooperation, Affiliation, Connectivism and Social Constructionism are important aspects of professional life and I now understand that utilising your worth and forming strategies for getting ahead are essential. I went into further detail on my thoughts and experiences in my professional blog (Radford, Claire, The Networked Professional, Blogger, Online) discussing how these strategies have worked for me in the past.

Developing Lines for Professional Inquiry
I began module two by thinking deeply about my future and the kind of teacher I wanted to be. The self is not something ready-made, but something in continuous formation through choice of action” (Dewey 1934). This module encouraged me to seek advice from my fellow colleagues and use their expertise. To develop lines for professional Inquiry, I reached out to friends, former colleagues and professionals in my community who worked in a variety of settings within the Arts. Their feedback was the starting point for research for my inquiry, I posted this on my blog (Radford, Claire. Developing Lines for Professional Inquiry. Blogger. [Online] 2014)
Ethics
Ethics was a huge part of module two and for this I had to look at my own working environment and study the schools policies and ethos. The Kevin carter case in the module reader had a lasting effect on the way I view ethics. It helped me to understand the concept of ethics and how sometimes there are no right or wrong answers, only opinions. One of the tasks I had to do during module two was to considering my place of work, the ethical aspects involved and create two lists, one for general teaching and another specifically related to teaching dance. These lists were both instructive and very insightful; I posted and discussed these on my blog (Radford, Claire. Ethics for Teaching in a Secondary School. Blogger. [Online] 2014). I also posted the schools documents for my job description, highlighting areas I thought were interesting or relevant to my inquiry, which I discussed on my blog (Radford, Claire. Codes of Practice. Blogger. [Online] 2014).

Another task for this module was to: making a professional and personal list of virtues. This got me thinking about the kind of teacher and person I want to be, I posted my thoughts on this to my blog (Radford, Claire. Professional Ethics. Blogger. [Online] 2014). From this I have deduced that; teacher student relationships, recording progress and behaviour management are all areas with many ethical dilemmas.
Tools for Inquiry

This module introduced me to the tools I would later use for my professional inquiry. It was interesting to look back at my views on the inquiry tools and how they could potentially be helpful to my inquiry; I posed my thoughts on this to my blog (Radford, Claire. Tools for Professional Inquiry.Blogger.2015). Throughout the early stages of my inquiry, the tools I planned to use changed several times. There were factors I hadn’t taken into account in regards to the inquiry tools and their effectiveness; however, having now put them into practice, I have a better understanding of what works best for a school investigation. 

Some of my Literature Review

Here are just four of the books I covered in my literature review. I decided to share a part of my  review as these books were the starting point for my inquiry, which I have come to love. The intimate act of choreography is one I have fallen in love with and will always refer back to in the future when I am struggling for ideas and inspiration. For anyone in the Performing Arts world, they are must reads. 

Literature Review

The Intimate Act of Choreography
Lynne Anne Blom and L.Tarin Chaplin are the authors of this book which they wrote in 1982.
The intended audiences for this book are professional dancers, choreographers, students and teachers. Lynne Anne Blom is an associate professor of dance at North Western University and L.Tarin Chaplin is a choreographer, activist and dancer.

The book covers all aspects of choreography from basic technique to creative concerns and methods within dance and discusses in detail both the practical and theoretical elements of dance. It is also a helpful resource and guide for dancers and choreographers at the beginning of their career as well as a useful resource for teachers seeking fresh ideas.

The main thread of thinking throughout the book is the idea of improvisation and how it can be a useful tool when creating choreography. It is both a handbook and love letter to and for dance, drawing the reader in with its sophisticated and beautiful writing.  When reading this book I got the sense that the author is just as passionate about dance as I am. Their love for the arts creates a bond between author and reader and I feel this book was intended to educate and inspire professional dancers and students who share a mutual love for the arts. 

Reading the Intimate act of choreography brought back so much I hadn’t realised I had forgot. It was a truly inspiring read, to which I found myself constantly making notes on choreographic devises, teaching strategies and methods discussed within the book. From these notes I hope to devise new teaching resources and display boards to inspire students when working creatively.

