Critical Reflection Portfolio

Critical Reflection Portfolio
Sarah Dunn - Module 2

 

I started this Module 2 and the tasks at first got me a bit anxious as I just wasn’t sure what I was meant to doing or looking in to. Appendix A
Fortunately with help from others on the course I was able to start exploring and really trying to find out what it was I wanted to look in to. Appendix B

After a few weeks I finally thought I was getting somewhere with my award title and inquiry question Appendix C until a Skype chat with my advisor and other students shook things up.
The Skype chat was one of the most beneficial things for me through this module though.
I was originally quite confused about why I couldn't teach without a degree, or why Dance was in the PE curriculum, and I had to stop being negative, and focus on something that I would actually benefit from. I started looking at Dance as a whole. Appendix D

The work on the module helped me to explore this in more detail and I was able to finally start looking properly into my Professional Inquiry Proposal.

I had decided to go down the route of why the arts are not as specialised in schools.

I joined SIG Performing Arts in Education which was set up by Emma Corboz Appendix E and was able to speak freely about all my concerns, ideas and also receive feedback on my line of inquiry. Appendix F

 
A part of the module which was different but extremely beneficial was section 5, ethics. I was able to explore the ethics needed for this proposal, and also the ethical practice in teaching, which is my future career. Appendix G

This suddenly then shook things up for me. All of a sudden it became apparent to me, while submitting my first draft to Adesola, that I was more interested in the different types of dance available, and the ways this can be taught. After all my future career is dance, and I am confused about which genre of dance teaching I want to go down!

I sort advice regularly on my blog and SIGs to ensure I was having a range of people’s opinions. We have a Facebook group for students of Module 2 which has been helpful for us all, no matter our line of inquiry, to talk freely.
Web 2.0 which we discussed in Module 1 has been the greatest tool for my inquiry.

 

Something that helped me structure my Inquiry, all 3 drafts I eventually did was listing the headers on a blog post. Appendix H. Whilst it doesn’t look much as a blog post, this was ideal for me when writing up my final Professional Inquiry Proposal. Even though what is on that blog post now is nothing like how my final inquiry propsoal turned out!

My main progress was made when I submitted my drafts to Adesola. I eventually was able to stop being so broad in my subjects, to finding a topic I really wanted to explore and that would be beneficial to my future.

I benefited me greatly was looking at the Module 3 material so I know exactly what I am preparing myself for.
This has given me confidence in my preparation, schedule, ethical practice and proposed inquiry.

Outline of the Inquiry Plan

Using the headers from the handbook, I have briefly noted down below a summary of where I need to go from here. I felt this has helped a lot with starting to create my proposal.

Title of Inquiry (a working title of your inquiry)
Why is the Arts not more specialised in Secondary Education?
Would it be beneficial for the Arts to have a more specialised curriculum?
Who benefits from Arts in Education?
Who can gain a PGCE to teach the Arts in Education?

Context of the inquiry (why it is important and who will benefit)
I endeavour to find out why the arts are in "trouble", why they are deemed less important than other subjects and if there is any way for them to break through in to a more specialised area on the curriculum.
Current teachers, as well as aspiring teachers will benefit.
I will also explore how to arts are beneficial to all types of people, whether or not they aim to become a performer, which will support my inquiry in wondering why it is deemed less important by so many.
I started off wondering why National Diploma holders could not obtain a PGCE but realised that would be a bit of a dead end subject to look in to.

Rationale and Inquiry Question(s)
How many inquiry changed from why diploma students can't become teachers, instead positively focussing on the arts and why it is not deemed as important as other subjects.
There is a lot of pressure on teachers at the minute, especially with cuts being made to the arts like Drama and Dance. I will explore why, and look into where the arts can go from here.
Literature review, interview with secondary drama teacher and Ballet teacher.. Questionnaire filled in

Aims/Objectives (explain what you are actually going to do in the inquiry)
Logically I want to explore WHY the arts isn't more specialised and if it ever could be?
Beneficial to performers, but also to people who find support in subjects like Drama.

