LEARNING THEORIES

This week I've really focused on reading through the Handbook again in more depth, exploring the many different pioneers that are mentioned; their theoretical concepts, researching their literature and noting down valuable phrases/ quotes which I hope will add depth to my understanding of them.

Starting with DAVID KOLB and his four part learning cycle, 

  'The Lewiman Experimental Learning Model'

Concrete Experience↘

Actively Experiment↗                                                                          ↙Observations and Reflections

↖Abstract Concepts 

He constructs his own theory with it as a starting point, Miettinen, R (2000). 1 I have used this model as a template, reflecting upon a particular moment and my own process: the decisions I made, the experiences I reflected on, the observations I made and ultimately the learning cycle I went through. 

I have reflected upon an experience when being Dance Captain, re-spacing numbers in the show due to a missing performer.

Where do I start my learning cycle?

Observations and Reflection

• I reflected back to when I was the dancer being re-spaced by my former dance captain, I kept a notebook with me at all times and noted down all my changes/ new blocking (having a 'notes' book is so important during a contract). Having noted down my changes and observations I was able to gain further understanding as to why those decisions were made ie. the importance of moving Dancer A during the dance break from centre stage to down stage left so that Dancer B who is downstage right would have an opposite. 

Abstract Concepts

• As Dance Captain you have the privilege of possessing the footage of the shows as an aid to reflect on. After being notified that the show needed to be re-spaced for the evening performance, I went back and watched the show video and created a plan from pen to paper. I watched all the different individual tracks, and physically drew out each formation and how each performer would transition from one formation to the next. 

Actively Experiment 

• Having an afternoon to plan the re-space I then called a rehearsal before the show to teach the new formations to the performers. Referring back to my notes and plans but also solving the new spacing problems/ traffic that I hadn't pre-empted ie. not realising that moving Dancer A to down stage left meant that the Singer was alone in the centre without a dance partner. I actively experimented resulting in giving the Singer some solo choreography for this dance break. 

Concrete Experience

• Having had the experience of re-spacing a show, I am now aware of what formations work and how to easily change each dancers track to match these formations. When re-spacing Show Number 2 the day after, I used the concrete knowledge I now have of moving A to B. I always had to Actively Experiment as every dance is different, but the basic formations and concrete knowledge was there.

JOHN DEWEY was another theorist which I have done more extensive research on.

"Experience" to Dewey "is the result, the sign and the reward of that interaction of the organism and environment which, when it is carried to the full, is a transformation of interaction into participation and communication."1 (Dewey. E. op. cit., 23-24) 2

Dewey wanted to end traditional thinking, his book, Dewey, J. (1938) Experience and Education, explores his studies on experience in learning and the effects on society. His beliefs that if freedom can be brought into the classroom then students can learn efficiently, to be guided by experience rather than passive absorption. The guide foremost being the teacher; to allow the learner to engage and achieve through their own needs. (Wisdom, A. (2011). I see similarities between this learning theory with the way we are guided on the BAPP. To have a sense of freedom whilst following a set of rules and principles, but not being restricted by them. 

Then finally, the Harvard psychologist HOWARD GARDNER and his theory of Multiple Intelligences. 

His theory that there are many different ways to engage and understand, intelligence is not only 'g' general intelligence (Steinman, G) but we have different intellectual strengths (Gardener, H.). Gardener challenges the traditional theory of an IQ test determining your intelligence, concluding in his book 'Multiple Intelligences: New Horizons on Theory and Practise (2006) pg. 23' that "no two individuals -not even identical twins- have exactly the same intellectual profile because even when the genetic material is identical, individuals have different experiences". 

I found a beautiful story in the latter book referring to Yehudi Meniun and the way his "musical intelligence manifested itself even before he had touched a violin" .. "his powerful reaction to that particular sound and his rapid progress on the instrument suggests that he was biologically prepared in some way for a life of music." This made me reflect on my childhood. My happy place would always be dancing in the foreground of every occasion to the likes of Stevie Wonder or Amy Winehouse. 

Was I "biologically prepared in some way for a life of music"?