There are so many chapters of the book I feel would help students greatly. I know very well most G.C.S.E students currently working on unit 4B would not read the entire book as they are already overwhelmed with school life. However as a teacher, I feel it is my responsibility to share many of the topics covered in a way that will reach the students in the hope they will retain and utilise the information. For example, there is a chapter on choreographic devises that I feel would help the students greatly when lacking motivation or creativity. In particular there is a list I found most useful: Sixteen ways to manipulate motif. This is something the students must show in their choreography piece for G.C.S.E and is an area the students struggle with when developing their theme. The list brought back some devices even I had forgotten such as: Inversion, force and fragmentation. "The first and most crucial thing to be concerned with when using the 'teaching choreography through improvisation' approach is to establish an atmosphere in which the students can trust themselves, you and each other" (Lynne Anne Blom, L.Tarin Chaplin 1982). This is something that came up a lot in the teacher interviews I conducted, to which I will relate back to, later in the analysis section.

Choreographing from Within
Choreography from within was written by Diana F. Green in 2010 in the United States of America. Diana is a teacher, choreographer and writer who has spend several decades of her career honing pedagogical approaches to teaching choreography.
The book is an inquiry based approach to creating movement whilst educating the reader on a variety of pathways and tools designed to develop ability and learning. The powerful images influence and inspire the reader to create their own creations. As a reader I feel the intention of this book is to take away the fear of choreography and break down the process in a way any dance professional or student can understand. The format of the book is set out in tasks to help provide tools for students to evaluate and document their own progress. Each choreographic concept discussed in the book is explored through warm Up, Improvisation and then focuses on discovery through reflective questioning, discussions and short movement studies.
Having conversations about dance, questioning what you see and listening to others converse about dance may be the most important catalyst to your development as a choreographer (Diana F.Green 2010). This is a statement to which I can say I agree and was the beginning of my decision to create a professional artefact using the footage I had captured during my inquiry process. With current and future G.C.S.E. students in mind, I felt having a resource that showed the process from the perspective of teenager choreographers would be greatly beneficial to future students and teachers of dance.
A useful section of the book in relation to my investigation was the key concepts and reflective questions, in the communication and trust in duets section. Many of the students involved in the inquiry are duet performances pieces and this book has great advice for both students and teaching working on duets. Communication and trust are the most important skills to develop in any relationship, duets in choreography are no exception (Diana F green 2010). Diana goes on to suggest contact improvisation as a starting point to building trust. This is something I had never thought of before but does take me back to my college days when we performed a number of trust exercises designed to free us from embarrassment and create a safe and open space for learning. When I think about the students involved in the inquiry and the many students I teach, I can’t help but feel that improvised contact might have been a great starter to the unit. It is defiantly something I will try in the future for any creative group work.
When I think about the different groups of dancers in the inquiry, I think about the relationships between the dancers and how the best friends and siblings seem to make the most progress over time. Is this to do with trust and a freedom for expression? This is something I will discuss further in detail in the analysis section.

Partnering Dance and Education
Partnering Dance and Education was written by Judith Lynne Hanna in 1999 in the United States of America. Judith Lynne Hanna has a Ph. D in anthropology and an M.A in political science. She is an educator, writer and dance critic.

The intended audiences for the book are dance educators, school administrators, physical educators and dance specialists. It is my belief that the author’s intention for the book, is to re-enforce the importance of the Arts in Education and bring to light the uncertainty of its future within our schools. It’s a compelling argument for making dance central to every child’s education and goes about to persuade the reader of the importance of the Arts by highlighting critical evidence and examining current trends and issues in dance education, to support the arts as a part of today’s educational environment.
"The wide spread use of dance to perpetuate, modify and create culture for young and old alike points to the efficiency of dance" (Judith Lynne Hanna 1999). Coming to the end of this inquiry I have looked back over the process and thought about the effects the students have had on each other during the rehearsals. Most of the students chose very mature topics, life issues and struggles they most probably would not discuss or think about often. They may not have realised but through the process of observing each other’s work they were educated on the themes performed which sparked an interest in the subject. Many of the students would discuss each other’s work which would lead on to discussions in general about the topic. The observer became the student and the performer became the teacher and vice versa when discussions unfolded. This form of independent learning is something I will touch more on later in the analysis section.
Hanna discusses many important factors of the importance of dance which is the question I asked myself at the beginning of my inquiry, bringing about new lines of questioning when discussed with my colleagues, friends and students. She highlights important facts such as: Dance education aids the development of Kinaesthetic intelligence, Dance educations creates opportunities for self- expression and communication within in constraints of the medium of the body, Dance may help students understand themselves as a whole person and to discover and express their identities. During the teacher interviews I conducted during my inquiry, one of the dance teachers strongly supported the method of using a personal stimulus as a tool for developing choreography. She said ‘it gave the students a way of escape and a chance to tell their story’. It’s interesting how both Judith and the dance teacher in my inquiry feel so strongly about working in this way. However during the interviews it was the Art teacher who said ‘the one stimulus the children will not look at is them selves’. I wonder why the students feel they can do this in Dance but not Art. Is this just an isolated incident of two different opinions? Or is there a line of inquiry here? Throughout this book I found myself questioning the methods and relating them back to the interviews I had with teachers. I will discuss this later in the analysis section of this critical review.