Literature and Publicly available ideas - What is already known about the topic of your inquiry?
Brenda Pugh McCutchens book
Articles such as http://www.telegraph.co.uk/education/educationnews/9653088/Arts-luminaries-warn-of-threat-to-creative-subjects-in-schools.html

Inquiry tools that you will use and why (based on your review of pilots conducted with SIGs)
Interview with Jess Smith, Head of Drama in Secondary School
Questionnaires filled out by 1 teacher in Secondary and 1 in Primary school.
Conversation with a teacher from Walton Hall Special School majoring in Performing Arts, as well as liaising with RAD Ballet teacher, who teaches this in an after school club. Also feedback sourced from aspiring teachers and get feedback from SIG.

Approach to analysis of information you will collect in the inquiry
Whilst I am hugely supportive of the Arts staying in the curriculum and becoming more specialised, I will endeavour to be fair and appreciate any findings which support why the arts are not as specialised. I aim to understand why Dance is in PE curriculum and Drama is in English and look into if this would potentially change. If not, why not?

Ethical practice in the inquiry
See blog re ethics of a teacher
Discuss ethics when discussing how the arts can be more specialised or if they never will be?

Resources needed
Articles referred to re cut backs and why the arts are important.
All the above conversations and questionnaires filled out.

Schedule
Order of activities like this above plan.

Conclusion
Conclude how my inquiry will go, like the above headers have assisted. Focus on who will benefit, why it is important to explore, the ethical values included and research gathered. Design a detailed inquiry outline and how I intend to get my findings
Managing to mix all the above in an informative equal way for my proposal.


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Why is your inquiry important?

Who will benefit?

How will they benefit?

What is already known about your line of inquiry?

How will you go about the inquiry?

Why will you go about it that way?

How will you ensure that ethical considerations are adhered to?

What order of activities / time span will you employ?
 

Ethics. 5a and 5b

5a. Taking your place of work which is familiar to you, consider ethics which might apply there.

With my current situation, I work in a customer service contact centre, but also choreograph and perform professionally in an operatic society and also audition regularly.

As a choreographer for SDOS, I do not refer elsehwere for any codes of practice/regulations.

I decided to look at ethics from my choreography point of view, which can also be relayed in to ethics when teaching.
Researching ethics it can be quite extensive. From not discriminating ethnicity, background, disability, gender, sexual orientation etc through to a more complex view. I have made a short list of other ways ethics can influence a choreographer or teachers day.

• Have suitable flooring, with a safe surface designed and constructed to minimise risk of injury
• Show professional attitudes, including punctuality, reliability and responsible care of students
• Encourage and support the individuality of a performer
• Seek to recognise and develop each student’s potential, whether it lies in dance or in related fields, and offer appropriate guidance for further progress.
• Recognise physical anomalies, modifying their teaching and seeking medical advice when necessary. Teaching and choreography must be anatomically safe, and teachers must be prepared to deal with medical emergencies.
• Person in charge needs to appreciate and understand the students personality and life situation.
• Teachers will take responsibility for seeking more knowledge in all aspects of their work.

 

5b. Find out what are the codes of practice / regulations which steer the ethical framework in the place of work / professional community.

I feel, from a teacher or choreographers perspective, any code of professional ethics for teachers should be valid for all teachers, no matter the subject.

 

I read online at http://www.aaeteachers.org/index.php/about-us/aae-code-of-ethics the following below

• Ethical Conduct toward Students
• Ethical Conduct toward Practices and Performance
• Ethical Conduct toward Professional Colleagues
• Ethical Conduct toward Parents and Community

I am glad to say whilst researching ethics, personally, a lot of it seems like "common knowledge" but then that led me more thinking about ethics.

It is about understanding that each child comes from different walks of life, and not everyone is brought up or educated in the same way.

 

 

4d. Reviewing Literature for your Inquiry Planning. Literature 1.

Have you identified any literature that is important to understanding your inquiry?

As I mentioned in my previous blog post, I have found an excellent book Teaching Dance as Art in Education by Brenda Pugh McCutchen.

What are the main points that alerted you to its importance?

The title grabbed my attention straight away. It has been a fascinating read. She not only looks into professional performers who are now teaching, but those who obtained a degree and PGCE like most teachers do. What I found fascinating is how Brenda explores the use of reflection. She states reflection does not always call for response.