The eight Multiple Intelligences are:

1. Bodily - Kinaesthetic 
2. Musical
3. Logical- Mathematical
4. Interpersonal
5. Intra-personal
6. Linguistic
7. Spatial 
8. Natural

Gardner's theory of multiple intelligences really interests me and has stimulated the questions: 

1. Which intelligence do I possess? If excelling in a particular intelligence determines your learning style and career path.
2. Do all my skills fall under musical intelligence?

I have reflected on the skills I have and knowledge I have attained from being a performer and have placed them under the relevant intelligence. This has really made me realise that the range of skills I have gained from my profession are vast, which has given me the reassurance and belief that 

a) I am not restricted to 'musical intelligence' as I perhaps assumed and b) that these skills are very transferable for my future. 

Bodily- Kinaesthetic

Perform dance choreography to a professional standard

Improvise to a piece of music, natural fluid bodily movement

Move alongside a dance partner, understand the connection and co-ordination of two working as one

Musical

Distinguishing different rhythms and the ability to match choreography to them.

Connecting emotionally to a piece of music

Using music as a motivator

Using music as a stimulus ie. when creating a warm up/ cool down, music initiates movement

Logical- Mathematical

Re-spacing formations

Self employment, Tax

Interpersonal

Being a Dance Captain and understanding when morale is low and when your cast need support

Intra-personal

Being self driven, determined and motivated

Establish when I need to rest and indulge in mindful practises for my mental health

Have career goals ie. continue pursuing a career on ships

Linguistic

Working alongside international performers ie. previously working with Columbians therefore learning parts of the Columbian culture and language 

Communicate professionally within the industry

The importance of networking, emailing and engaging with other practitioners professionally

Having industry etiquette when presenting myself in an audition/ interview

Speaking publicly to my cast when giving notes after each show; ie. constructive feedback or praise

Spatial 

Creating formations for group choreography

Having spatial awareness of others around me

Using my peripheral vision 

Natural

Adjusting to the different weather conditions, ie completing extensive physical training and performing shows in internationally is very different to rehearsing in a cold studio.

In their research, Marenus, M. (2020) writes under each Intelligence a 'Potential Career Choice'. Referring back to my own reflection, 'Linguistic Intelligence' has multiple points underneath. The 'potential career choices' given in the research are 'Lawyer, Speaker Host, Author, Journalist and Curator'. This has definitely sparked my curiosity in potential future career prospects and is a personal reminder to keep challenging myself and to continue exploring new interests when the opportunity's arise.  

This has been a lengthy blog, however writing it has definitely given me a greater understanding on the notes I have taken this week and has helped organise my findings. If you could compare my notebook from the past week of study to this blog, I think you'd agree that this has been one good HINCH. 

I would love to know any of your thoughts on this?

Ellie 

References:

Module Handbook 1

Bauer, N.J., (1991) Dewey and Schon: An Analysis of Reflective Thinking [online] Available at:https://files.eric.ed.gov/fulltext/ED344299.pdf [Accessed 9 Feb. 2021]

Gardner, H. (2015) Beyond Wit and Grit: Rethinking the Keys to Success [video] Available at: https://m.youtube.com/watch?v=IfzrN2yMBaQ [Accessed 11 Feb 2021]

Gardner, H. (2010) Howard Gardner on Multiple Intelligences [video] Available at: https://m.youtube.com/watch?v=iYgO8jZTFuQ [Accessed 11 Feb 2021]

Gardner, H. (2006) Multiple Intelligences: New Horizons on Theory and Practise. Basic Books.

Marenus. M. (2020) Gardner's Theory of Multiple Intelligences [online] Available at: https://www.simplypsychology.org/multiple-intelligences.html [Accessed 12 Feb 2021]

Miettinen, R. (2000) The Concept of Experimental Learning and John Dewey's Theory of Reflective Thought and Action [online] Available at: https://www.tandfonline.com/doi/pdf/10.1080/026013700293458 [Accessed 11 Feb 2021]

Wisdom, A. (2011) John Dewey Experience and Education: A Brief Summary [video] Available at https://www.youtube.com/watch?v=zwIcl-G93Mo [Accessed 10 Feb 2021]