AQA G.C.S.E Dance
Pam Howard is the author of the AQA G.C.S.E Dance book which was written in 2009 in Deddington Oxfordshire. Pam Howard taught students and teachers for over 30 years and has worked in a variety of different dance companies and is an A level examiner. Pam Howards was awarded an MBE in 2002 for her service to Dance Education.
The book is divided into four sections: Performance Skills, Choreographic Skills, Appreciation Skills and Resources. The format of the book is set out with each section explained and then tasks set to help further the readers understanding of the concepts covered. It is designed to help students and teachers enjoy and discover more about the world of dance and to help the reader achieve their full potential whether taking or teaching G.C.S.E dance.
The book was a most helpful read at the beginning of my inquiry as it takes you through the G.C.S.E course step by step, giving advice and teaching strategies along the way. It was interesting to read the section on choreography whilst observing students currently working on this unit. There were so many times when I could see students struggling for ideas or ways to develop motif. I thought, a few posters and displays with key concepts from this book would help the students greatly. All the while I find myself thinking of all the methods and teaching strategies I intend to implement when I become a qualified teacher of Dance.
The book had a great section on ‘How to Get Started’ with the choreography unit of the G.C.S.E specification. I was not around when the students began choosing their topics but it was apparent some had struggled as they were still choosing a theme and music weeks into rehearsals. During the teacher interviews the dance teacher said ‘I give the students two weeks to come up with an idea, and then I give them one’. She suggested that high ability students enjoy the freedom of choosing their own stimulus and will progress better. However some need to be given a stimulus, as they struggle to make a decision in relative time. This book provides many useful tools and strategies that are helpful for students when selecting their stimulus. For example, the checklist that suggests students tick off each task as they go, ensuring students remain focused through the creative process. This is a great way for the students to work independently without getting side tracked. It’s also a great tool for differentiation and indicator of where student are currently working at. 

I feel I have learned an in depth fountain of knowledge from this book about G.C.S.E dance which is only going to put me ahead when I begin my teacher training in September. To study the unit I had to understand second 4B in detail, and this book has been my guide and teacher throughout this inquiry process. I often reviewed and looked back over it when observing the students rehearsing. I wanted to ensure I could give ideas and help students when they were creatively blocked. The book has been a great resource and learning tool for both myself and the students involved in the inquiry. 

Monday, 23 March 2015

Interview Questions for Students

I have put together a set of interview questions for the students involved in my inquiry. I am looking into the process and methods they use while creating a piece of choreography for their G.C.S.E. The students involved have chosen their own dancers, music and stimulus and have to rehearse and create outside of school hours. We have intervention on a Wednesday after school where rehearsals for this take place however some students rehearse at home. 

 I hope to collect as much feedback as possible from my colleagues to compile a final set of questions.

Questions for students
1. What is the stimulus for your choreography?

2. Why did you choose this stimulus?

3. What music have you chosen?

4. Why did you decide to use this music?

5. When do you rehearse?

6. How did you select the dancer/dancers for your piece?

7. How has it been working with this/these dancers?

8. What has been difficult about creating your piece?

9. Do you have any particular methods when struggling to create movement?

10. How much input with the movement do you feel your dancers have had?

11. Have you found anything difficult about the rehearsals?

12. Have you found anything difficult about working with the dancers you have chosen?

13. What has been good about working with the dancers you have chosen?

14. What advice would you give to a student about to start this choreography unit?

15. Looking over the process so far, is there anything you would change? Dancers, stimulus, theme etc? 

16. Have you enjoyed working on your choreography piece?