 

She discusses three types of reflection from a teachers perspective

In class (integrated reflection)

At the end of class (Culminating reflection)

In the long term (Broad reflection).

 

She goes on to ask sample culminating reflection questions, such as

"What did you learn about negative and positive space today?"

What ways did you solve the movement problem of turning negative spaces into positive in your exploration today?"

What difficulties did you have today and how did you solve them?"

"How might you use negative and positive space consciously in daily living"

 

Straight away I was revisiting Module 1 and my research in to Schon and his clock like reflective practice going through states of appreciation, action, and re-appreciation

In module one I was exploring this from a choreographers point of view, and it's interesting intertwining it into the view of a teachers.

Have you looked at the References or Bibliography? / Can the literature signpost you to other important sources of information?

From reading Teaching Dance as Art in Education by Brenda Pugh McCutchen it was interesting to see what came up under "related items" online. The Art of Dance in Education by Jacqueline M. Smith came up, as well as Knowing Dance: A Guide to Creative Teaching by Marion Gough.

I intend to read these to see if any new points are raised which can aid my inquiry.

I want to read the indivative bibliogrpahy provided in the Module 2 Handbook, especially those focused around work based research.

 

4b - SIGs

How does your SIG compare to other groups or communities that you are a part of in the workplace?
How will you use your SIG?
How will you evidence the shared practice within your own professional inquiry process?

I've been fortunate enough to join Special Interest Group "Performing Arts in Education" which Emma Corboz has set up. There is a few of us in the group posting different links and sites of interest around the arts in education which is really helpful.

I think this SIG will really help towards my Inquiry as people are posting links I have not seen, and posting things I would not have thought would be beneficial, but when looking into them further they really are.

I have been reading through Teaching Dance as Art in Education by Brenda Pugh McCutchen and it is very helpful aiding my line of inquiry.

Something that really interested me when reading this was How ED (Educational dance) differs from a Physical Education Model.

She states "Aspects of dance are easily adapted to physical education. Indeed physical educators historically brough dance into the curriculum and make a place  for it longer before there were dance specialists in K-12. Dabce training for certified physical educators is usually activity based. Rarely do physical educators study dance performance. Choreography, criticism and dance history. Their dance goals relate to fitness, skill development and recreation, rhythmic activity, locomotor skills and sequences.
Dance can be taught in both ED and physical education with the highest integrity. Both the physical educator and dance specialist bring specific skills and backgrounds to dance, and both ably teach dance to achieve their goals and standards."

My inquiry is forever adapting, which is great as it shows my research is progressing.

Originally I had quite a one sided view.
I was unhappy that the arts were being taught as part of the PE Curriculum for Dance or English Curriculum for Drama and didn't understand why.
Now, because of skyping with Adesola, through to reading this book, along with conversations with a good friend who is a Drama teacher, I am now not exploring why the Arts is being taught by teachers from those academic areas, because like the above states, these teachers still have their own standards and achievements, but, why is the arts is not more specialised in schools?
The arts seems to have a stigma attached to it. For example, people do Dance or Drama if they are not succeeding in other subjects. Like it is an easier grade to achieve.

What I have found interesting when talking to my friend Jessica, who is a head of Drama at a secondary school is that she is very much agreeing that the arts are deemed less valuable yet she signposted me to a link: https://www.gov.uk/government/news/creative-industries-worth-8million-an-hour-to-uk-economy which shows the arts industry make such a large revenue. She is now interested in my inquiry as well. What is beneficial is that she is that whilst she is a drama teacher with no "professional" performing experience, she went to university, obtained a degree, then PGCE and from there now teaches. She is valuable to my discussion as she is educated in a different way to me and everyone in the SIG I am within.

Because of this article and reading other peoples opinions in SIG "Performing Arts in Education" I have changed my inquiry to:
"How can the arts become more a more reputable subject in schools"

With my award title sticking at  "BA Hons Professional Practice in Performing Arts and Education"





Reference:

B Pugh McCutchen (2006) Teaching Dance as Art in Education: How ED (Educational dance) differs from a Physical Education Model.

MARCH 3rd AM SKYPE CHAT

On Tuesday morning a group of us had a Skype session with Adesola.

We had a couple of people from Module 1 and a few from Module 2. It was a really beneficial session and it certainly helped me with what I was querying.

At the start of the chat, after introducing ourselves etc, we all one by one stated what we would like to talk about.

My topic of discussion was about my line of Professional Inquiry.

I went to explain how what I was thinking for my Professional Inquiry was down the route of why we as performers can't obtain a PGCE until we have a degree, despite the majority of professional performers having a National Diploma.

This was a great discussion as most people in the Skype chat we're really vocalising and saying they completely agreed.
We discussed what a PGCE is and why the diploma isn't deemed a good enough qualification to have to get on to a PGCE course.

We were all quite passionate which was great. Everyone had the same beliefs that we should be able to do so, so I'm definitely going to explore in to why it is this way.

We were talking about GCSE Dance teachers, and how they are the PE teachers just also teaching dance and how it wasn't fair, us trained dancers couldn't have that teaching status until we also had the degree.

Adesola raised a good point that whilst it is beneficial to research this, a lot of answers found would all be the same; that PE is just part of the dance curriculum so that's why PE teachers teach it, or Drama is in the English curriculum so that's why the English teachers teach Drama. And the curriculum isn't changing!

We then started asking questions like, why is Dance just on the PE Curriculum, or why is Drama just in the English curriculum?
Why is it that the Arts is deemed a lesser subject?
Why is the Arts something schools suggest pupils do if they can't do anything else?
Why is it deemed more intelligent to use your mind, as opposed to working with your body?

My professional inquiry has changed because of this Skype session.

I am now really interested why the arts don't have a more specialist curriculum.

Music has it's own. Now, it is extensive, involving many things from playing instruments, learning about sheet music, and sight reading through to what everything means on a musical score, and then also the history of music! But there wasn't when I was in school, a specialised section for performing music through vocals.

I aim to explore now the stigma's around being a dancer/singer. Why is it that people think performers are not "clever"..?

I aim to explore performing arts in the secondary curriculum, why it is not as specialised, or compulsory, but also research the battles performers face. 

I assume for a male of a young age it must take a fair amount of courage for them to come out and say they would like to do ballet, or musicals or something in the arts.
Does this impact males in the government when they are looking at the arts in secondary education? (I secretly hope Michael Gove is a closet ballerina).

I also want to explore why the strength performers have, whether it is dancers, vocalists, musical theatre, are deemed less intelligible.

I challenge the Department for Education to be able to do 2 hours of ballet, a 1 hour choral class including sight reading and harmonies, then a 2 minute monologue, followed by an hour and a half jazz, then a solo vocal performance...
Because that's what I had to do as a teenager, in one day, for my audition just to get in to theatre school.

I may be a bit uneducated currently on the above, but aim to change that, however I fear dfe will never know the strength, education or knowledge performers have.

Module 2. Worker-researcher/Inside researcher

Can you ‘theorise’ your own worker-researcher position? How do you ‘fit in’ within your organisation(s)?

Because I am working full time for a council in a call centre, it not the ideal setting for this inquiry. Fortunately, I have several people interested in my line of inquiry, who I have liaised with on the audition circuit.
I also have a friend who is a drama teacher in a secondary school, another friend working as an RAD accredited teacher in a secondary school/dance teacher in dance school, and people on this course interested in my research.
I choreograph for an ametuer dramatics society and perform regularly in a local theatre and have contacts there regarding what they would look for on a CV when casting shows/positions in theatre or commitee.
I feel a bit like I am spread over lots of different areas of work, but actually this is why my line of inquiry has lead me to what I am researching.

How does this position as an insider-researcher’ affect the way your think in terms of the questions you are asking?

 

I absolutely think that because of the paths I chose; dancing growing up, GCSE Dance and Drama, A-Level Performance Studies and National Diploma in Professional Musical Theatre, have affected how I look at my inquiry. My main argument is that I should (and could!) be able to do a PGCE based on the qualifications I already have/experience I have.

My Level 6 National Diploma in Professional Musical Theatre which I gained through Trinity College London is the same NVQ level as a degree. Someone, somewhere feels that this diploma we worked for, 8:30-5, Monday to Friday for 3 years, is not good enough by equivalent to be used for a PGCE. Because I am one of the people who has the diploma and not the degree, this certainly sways my opinion. I wonder what people with just the degree would think.

 

Can you find sources within your organisation, such as company policy papers or job descriptions that clarify how your relationship to the organisation will affect your inquiry?

 

I have been researching this week and already found several job descriptions which have really interested me. Uni lecturers actually sometimes require less qualifications than a secondary school teacher strangely enough. I am going to ideally get in touch with these people to find out their opinions, within their organisation, on this.

I have to research more in to policy papers. I am hoping I will see, in black and white, exactly why a diploma won't count for a PGCE in the arts... I will still contest it obviously, but it would be ideal to see the reasoning!

 

I mentioned above, how I know I am biased because "I am one of the people who has the diploma and not the degree", but I know I am not alone with this.

Module 2. Inquiry Question(s) and Award Title

What is your inquiry question(s)? What do you want to find out about a particular topic?

 

I am not 100% on the wording of this to be totally honest, but I would like my inquiry question to be something like;

 

"Why does a professional performer with a National Diploma in Musical Theatre, need to have a degree before secondary teacher training in The Arts?"

 

Mainly I would like to establish the answer to that question, but I understand I will have lots of different enquries to make whilst finding out the answer.

I am interested in becoming a teacher in secondary school. Ideally I would like to teach Performing Arts at GCSE or BTEC level.
I took GCSE Dance and Drama, and I have more experience or training than the teachers who taught me these subjects then. No disresepect to them, it was just a PE teacher also doing the Dance subject, and an English teacher doing Drama.

I also took A-Level Performance Studies in 6th Form. This was far more theoretical and taught by the Drama teacher from GCSE Level, and a Music teacher. The music teacher did have music qualifications. He could play piano, but as far as singing went, he did not know about the voice.

There was no practical to this subject, so I would ideally would rather teach Performing Arts where I am most skilled.

I have also looked in to schools like The Brit School or Sylvia Young, where they are shaping their students for Musical Theatre colleges. It is still the same situation. BTECs are the qualification the children work towards and again, someone like me, who went to a MT college, still needs the degree to teach these children, despite them wanting to obtain a National Diploma!

I think my award title should be "BA Hons Professional Practice in Performing Arts and Education"

 

As I want to be working in a government sponsored secondary educational environment I feel this is appropriate.
I think that with my topic and how it is exploring someone with my experience looking in to education but also representing my knowledge and understanding in Performing Arts and Musical Theatre, I feel this title is suitable.

 

Module 2. Research - "Reflect upon these in your blogs and private diaries"

What were some of the points in the reading that you will use to develop your topic?

 

I found Eraut's theories interesting. Eraut states he uses different types of knowledge in his professional work: Propositional, personal and process. I wanted to explore this in more detail.

 

Eraut states propositional knowledge emerges out of professional action and defines the knowledge base of the profession in terms of discipline based knowledge and concepts.
Personal knowledge is acquired through social interaction and undertaking tasks, - the kind of knowledge that emerges from experience; inchoate in professional context.
Process knowledge is understanding how to undertake the processes and contribute to professional action. (1)

 

With reference to the line of inquiry I am researching, I would certainly refer to Erauts theories as methods I use in my research. I have concrete facts I have to consider with my inquiry. No way can a professional performer, obtain a PGCE with their national diploma. I have to consider this while researching exactly WHY the government won't accept this.

 

With regards to personal knowledge, for my line of inquiry, I want to set up doodlepolls and ask questions and research what people in similar situations to me feel. I already have a handful of friends who would like more clarity on this. I'm sure with their opinions, and the help of some strangers I will have a broad set of opinions to put forward when I approach governing bodies regarding PGCE's.

 

With the propositional knowledge, based on factual research, and personal knowledge based on my own research, I need to look in to whether my inquiry will evenly explore professional, practical and acedmic knowledge, to ensure equal vocational experience.

 

I want to explore what the differences are between a qualified performer, and a qualified dance teacher in an academic setting. Why there are so many differences between the two, and could this ever be improved so professional performers have a easier way of obtaining a teaching qualification?

 

From my original research of Schon in Module 1 with his method of loop learning;  "states of appreciation, action, and re-appreciation", I am now interesting in Eraut (1994) arguing that Schon "does not have a simple coherent view of reflection but set of overlapping attributes. He selects whichever subset of attributes best suits the situation under discussion". (2)

 

Is this something we all do? Do we ever argue every aspect, or just base our research on what we want?

 

"'Creativity is a function of intelligence"' (3)

 

1. British Journal of Educational Psychology  (2000), 70, 113–136 
2. Eraut (1994) p. 145

3. Robinson, Professor Sir Kenneth, All our Futures, 2003

Module 2. Task 4 continued.

Do you work within a disciplinary context in the arts? Or is your situation more transdisciplinary?

I found this question interesting to explore. I am a musical theatre performer. I sing, dance and act, with experience in musicals, concerts, radio performances, music videos and uni projects.
I would describe my subject as disciplinary. I most of the time follow a script, or a music score, or a choreographer or directors direction. Since I started Ballet at the age of 3, I have always found dance and the arts a strong discipline and would say that from a performers side of things it is less transdisciplinary.
I do also work as a choreographer though and this is more transdisciplinary. You as a choreographer are the brains behind the logistics in a performance. Obviously the artists have a huge resposbility of how they perform the peice, but it is the choreographer who puts it all together.

What do you know? / How do you know it?

I feel these questions are very similar to the below, so will answer those in detail.

 

Make a brief list of your competences and capabilities.

With more than 18 years of dance training (RAD Ballet and ISTD Tap, Jazz and Modern), GCSE Drama and Dance and a Level 6 National Diploma in Professional Musical Theatre, my knowledge is extensive. I have impeccible timing, accurate timing and emotion in everything I do.
I am passionate about Dance, Singing, Musical Theatre and Music.

I love watching shows, seeing live music and/or dance. This year alone I have seen Once, Made in Dagenham and Jersey Boys on the West End, I have seen a local theatre group performing the play Flamingoland and I have tickets for ameteur productions of Witches of Eastwick and Hairspray, both on in April. I also have music gig tickets already booked for the summer. Last year I saw over 15 gigs of rock/indie music...(and the less rock, more pop Pentatonix!)

I think my level of experience combined with my passion to work hard consistently and widen my knowledge enables me to perform and choreograph well and gives me an edge when looking in to teaching performing arts or musical theatre.

What knowledge and skills do you think you will need for the future?
Leading on from what I previously stated, I am looking in to teaching. Whilst there is ISTD or RAD teaching, there is only one dance school local to me that does this, and they have been fairly useless in contacting me regarding anything. After 2 years of trying to get something sorted with them, I decided to look in to different styles of teaching.
A friend of mine is an RAD Ballet teacher, working in an acredited secondary school. This for me is really impressive. She has the qualifications of a dance teacher but is also being able to teach in an academic situtation. I think there would be a lot of dance teachers out there who would love an opportunity like this.
For me, I need to improve my knowledge in the teaching and education sector. As I am looking int o secondary school teaching, I will have to have to obtain a PGCE. To be accepted on to a PGCE course, I will need experience in schools and have a broader knowledge of education as oppose to performing.
I still find it frustrating that people in my situation, with the level of experience and knowledge in the arts, have to obtain a degree before obtaining a PGCE where as people who may be a PE teacher, can end up teaching GCSE Dance.
Topics like that are what I need to explore in more detail so I have a more refined view of the teaching sector and the differences between secondary teaching of the arts, and performing the arts.

Module 2. Are there any ideas from Work Based or Organisational knowledge theories of learning that could be used to understand your own professional enquiry?

Reading through the material of Module 2, what stuck out for me was "The ultimate goal of the inquiry will be to explore a topic that will benefit your work and the work of colleagues and fellow professionals, including any work organisations with whom you are affiliated"

 

 

Looking back at my mind map I did last week as a starting point, I have been researching in to why, someone like myself, with 18+ years dance training in RAD and ISTD, a Level 6 National Diploma in Professional Musical Theatre, and the opportunity to qualify as a dance teacher in ISTD and complete courses for singing teaching, has to have a degree, to be able to do a PGCE before qualifying as a Perfoming Arts/Dance or Drama teacher in secondary school?

I fully understand having to obtain a PGCE, as teaching in education is totally different to a ballet class or choregraphy for example, however I am wanting to explore why a national diploma, what so many performers have, is not suitable, especially when their level of talent and knowledge, is on such a high level following their training.

There are so many questions that need exploring/answering.

For example, Physical Education teachers sometimes have to teach Dance, or English teachers may have to teach Drama, but I want to look at why the arts aren't always more specialised.
If teachers with English degrees can teach Drama, why can't professionally trained musical theatre performers teach performing arts?
Recently there has been a lot of discussion about the need for the arts to even be an educational subject, so of course there is a lot to discuss.

Are there any ideas from Work Based or Organisational knowledge theories of learning that could be used to understand your own professional enquiry?

Looking back in to Kolbs learning cycle, I will benefit from this theory of WBL.

It is a good starting point to look at my original inquiry thoughts.

 

Concrete Experience: I am currently studying for a degree to be able to do a PGCE to then become a secondary school teacher. I have the passion for my chosen teaching subject of Musical Theatre/Performing Arts, as I have been training in Dance since the age of 3, I have the training because I obtained a Level 6 National Diploma through a 3 year course at Liverpool Theatre School and I have the professional experience since graduating in 2009 and being in the industry working and auditioning.

 

Reflective Observation: What do I think of the above experiences. In a nutshell I loved it. I still have a lot I can learn about the industry, but my knowledge in Musical Theatre, or singing or dancing alone, is greater than a lot of people who get an English degree and end up teaching Drama because they have to, for example.

I have a Diploma, I have several Distinctions in Dance exams, I have applied myself and observed others in my situation and feel upon reflection I have applied myself well and feel confident I could teach, given the chance to go straight to PGCE training.

 

Abstract Concepualisation: I find myself less of an analytical, theoretical worker. I often find myself consumed by my feelings and thoughts as opposed to logic and fact. I think my main cause for this route of inquiry is that I am after already a lot of training and work, now have to apply myself to a degree, because educational and government boards see fit that I do. Factually I have obtain a degree before I can teach in schools. What I really want to explore is why?

 

Active Experimentation: With work based learning I am interested in working round this cycle from the point of view of a qualified Performing Arts teacher.

I already know someone who is a PE teacher, also doing dance. Is this benefical to those who want to become dancers? No. Having someone who has read the neccessary curriculum, teaching dance to teenagers is not how school should be. Would they have a German teacher, look over the French curriculim and blag their way through it? No. Why is the arts deemed less inteligable?

 

Already my original thoughts of "Why do I need a degree to do a PGCE" are changing in to "Why do the arts have a lesser reputation to other subjects" - Or something like that.

 

I have read articles recently that suggest that involvement in the arts is associated with gains in math, reading, cognitive ability and vebal skill.

Yet when articles like this "Drama schools are a waste of money" exist, no wonder people have a negative view.

 

I was fortunate enough to obtain a DADA in to Liverpool Theatre School, but not everyone is as fortunate.

Why are Trinity College London credited courses so expensive and not government funded?

 

 

 

I feel I have opened a can of worms for myself here, but it is exciting and a lot to explore. Going back to my introduction of this post "The ultimate goal of the inquiry will be to explore a topic that will benefit your work and the work of colleagues and fellow professionals, including any work organisations with whom you are affiliated", I know all these questions I am asking are beneficial not just to me, but a whole host of people.

 

Exploring my inquiry

My mind is regularly changing from what I want my Professional Inquiry to be.

I have so many areas I have discussed through Module 1, I am trying to explore certain areas in more detail.

I have started with a mind map, in a bid to clarify which area's open up more questions and which ones are already fairly self explanatory.

I have emailed Adesola for some advice on this. Hopefully it will become clearer as I look into these chosen areas in more detail.

Module 2...

Well, after a couple of weeks off, I have just had a read through the material provided for Module 2.

I feel a bit scared and at a loss where to start...but then I felt like that at the start of Module 1 so hopefully it will all work out!

I am still fairly sure of where I want my Professional Inquiry to go, however it has adapted slightly since September.

I have a few exciting job prospects on the horizon so fingers crossed for me please!

Hope you all had a great Christmas and 2015 has started off wonderfully for you all!

Right then Module 2... Bring it on!